from The Idiot Chapter 6
"Listen to me, Aglaya," said the prince, "I do believe you are nervous lest I shall make a fool of myself tomorrow at your party?"
"Nervous about you?" Aglaya blushed. "Why should I be nervous about you? What would it matter to me if you were to make ever such a fool of yourself? How can you say such a thing? What do you mean by 'making a fool of yourself'? What a vulgar expression! I suppose you intend to talk in that sort of way tomorrow evening? Look up a few more such expressions in your dictionary; do, you'll make a grand effect! I'm sorry that you seem to be able to come into a room as gracefully as you do; where did you learn the art? Do you think you can drink a cup of tea decently, when you know everybody is looking at you, on purpose to see how you do it?"
"Yes, I think I can."
"Can you? I'm sorry for it then, for I should have had a good laugh at you otherwise. Do break SOMETHING at least, in the drawing-room! Upset the Chinese vase, won't you? It's a valuable one; DO break it. Mamma values it, and she'll go out of her mind--it was a present. She'll cry before everyone, you'll see! Wave your hand about, you know, as you always do, and just smash it. Sit down near it on purpose."
from The Idiot Chapter 7
At the beginning of the evening, when the prince first came into the room, he had sat down as far as possible from the Chinese vase which Aglaya had spoken of the day before.
Will it be believed that, after Aglaya's alarming words, an ineradicable conviction had taken possession of his mind that, however he might try to avoid this vase next day, he must certainly break it? But so it was.
During the evening other impressions began to awaken in his mind, as we have seen, and he forgot his presentiment. But when Pavlicheff was mentioned and the general introduced him to Ivan Petrovitch, he had changed his place, and went over nearer to the table; when, it so happened, he took the chair nearest to the beautiful vase, which stood on a pedestal behind him, just about on a level with his elbow.
As he spoke his last words he had risen suddenly from his seat with a wave of his arm, and there was a general cry of horror.
The huge vase swayed backwards and forwards; it seemed to be uncertain whether or no to topple over on to the head of one of the old men, but eventually determined to go the other way, and came crashing over towards the German poet, who darted out of the way in terror.
The crash, the cry, the sight of the fragments of valuable china covering the carpet, the alarm of the company--what all this meant to the poor prince it would be difficult to convey to the mind of the reader, or for him to imagine.
Fyodor Dostoevsky
"Listen to me, Aglaya," said the prince, "I do believe you are nervous lest I shall make a fool of myself tomorrow at your party?"
"Nervous about you?" Aglaya blushed. "Why should I be nervous about you? What would it matter to me if you were to make ever such a fool of yourself? How can you say such a thing? What do you mean by 'making a fool of yourself'? What a vulgar expression! I suppose you intend to talk in that sort of way tomorrow evening? Look up a few more such expressions in your dictionary; do, you'll make a grand effect! I'm sorry that you seem to be able to come into a room as gracefully as you do; where did you learn the art? Do you think you can drink a cup of tea decently, when you know everybody is looking at you, on purpose to see how you do it?"
"Yes, I think I can."
"Can you? I'm sorry for it then, for I should have had a good laugh at you otherwise. Do break SOMETHING at least, in the drawing-room! Upset the Chinese vase, won't you? It's a valuable one; DO break it. Mamma values it, and she'll go out of her mind--it was a present. She'll cry before everyone, you'll see! Wave your hand about, you know, as you always do, and just smash it. Sit down near it on purpose."
from The Idiot Chapter 7
At the beginning of the evening, when the prince first came into the room, he had sat down as far as possible from the Chinese vase which Aglaya had spoken of the day before.
Will it be believed that, after Aglaya's alarming words, an ineradicable conviction had taken possession of his mind that, however he might try to avoid this vase next day, he must certainly break it? But so it was.
During the evening other impressions began to awaken in his mind, as we have seen, and he forgot his presentiment. But when Pavlicheff was mentioned and the general introduced him to Ivan Petrovitch, he had changed his place, and went over nearer to the table; when, it so happened, he took the chair nearest to the beautiful vase, which stood on a pedestal behind him, just about on a level with his elbow.
As he spoke his last words he had risen suddenly from his seat with a wave of his arm, and there was a general cry of horror.
The huge vase swayed backwards and forwards; it seemed to be uncertain whether or no to topple over on to the head of one of the old men, but eventually determined to go the other way, and came crashing over towards the German poet, who darted out of the way in terror.
The crash, the cry, the sight of the fragments of valuable china covering the carpet, the alarm of the company--what all this meant to the poor prince it would be difficult to convey to the mind of the reader, or for him to imagine.
Fyodor Dostoevsky
posted by alan at 24.1.04
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