The Idiot by Fyodor Dostoyevsky (grave mercy TXT) 📖

“So do I,” said Adelaida, solemnly.

“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:

“What nonsense you are all talking! What do you mean by poor knight?”

“It’s not the first time this urchin, your favourite, has shown his impudence by twisting other people’s words,” said Aglaya, haughtily.

Every time that Aglaya showed temper (and this was very often), there was so much childish pouting, such “school-girlishness,” as it were, in her apparent wrath, that it was impossible to avoid smiling at her, to her own unutterable indignation. On these occasions she would say, “How can they, how DARE they laugh at me?”

This time everyone laughed at her, her sisters, Prince S., Prince Muishkin (though he himself had flushed for some reason), and Colia. Aglaya was dreadfully indignant, and looked twice as pretty in her wrath.

“He’s always twisting round what one says,” she cried.

“I am only repeating your own exclamation!” said Colia. “A month ago you were turning over the pages of your Don Quixote, and suddenly called out ‘there is nothing better than the poor knight.’ I don’t know whom you were referring to, of course, whether to Don Quixote, or Evgenie Pavlovitch, or someone else, but you certainly said these words, and afterwards there was a long conversation … “

“You are inclined to go a little too far, my good boy, with your guesses,” said Mrs. Epanchin, with some show of annoyance.

“But it’s not I alone,” cried Colia. “They all talked about it, and they do still. Why, just now Prince S. and Adelaida Ivanovna declared that they upheld ‘the poor knight’; so evidently there does exist a ‘poor knight’; and if it were not for Adelaida Ivanovna, we should have known long ago who the ‘poor knight’ was.”

“Why, how am I to blame?” asked Adelaida, smiling.

“You wouldn’t draw his portrait for us, that’s why you are to blame! Aglaya Ivanovna asked you to draw his portrait, and gave you the whole subject of the picture. She invented it herself; and you wouldn’t.”

“What was I to draw? According to the lines she quoted:

“‘From his face he never lifted That eternal mask of steel.’”

“What sort of a face was I to draw? I couldn’t draw a mask.”

“I don’t know what you are driving at; what mask do you mean?” said Mrs. Epanchin, irritably. She began to see pretty clearly though what it meant, and whom they referred to by the generally accepted title of “poor knight.” But what specially annoyed her was that the prince was looking so uncomfortable, and blushing like a ten-year-old child.

“Well, have you finished your silly joke?” she added, and am I to be told what this ‘poor knight’ means, or is it a solemn secret which cannot be approached lightly?”

But they all laughed on.

“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—”

“Oh! Aglaya Ivanovna did,” said Colia.

“Very likely—I don’t recollect,” continued Prince S.

“Some of us laughed at the subject; some liked it; but she declared that, in order to make a picture of the gentleman, she must first see his face. We then began to think over all our friends’ faces to see if any of them would do, and none suited us, and so the matter stood; that’s all. I don’t know why Nicolai Ardalionovitch has brought up the joke now. What was appropriate and funny then, has quite lost all interest by this time.”

“Probably there’s some new silliness about it,” said Mrs. Epanchin, sarcastically.

“There is no silliness about it at all—only the profoundest respect,” said Aglaya, very seriously. She had quite recovered her temper; in fact, from certain signs, it was fair to conclude that she was delighted to see this joke going so far; and a careful observer might have remarked that her satisfaction dated from the moment when the fact of the prince’s confusion became apparent to all.

“‘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?”

“Because,” replied Aglaya gravely, “in the poem the knight is described as a man capable of living up to an ideal all his life. That sort of thing is not to be found every day among the men of our times. In the poem it is not stated exactly what the ideal was, but it was evidently some vision, some revelation of pure Beauty, and the knight wore round his neck, instead of a scarf, a rosary. A device—A. N. B.—the meaning of which is not explained, was inscribed on his shield—”

“No, A. N. D.,” corrected Colia.

“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.”

So ended Aglaya; and, to look at her, it was difficult, indeed, to judge whether she was joking or in earnest.

“Pooh! he was a fool, and his actions were the actions of a fool,” said Mrs. Epanchin; “and as for you, young woman, you ought to know better. At all events, you are not to talk like that again. What poem is it? Recite it! I want to hear this poem! I have hated poetry all my life. Prince, you must excuse this nonsense. We neither of us like this sort of thing! Be patient!”

They certainly were put out, both of them.

The prince tried to say something, but he was too confused, and could not get his words out. Aglaya, who had taken such liberties in her little speech, was the only person present, perhaps, who was not in the least embarrassed. She seemed, in fact, quite pleased.

She now rose solemnly from her seat, walked to the centre of the terrace, and stood in front of the prince’s chair. All looked on with some surprise, and Prince S. and her sisters with feelings of decided alarm, to see what new frolic she was up to; it had gone quite far enough already, they thought. But Aglaya evidently thoroughly enjoyed the affectation and ceremony with which she was introducing her recitation of the poem.

Mrs. Epanchin was just wondering whether she would not forbid the performance after all, when, at the very moment that Aglaya commenced her declamation, two new guests, both talking loudly, entered from the street. The new arrivals were General Epanchin and a young man.

Their entrance caused some slight commotion.

VII.

THE young fellow accompanying the general was about twenty-eight, tall, and well built, with a handsome and clever face, and bright black eyes, full of fun and intelligence.

Aglaya did not so much as glance at the new arrivals, but went on with her recitation, gazing at the prince the while in an affected manner, and at him alone. It was clear to him that she was doing all this with some special object.

But the new guests at least somewhat eased his strained and uncomfortable position. Seeing them approaching, he rose from his chair, and nodding amicably to the general, signed to him not to interrupt the recitation. He then got behind his chair, and stood there with his left hand resting on the back of it. Thanks to this change of position, he was able to listen to the ballad with far less embarrassment than before. Mrs. Epanchin had also twice motioned to the new arrivals to be quiet, and stay where they were.

The prince was much interested in the young man who had just entered. He easily concluded that this was Evgenie Pavlovitch Radomski, of whom he had already heard mention several times. He was puzzled, however, by the young man’s plain clothes, for he had always heard of Evgenie Pavlovitch as a military man. An ironical smile played on Evgenie’s lips all the while the recitation was proceeding, which showed that he, too, was probably in the secret of the ‘poor knight’ joke. But it had become quite a different matter with Aglaya. All the affectation of manner which she had displayed at the beginning disappeared as the ballad proceeded. She spoke the lines in so serious and exalted a manner, and with so much taste, that she even seemed to justify the exaggerated solemnity with which she had stepped forward. It was impossible to discern in her now anything but a deep feeling for the spirit of the poem which she had undertaken to interpret.

Her eyes were aglow with inspiration, and a slight tremor of rapture passed over her lovely features once or twice. She continued to recite:

“Once there came a vision glorious, Mystic, dreadful, wondrous fair; Burned itself into his spirit, And abode for ever there!

“Never more—from that sweet moment— Gazed he on womankind; He was dumb to love and wooing And to all their graces blind.

“Full of love for that sweet vision, Brave and pure he took the field; With his blood he stained the letters N. P. B. upon his shield.

“‘Lumen caeli, sancta Rosa!’ Shouting on the foe he fell, And like thunder rang his war-cry O’er the cowering infidel.

“Then within his distant castle, Home returned, he dreamed his days-Silent, sad,—and when death took him He was mad, the legend says.”

When recalling all this afterwards the prince could not for the life of him understand how to reconcile the beautiful, sincere, pure nature of the girl with the irony of this jest. That it was a jest there was no doubt whatever; he knew that well enough, and had good reason, too, for his conviction; for during her recitation of the ballad Aglaya had deliberately changed the letters A. N. B. into N. P. B. He was quite sure she had not done this by accident, and that his ears had not deceived him. At all events her performance—which was a joke, of course, if rather a crude one,—was premeditated. They had evidently talked (and laughed) over the ‘poor knight’ for more than a month.

Yet Aglaya had brought out these letters N. P. B. not only without the slightest appearance of irony, or even any particular accentuation, but with so even and unbroken an appearance of seriousness that assuredly anyone might have supposed that these initials were the original ones written in the ballad. The thing made an uncomfortable impression upon the prince. Of course Mrs. Epanchin saw nothing either in the change of initials or in the insinuation embodied therein. General Epanchin only knew that there was a recitation of verses going on, and took no further interest in