“I won’t believe this!” cried the prince.
“It’s simply that there is a Russian poem,” began Prince S., evidently anxious to change the conversation, “a strange thing, without beginning or end, and all about a ‘poor knight.’ A month or so ago, we were all talking and laughing, and looking up a subject for one of Adelaida’s pictures--you know it is the principal business of this family to find subjects for Adelaida’s pictures. Well, we happened upon this ‘poor knight.’ I don’t remember who thought of it first--”
“Who said that, Colia?”
The general looked significantly at his host.
“Hippolyte, Hippolyte, what is the matter with you?” cried Muishkin.
How often during the day he had thought of this hotel with loathing--its corridor, its rooms, its stairs. How he had dreaded coming back to it, for some reason.
“Water or the knife?” said the latter, at last. “Ha, ha--that’s exactly why she is going to marry me, because she knows for certain that the knife awaits her. Prince, can it be that you don’t even yet see what’s at the root of it all?” Evgenie Pavlovitch’s friend asked the prince some question, but the latter did not reply, or if he did, he muttered something so strangely indistinct that there was nothing to be made of it. The officer stared intently at him, then glanced at Evgenie, divined why the latter had introduced him, and gave his undivided attention to Aglaya again. Only Evgenie Pavlovitch observed that Aglaya flushed up for a moment at this.
The prince’s tone was so natural and respectful that the general could not possibly suspect him of any insincerity.
Lebedeff bowed low. “It is the truth,” he replied, with extreme respect. “Are you trying to frighten me? I am not Tania, you know, and I don’t intend to run away. Look, you are waking Lubotchka, and she will have convulsions again. Why do you shout like that?”

“Is such a thing possible?”

“Perhaps so; but it is hardly possible that you told it so that it seemed like truth, or so that you were believed. And, as Gavrila Ardalionovitch has said, the least suggestion of a falsehood takes all point out of the game. It seems to me that sincerity, on the other hand, is only possible if combined with a kind of bad taste that would be utterly out of place here.”

“Really, really, gentlemen,” cried the prince in great agitation, “you are misunderstanding me again. In the first place, Mr. Keller, you have greatly overestimated my fortune in your article. I am far from being a millionaire. I have barely a tenth of what you suppose. Secondly, my treatment in Switzerland was very far from costing tens of thousands of roubles. Schneider received six hundred roubles a year, and he was only paid for the first three years. As to the pretty governesses whom Pavlicheff is supposed to have brought from Paris, they only exist in Mr. Keller’s imagination; it is another calumny. According to my calculations, the sum spent on me was very considerably under ten thousand roubles, but I decided on that sum, and you must admit that in paying a debt I could not offer Mr. Burdovsky more, however kindly disposed I might be towards him; delicacy forbids it; I should seem to be offering him charity instead of rightful payment. I don’t know how you cannot see that, gentlemen! Besides, I had no intention of leaving the matter there. I meant to intervene amicably later on and help to improve poor Mr. Burdovsky’s position. It is clear that he has been deceived, or he would never have agreed to anything so vile as the scandalous revelations about his mother in Mr. Keller’s article. But, gentlemen, why are you getting angry again? Are we never to come to an understanding? Well, the event has proved me right! I have just seen with my own eyes the proof that my conjecture was correct!” he added, with increasing eagerness.
There were to be very few guests besides the best men and so on; only Dana Alexeyevna, the Ptitsins, Gania, and the doctor. When the prince asked Lebedeff why he had invited the doctor, who was almost a stranger, Lebedeff replied:
“Where did they tell you so,--at his door?”
“Why not? Let in anyone who wants to see me. I assure you, Lebedeff, you have misunderstood my position from the very first; you have been wrong all along. I have not the slightest reason to hide myself from anyone,” replied the prince gaily.
“It may be Russian, but it is not national. Our liberals are not Russian, nor are our conservatives, and you may be sure that the nation does not recognize anything that has been done by the landed gentry, or by the seminarists, or what is to be done either.”
“There,” explained the prince, with great delight and animation, “there, that’s the abbot’s real signature--from a manuscript of the fourteenth century. All these old abbots and bishops used to write most beautifully, with such taste and so much care and diligence. Have you no copy of Pogodin, general? If you had one I could show you another type. Stop a bit--here you have the large round writing common in France during the eighteenth century. Some of the letters are shaped quite differently from those now in use. It was the writing current then, and employed by public writers generally. I copied this from one of them, and you can see how good it is. Look at the well-rounded a and d. I have tried to translate the French character into the Russian letters--a difficult thing to do, but I think I have succeeded fairly. Here is a fine sentence, written in a good, original hand--‘Zeal triumphs over all.’ That is the script of the Russian War Office. That is how official documents addressed to important personages should be written. The letters are round, the type black, and the style somewhat remarkable. A stylist would not allow these ornaments, or attempts at flourishes--just look at these unfinished tails!--but it has distinction and really depicts the soul of the writer. He would like to give play to his imagination, and follow the inspiration of his genius, but a soldier is only at ease in the guard-room, and the pen stops half-way, a slave to discipline. How delightful! The first time I met an example of this handwriting, I was positively astonished, and where do you think I chanced to find it? In Switzerland, of all places! Now that is an ordinary English hand. It can hardly be improved, it is so refined and exquisite--almost perfection. This is an example of another kind, a mixture of styles. The copy was given me by a French commercial traveller. It is founded on the English, but the downstrokes are a little blacker, and more marked. Notice that the oval has some slight modification--it is more rounded. This writing allows for flourishes; now a flourish is a dangerous thing! Its use requires such taste, but, if successful, what a distinction it gives to the whole! It results in an incomparable type--one to fall in love with!”

“You may imagine her ecstasy, her gratitude. The wretched Platon, who had almost died since yesterday of the reproaches showered upon him, wept on my shoulder. Of course poor Peter had no chance after this.

“No! That is, I understand how it’s done, of course, but I have never done it.”
Rogojin continued to laugh loudly. He had listened to the prince’s speech with curiosity and some satisfaction. The speaker’s impulsive warmth had surprised and even comforted him.
“He’s not going to die at once, I should think, is he?”

“All this is mere jealousy--it is some malady of yours, Parfen! You exaggerate everything,” said the prince, excessively agitated. “What are you doing?”

The prince looked at him, but said nothing. He had suddenly relapsed into musing, and had probably not heard the question at all. Rogojin did not insist upon an answer, and there was silence for a few moments.
“He has told me already that he hates you,” murmured Aglaya, scarcely audibly.
“Not that way,” said Rogojin.
The trip abroad might have been enjoyed later on by Mrs. Epanchin and her two remaining daughters, but for another circumstance.

“My father was just about to be tried when he died,” said the prince, “although I never knew of what he was accused. He died in hospital.”

“I didn’t mean that; at least, of course, I’m glad for your sake, too,” added the prince, correcting himself, “but--how did you find it?”

“Yes.”

“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.

“What did she guess?”

“I carried you in my arms as a baby,” he observed.

“The project was abandoned; Davoust shrugged his shoulders and went out, whispering to himself--‘_Bah, il devient superstitieux!_’ Next morning the order to retreat was given.”

“I assure you, you are under a delusion,” said the prince, calmly and politely. “I did not even know that you were to be married.”

“I have told you already, that I will not go away until I have got what I ask. Why are you smiling, prince? You look as if you disapproved of me.”
“That’s true enough, he’ll have lots before evening!” put in Lebedeff. “I know that the earliest Christian faith taught that the Saviour suffered actually and not figuratively, and that nature was allowed her own way even while His body was on the cross.
“DEAR COLIA,--Please be so kind as to give the enclosed sealed letter to Aglaya Ivanovna. Keep well--Ever your loving,
“I had a bundle; it’s in the entrance hall.” Suddenly Hippolyte arose. His face, shockingly pale, was that of a man overwhelmed with shame and despair. This was shown chiefly in the look of fear and hatred which he cast upon the assembled company, and in the wild smile upon his trembling lips. Then he cast down his eyes, and with the same smile, staggered towards Burdovsky and Doktorenko, who stood at the entrance to the verandah. He had decided to go with them.
Everyone exchanged startled glances. Gania rushed out towards the dining-room, but a number of men had already made their way in, and met him.