“H’m! very well, Daria Alexeyevna; you have not stolen anything--agreed. But how about the prince, now--look how he is blushing!” “Certainly not; what are you thinking of? What could have induced you to ask such a question?” she replied, quietly and seriously, and even, apparently, with some astonishment.
“_What_ poor knight?” asked Mrs. Epanchin, looking round at the face of each of the speakers in turn. Seeing, however, that Aglaya was blushing, she added, angrily:
“When I do go to bed I shall never get up again,” said Hippolyte, with a smile. “I meant to take to my bed yesterday and stay there till I died, but as my legs can still carry me, I put it off for two days, so as to come here with them to-day--but I am very tired.”
“Of course; quite so. In that case it all depends upon what is going on in her brain at this moment.”
“Capital! How beautifully you have written it! Thanks so much. _Au revoir_, prince. Wait a minute,” she added, “I want to give you something for a keepsake. Come with me this way, will you?”

“Yes. Can’t one cut pages with a garden knife?”

On hurrying back he found his bride locked up in her own room and could hear her hysterical cries and sobs. It was some time before she could be made to hear that the prince had come, and then she opened the door only just sufficiently to let him in, and immediately locked it behind him. She then fell on her knees at his feet. (So at least Dana Alexeyevna reported.)
XII.
There was nothing particularly significant in the fact that a man was standing back in the doorway, waiting to come out or go upstairs; but the prince felt an irresistible conviction that he knew this man, and that it was Rogojin. The man moved on up the stairs; a moment later the prince passed up them, too. His heart froze within him. “In a minute or two I shall know all,” he thought.

“I am so glad you chanced to come here, prince.”

“When I arose to lock the door after him, I suddenly called to mind a picture I had noticed at Rogojin’s in one of his gloomiest rooms, over the door. He had pointed it out to me himself as we walked past it, and I believe I must have stood a good five minutes in front of it. There was nothing artistic about it, but the picture made me feel strangely uncomfortable. It represented Christ just taken down from the cross. It seems to me that painters as a rule represent the Saviour, both on the cross and taken down from it, with great beauty still upon His face. This marvellous beauty they strive to preserve even in His moments of deepest agony and passion. But there was no such beauty in Rogojin’s picture. This was the presentment of a poor mangled body which had evidently suffered unbearable anguish even before its crucifixion, full of wounds and bruises, marks of the violence of soldiers and people, and of the bitterness of the moment when He had fallen with the cross--all this combined with the anguish of the actual crucifixion.

“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.
They were in no hurry to marry. They liked good society, but were not too keen about it. All this was the more remarkable, because everyone was well aware of the hopes and aims of their parents.

“I say A. N. B., and so it shall be!” cried Aglaya, irritably. “Anyway, the ‘poor knight’ did not care what his lady was, or what she did. He had chosen his ideal, and he was bound to serve her, and break lances for her, and acknowledge her as the ideal of pure Beauty, whatever she might say or do afterwards. If she had taken to stealing, he would have championed her just the same. I think the poet desired to embody in this one picture the whole spirit of medieval chivalry and the platonic love of a pure and high-souled knight. Of course it’s all an ideal, and in the ‘poor knight’ that spirit reached the utmost limit of asceticism. He is a Don Quixote, only serious and not comical. I used not to understand him, and laughed at him, but now I love the ‘poor knight,’ and respect his actions.”

“All this is very strange and interesting,” said Mrs. Epanchin. “Now let’s leave the donkey and go on to other matters. What are you laughing at, Aglaya? and you too, Adelaida? The prince told us his experiences very cleverly; he saw the donkey himself, and what have you ever seen? _you_ have never been abroad.”
It was generally agreed, afterwards, in recalling that evening, that from this moment Nastasia Philipovna seemed entirely to lose her senses. She continued to sit still in her place, looking around at her guests with a strange, bewildered expression, as though she were trying to collect her thoughts, and could not. Then she suddenly turned to the prince, and glared at him with frowning brows; but this only lasted one moment. Perhaps it suddenly struck her that all this was a jest, but his face seemed to reassure her. She reflected, and smiled again, vaguely.

“Just now, I confess,” began the prince, with more animation, “when you asked me for a subject for a picture, I confess I had serious thoughts of giving you one. I thought of asking you to draw the face of a criminal, one minute before the fall of the guillotine, while the wretched man is still standing on the scaffold, preparatory to placing his neck on the block.”

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.” “Nastasia Philipovna!” cried Totski, in a quaking voice.
Varia had risen from her place and had started to go upstairs to her mother; but at this observation of Gania’s she turned and gazed at him attentively.
“At the first glimpse of the rising sun, prince, I will go to bed. I told you I would, word of honour! You shall see!” cried Hippolyte. “You think I’m not capable of opening this packet, do you?” He glared defiantly round at the audience in general.
“Very well, I believe you. I have my own ideas about it. Up to yesterday morning I thought it was really Evgenie Pavlovitch who was to blame; now I cannot help agreeing with the others. But why he was made such a fool of I cannot understand. However, he is not going to marry Aglaya, I can tell you that. He may be a very excellent fellow, but--so it shall be. I was not at all sure of accepting him before, but now I have quite made up my mind that I won’t have him. ‘Put me in my coffin first and then into my grave, and then you may marry my daughter to whomsoever you please,’ so I said to the general this very morning. You see how I trust you, my boy.”
He aired his own views on various matters, some of his most private opinions and observations, many of which would have seemed rather funny, so his hearers agreed afterwards, had they not been so well expressed.
“It is very distressing, because _who_--? That’s the question!”
“Oh, dear, no! Why, they don’t even know him! Anyone can come in, you know. Why do you look so amazed? I often meet him; I’ve seen him at least four times, here at Pavlofsk, within the last week.”
The prince seemed to be considering the suggestion.
“How can it be foreign? You _are_ going to be married, are you not? Very well, then you are persisting in your course. _Are_ you going to marry her or not?”
“Excellency, I have the honour of inviting you to my funeral; that is, if you will deign to honour it with your presence. I invite you all, gentlemen, as well as the general.”

“That could only have been on your invitation. I confess, however, that I should not have stayed here even if you had invited me, not for any particular reason, but because it is--well, contrary to my practice and nature, somehow.”

“Yes--yes--yes! Run away from home!” she repeated, in a transport of rage. “I won’t, I won’t be made to blush every minute by them all! I don’t want to blush before Prince S. or Evgenie Pavlovitch, or anyone, and therefore I have chosen you. I shall tell you everything, _everything_, even the most important things of all, whenever I like, and you are to hide nothing from me on your side. I want to speak to at least one person, as I would to myself. They have suddenly begun to say that I am waiting for you, and in love with you. They began this before you arrived here, and so I didn’t show them the letter, and now they all say it, every one of them. I want to be brave, and be afraid of nobody. I don’t want to go to their balls and things--I want to do good. I have long desired to run away, for I have been kept shut up for twenty years, and they are always trying to marry me off. I wanted to run away when I was fourteen years old--I was a little fool then, I know--but now I have worked it all out, and I have waited for you to tell me about foreign countries. I have never seen a single Gothic cathedral. I must go to Rome; I must see all the museums; I must study in Paris. All this last year I have been preparing and reading forbidden books. Alexandra and Adelaida are allowed to read anything they like, but I mayn’t. I don’t want to quarrel with my sisters, but I told my parents long ago that I wish to change my social position. I have decided to take up teaching, and I count on you because you said you loved children. Can we go in for education together--if not at once, then afterwards? We could do good together. I won’t be a general’s daughter any more! Tell me, are you a very learned man?”

“‘Profoundest respect!’ What nonsense! First, insane giggling, and then, all of a sudden, a display of ‘profoundest respect.’ Why respect? Tell me at once, why have you suddenly developed this ‘profound respect,’ eh?”