Part 46

“What was the matter yesterday?” (she wrote on another sheet). “I passed by you, and you seemed to me to _blush_. Perhaps it was only my fancy. If I were to bring you to the most loathsome den, and show you the revelation of undisguised vice—you should not blush. You can never feel the sense of personal affront. You may hate all who are mean, or base, or unworthy—but not for yourself—only for those whom they wrong. No one can wrong _you_. Do you know, I think you ought to love me—for you are the same in my eyes as in his—you are as light. An angel cannot hate, perhaps cannot love, either. I often ask myself—is it possible to love everybody? Indeed it is not; it is not in nature. Abstract love of humanity is nearly always love of self. But you are different. You cannot help loving all, since you can compare with none, and are above all personal offence or anger. Oh! how bitter it would be to me to know that you felt anger or shame on my account, for that would be your fall—you would become comparable at once with such as me.

“Yesterday, after seeing you, I went home and thought out a picture.

“Artists always draw the Saviour as an actor in one of the Gospel stories. I should do differently. I should represent Christ alone—the disciples did leave Him alone occasionally. I should paint one little child left with Him. This child has been playing about near Him, and had probably just been telling the Saviour something in its pretty baby prattle. Christ had listened to it, but was now musing—one hand reposing on the child’s bright head. His eyes have a far-away expression. Thought, great as the Universe, is in them—His face is sad. The little one leans its elbow upon Christ’s knee, and with its cheek resting on its hand, gazes up at Him, pondering as children sometimes do ponder. The sun is setting. There you have my picture.

“You are innocent—and in your innocence lies all your perfection—oh, remember that! What is my passion to you?—you are mine now; I shall be near you all my life—I shall not live long!”

At length, in the last letter of all, he found:

“For Heaven’s sake, don’t misunderstand me! Do not think that I humiliate myself by writing thus to you, or that I belong to that class of people who take a satisfaction in humiliating themselves—from pride. I have my consolation, though it would be difficult to explain it—but I do not humiliate myself.

“Why do I wish to unite you two? For your sakes or my own? For my own sake, naturally. All the problems of my life would thus be solved; I have thought so for a long time. I know that once when your sister Adelaida saw my portrait she said that such beauty could overthrow the world. But I have renounced the world. You think it strange that I should say so, for you saw me decked with lace and diamonds, in the company of drunkards and wastrels. Take no notice of that; I know that I have almost ceased to exist. God knows what it is dwelling within me now—it is not myself. I can see it every day in two dreadful eyes which are always looking at me, even when not present. These eyes are silent now, they say nothing; but I know their secret. His house is gloomy, and there is a secret in it. I am convinced that in some box he has a razor hidden, tied round with silk, just like the one that Moscow murderer had. This man also lived with his mother, and had a razor hidden away, tied round with white silk, and with this razor he intended to cut a throat.

“All the while I was in their house I felt sure that somewhere beneath the floor there was hidden away some dreadful corpse, wrapped in oil-cloth, perhaps buried there by his father, who knows? Just as in the Moscow case. I could have shown you the very spot!

“He is always silent, but I know well that he loves me so much that he must hate me. My wedding and yours are to be on the same day; so I have arranged with him. I have no secrets from him. I would kill him from very fright, but he will kill me first. He has just burst out laughing, and says that I am raving. He knows I am writing to you.”

There was much more of this delirious wandering in the letters—one of them was very long.

At last the prince came out of the dark, gloomy park, in which he had wandered about for hours just as yesterday. The bright night seemed to him to be lighter than ever. “It must be quite early,” he thought. (He had forgotten his watch.) There was a sound of distant music somewhere. “Ah,” he thought, “the Vauxhall! They won’t be there today, of course!” At this moment he noticed that he was close to their house; he had felt that he must gravitate to this spot eventually, and, with a beating heart, he mounted the verandah steps.

No one met him; the verandah was empty, and nearly pitch dark. He opened the door into the room, but it, too, was dark and empty. He stood in the middle of the room in perplexity. Suddenly the door opened, and in came Alexandra, candle in hand. Seeing the prince she stopped before him in surprise, looking at him questioningly.

It was clear that she had been merely passing through the room from door to door, and had not had the remotest notion that she would meet anyone.

“How did you come here?” she asked, at last.

“I—I—came in—”

“Mamma is not very well, nor is Aglaya. Adelaida has gone to bed, and I am just going. We were alone the whole evening. Father and Prince S. have gone to town.”

“I have come to you—now—to—”

“Do you know what time it is?”

“N—no!”

“Half-past twelve. We are always in bed by one.”

“I—I thought it was half-past nine!”

“Never mind!” she laughed, “but why didn’t you come earlier? Perhaps you were expected!”

“I thought” he stammered, making for the door.

“_Au revoir!_ I shall amuse them all with this story tomorrow!”

He walked along the road towards his own house. His heart was beating, his thoughts were confused, everything around seemed to be part of a dream.

And suddenly, just as twice already he had awaked from sleep with the same vision, that very apparition now seemed to rise up before him. The woman appeared to step out from the park, and stand in the path in front of him, as though she had been waiting for him there.

He shuddered and stopped; she seized his hand and pressed it frenziedly.

No, this was no apparition!

There she stood at last, face to face with him, for the first time since their parting.

She said something, but he looked silently back at her. His heart ached with anguish. Oh! never would he banish the recollection of this meeting with her, and he never remembered it but with the same pain and agony of mind.

She went on her knees before him—there in the open road—like a madwoman. He retreated a step, but she caught his hand and kissed it, and, just as in his dream, the tears were sparkling on her long, beautiful lashes.

“Get up!” he said, in a frightened whisper, raising her. “Get up at once!”

“Are you happy—are you happy?” she asked. “Say this one word. Are you happy now? Today, this moment? Have you just been with her? What did she say?”

She did not rise from her knees; she would not listen to him; she put her questions hurriedly, as though she were pursued.

“I am going away tomorrow, as you bade me—I won’t write—so that this is the last time I shall see you, the last time! This is really the _last time!_”

“Oh, be calm—be calm! Get up!” he entreated, in despair.

She gazed thirstily at him and clutched his hands.

“Good-bye!” she said at last, and rose and left him, very quickly.

The prince noticed that Rogojin had suddenly appeared at her side, and had taken her arm and was leading her away.

“Wait a minute, prince,” shouted the latter, as he went. “I shall be back in five minutes.”

He reappeared in five minutes as he had said. The prince was waiting for him.

“I’ve put her in the carriage,” he said; “it has been waiting round the corner there since ten o’clock. She expected that you would be with _them_ all the evening. I told her exactly what you wrote me. She won’t write to the girl any more, she promises; and tomorrow she will be off, as you wish. She desired to see you for the last time, although you refused, so we’ve been sitting and waiting on that bench till you should pass on your way home.”

“Did she bring you with her of her own accord?”

“Of course she did!” said Rogojin, showing his teeth; “and I saw for myself what I knew before. You’ve read her letters, I suppose?”

“Did you read them?” asked the prince, struck by the thought.

“Of course—she showed them to me herself. You are thinking of the razor, eh? Ha, ha, ha!”

“Oh, she is mad!” cried the prince, wringing his hands.

“Who knows? Perhaps she is not so mad after all,” said Rogojin, softly, as though thinking aloud.

The prince made no reply.

“Well, good-bye,” said Rogojin. “I’m off tomorrow too, you know. Remember me kindly! By-the-by,” he added, turning round sharply again, “did you answer her question just now? Are you happy, or not?”

“No, no, no!” cried the prince, with unspeakable sadness.

“Ha, ha! I never supposed you would say ‘yes,’” cried Rogojin, laughing sardonically.

And he disappeared, without looking round again.

PART IV

I.

A week had elapsed since the rendezvous of our two friends on the green bench in the park, when, one fine morning at about half-past ten o’clock, Varvara Ardalionovna, otherwise Mrs. Ptitsin, who had been out to visit a friend, returned home in a state of considerable mental depression.

There are certain people of whom it is difficult to say anything which will at once throw them into relief—in other words, describe them graphically in their typical characteristics. These are they who are generally known as “commonplace people,” and this class comprises, of course, the immense majority of mankind. Authors, as a rule, attempt to select and portray types rarely met with in their entirety, but these types are nevertheless more real than real life itself.

“Podkoleosin” [A character in Gogol’s comedy, The Wedding.] was perhaps an exaggeration, but he was by no means a non-existent character; on the contrary, how many intelligent people, after hearing of this Podkoleosin from Gogol, immediately began to find that scores of their friends were exactly like him! They knew, perhaps, before Gogol told them, that their friends were like Podkoleosin, but they did not know what name to give them. In real life, young fellows seldom jump out of the window just before their weddings, because such a feat, not to speak of its other aspects, must be a decidedly unpleasant mode of escape; and yet there are plenty of bridegrooms, intelligent fellows too, who would be ready to confess themselves Podkoleosins in the depths of their consciousness, just before marriage. Nor does every husband feel bound to repeat at every step, “_Tu l’as voulu, Georges Dandin!_” like another typical personage; and yet how many millions and billions of Georges Dandins there are in real life who feel inclined to utter this soul-drawn cry after their honeymoon, if not the day after the wedding! Therefore, without entering into any more serious examination of the question, I will content myself with remarking that in real life typical characters are “watered down,” so to speak; and all these Dandins and Podkoleosins actually exist among us every day, but in a diluted form. I will just add, however, that Georges Dandin might have existed exactly as Molière presented him, and probably does exist now and then, though rarely; and so I will end this scientific examination, which is beginning to look like a newspaper criticism. But for all this, the question remains,—what are the novelists to do with commonplace people, and how are they to be presented to the reader in such a form as to be in the least degree interesting? They cannot be left out altogether, for commonplace people meet one at every turn of life, and to leave them out would be to destroy the whole reality and probability of the story. To fill a novel with typical characters only, or with merely strange and uncommon people, would render the book unreal and improbable, and would very likely destroy the interest. In my opinion, the duty of the novelist is to seek out points of interest and instruction even in the characters of commonplace people.

For instance, when the whole essence of an ordinary person’s nature lies in his perpetual and unchangeable commonplaceness; and when in spite of all his endeavours to do something out of the common, this person ends, eventually, by remaining in his unbroken line of routine—. I think such an individual really does become a type of his own—a type of commonplaceness which will not for the world, if it can help it, be contented, but strains and yearns to be something original and independent, without the slightest possibility of being so. To this class of commonplace people belong several characters in this novel;—characters which—I admit—I have not drawn very vividly up to now for my reader’s benefit.

Such were, for instance, Varvara Ardalionovna Ptitsin, her husband, and her brother, Gania.

There is nothing so annoying as to be fairly rich, of a fairly good family, pleasing presence, average education, to be “not stupid,” kind-hearted, and yet to have no talent at all, no originality, not a single idea of one’s own—to be, in fact, “just like everyone else.”

Of such people there are countless numbers in this world—far more even than appear. They can be divided into two classes as all men can—that is, those of limited intellect, and those who are much cleverer. The former of these classes is the happier.

To a commonplace man of limited intellect, for instance, nothing is simpler than to imagine himself an original character, and to revel in that belief without the slightest misgiving.

Many of our young women have thought fit to cut their hair short, put on blue spectacles, and call themselves Nihilists. By doing this they have been able to persuade themselves, without further trouble, that they have acquired new convictions of their own. Some men have but felt some little qualm of kindness towards their fellow-men, and the fact has been quite enough to persuade them that they stand alone in the van of enlightenment and that no one has such humanitarian feelings as they. Others have but to read an idea of somebody else’s, and they can immediately assimilate it and believe that it was a child of their own brain. The “impudence of ignorance,” if I may use the expression, is developed to a wonderful extent in such cases;—unlikely as it appears, it is met with at every turn.

This confidence of a stupid man in his own talents has been wonderfully depicted by Gogol in the amazing character of Pirogoff. Pirogoff has not the slightest doubt of his own genius,—nay, of his _superiority_ of genius,—so certain is he of it that he never questions it. How many Pirogoffs have there not been among our writers—scholars, propagandists? I say “have been,” but indeed there are plenty of them at this very day.

Our friend, Gania, belonged to the other class—to the “much cleverer” persons, though he was from head to foot permeated and saturated with the longing to be original. This class, as I have said above, is far less happy. For the “clever commonplace” person, though he may possibly imagine himself a man of genius and originality, none the less has within his heart the deathless worm of suspicion and doubt; and this doubt sometimes brings a clever man to despair. (As a rule, however, nothing tragic happens;—his liver becomes a little damaged in the course of time, nothing more serious. Such men do not give up their aspirations after originality without a severe struggle,—and there have been men who, though good fellows in themselves, and even benefactors to humanity, have sunk to the level of base criminals for the sake of originality).

Gania was a beginner, as it were, upon this road. A deep and unchangeable consciousness of his own lack of talent, combined with a vast longing to be able to persuade himself that he was original, had rankled in his heart, even from childhood.

He seemed to have been born with overwrought nerves, and in his passionate desire to excel, he was often led to the brink of some rash step; and yet, having resolved upon such a step, when the moment arrived, he invariably proved too sensible to take it. He was ready, in the same way, to do a base action in order to obtain his wished-for object; and yet, when the moment came to do it, he found that he was too honest for any great baseness. (Not that he objected to acts of petty meanness—he was always ready for _them_.) He looked with hate and loathing on the poverty and downfall of his family, and treated his mother with haughty contempt, although he knew that his whole future depended on her character and reputation.

Aglaya had simply frightened him; yet he did not give up all thoughts of her—though he never seriously hoped that she would condescend to him. At the time of his “adventure” with Nastasia Philipovna he had come to the conclusion that money was his only hope—money should do all for him.

At the moment when he lost Aglaya, and after the scene with Nastasia, he had felt so low in his own eyes that he actually brought the money back to the prince. Of this returning of the money given to him by a madwoman who had received it from a madman, he had often repented since—though he never ceased to be proud of his action. During the short time that Muishkin remained in Petersburg Gania had had time to come to hate him for his sympathy, though the prince told him that it was “not everyone who would have acted so nobly” as to return the money. He had long pondered, too, over his relations with Aglaya, and had persuaded himself that with such a strange, childish, innocent character as hers, things might have ended very differently. Remorse then seized him; he threw up his post, and buried himself in self-torment and reproach.

He lived at Ptitsin’s, and openly showed contempt for the latter, though he always listened to his advice, and was sensible enough to ask for it when he wanted it. Gavrila Ardalionovitch was angry with Ptitsin because the latter did not care to become a Rothschild. “If you are to be a Jew,” he said, “do it properly—squeeze people right and left, show some character; be the King of the Jews while you are about it.”

Ptitsin was quiet and not easily offended—he only laughed. But on one occasion he explained seriously to Gania that he was no Jew, that he did nothing dishonest, that he could not help the market price of money, that, thanks to his accurate habits, he had already a good footing and was respected, and that his business was flourishing.

“I shan’t ever be a Rothschild, and there is no reason why I should,” he added, smiling; “but I shall have a house in the Liteynaya, perhaps two, and that will be enough for me.” “Who knows but what I may have three!” he concluded to himself; but this dream, cherished inwardly, he never confided to a soul.

Nature loves and favours such people. Ptitsin will certainly have his reward, not three houses, but four, precisely because from childhood up he had realized that he would never be a Rothschild. That will be the limit of Ptitsin’s fortune, and, come what may, he will never have more than four houses.

Varvara Ardalionovna was not like her brother. She too, had passionate desires, but they were persistent rather than impetuous. Her plans were as wise as her methods of carrying them out. No doubt she also belonged to the category of ordinary people who dream of being original, but she soon discovered that she had not a grain of true originality, and she did not let it trouble her too much. Perhaps a certain kind of pride came to her help. She made her first concession to the demands of practical life with great resolution when she consented to marry Ptitsin. However, when she married she did not say to herself, “Never mind a mean action if it leads to the end in view,” as her brother would certainly have said in such a case; it is quite probable that he may have said it when he expressed his elder-brotherly satisfaction at her decision. Far from this; Varvara Ardalionovna did not marry until she felt convinced that her future husband was unassuming, agreeable, almost cultured, and that nothing on earth would tempt him to a really dishonourable deed. As to small meannesses, such trifles did not trouble her. Indeed, who is free from them? It is absurd to expect the ideal! Besides, she knew that her marriage would provide a refuge for all her family. Seeing Gania unhappy, she was anxious to help him, in spite of their former disputes and misunderstandings. Ptitsin, in a friendly way, would press his brother-in-law to enter the army. “You know,” he said sometimes, jokingly, “you despise generals and generaldom, but you will see that ‘they’ will all end by being generals in their turn. You will see it if you live long enough!”

“But why should they suppose that I despise generals?” Gania thought sarcastically to himself.

To serve her brother’s interests, Varvara Ardalionovna was constantly at the Epanchins’ house, helped by the fact that in childhood she and Gania had played with General Ivan Fedorovitch’s daughters. It would have been inconsistent with her character if in these visits she had been pursuing a chimera; her project was not chimerical at all; she was building on a firm basis—on her knowledge of the character of the Epanchin family, especially Aglaya, whom she studied closely. All Varvara’s efforts were directed towards bringing Aglaya and Gania together. Perhaps she achieved some result; perhaps, also, she made the mistake of depending too much upon her brother, and expecting more from him than he would ever be capable of giving. However this may be, her manoeuvres were skilful enough. For weeks at a time she would never mention Gania. Her attitude was modest but dignified, and she was always extremely truthful and sincere. Examining the depths of her conscience, she found nothing to reproach herself with, and this still further strengthened her in her designs. But Varvara Ardalionovna sometimes remarked that she felt spiteful; that there was a good deal of vanity in her, perhaps even of wounded vanity. She noticed this at certain times more than at others, and especially after her visits to the Epanchins.

Today, as I have said, she returned from their house with a heavy feeling of dejection. There was a sensation of bitterness, a sort of mocking contempt, mingled with it.

“One work. Many languages. One reading experience.”