Fyodor Dostoevsky

Fyodor Dostoevsky

Summary

Portrait of Fyodor Dostoevsky Fyodor Dostoevsky The Gambler (1867) — Chapter XVII (1867)

Yes, taken by himself, the Frenchman is frequently a fool of fools and a villain of villains. Per contra, there is no one in the world more worthy of confidence and respect than this young Russian lady. De Griers might so mask his face and play a part as easily to overcome her heart, for he has an imposing figure, Mr. Astley, and this young lady might easily take that figure for his real self—for the natural form of his heart and soul—instead of the mere cloak with which heredity has dowered him.
Source: Wikisource

Portrait of Fyodor Dostoevsky Fyodor Dostoevsky The Gambler (1867) — Chapter XVII (1867)

Yes, the Frenchman, the Parisian, as a national figure, was in process of developing into a figure of elegance before we Russians had even ceased to be bears. The Revolution bequeathed to the French nobility its heritage, and now every whippersnapper of a Parisian may possess manners, methods of expression, and even thoughts that are above reproach in form, while all the time he himself may share in that form neither in initiative nor in intellect nor in soul—his manners, and the rest, having come to him through inheritance.
Source: Wikisource

Portrait of Fyodor Dostoevsky Fyodor Dostoevsky The Gambler (1867) — Chapter XVII (1867)

But to distinguish beauty of soul and personal originality there is needed far more independence and freedom than is possessed by our women, especially by our younger ladies. At all events, they need more EXPERIENCE. For instance, this Mlle. Polina—pardon me, but the name has passed my lips, and I cannot well recall it—is taking a very long time to make up her mind to prefer you to Monsieur de Griers. She may respect you, she may become your friend, she may open out her heart to you; yet over that heart there will be reigning that loathsome villain, that mean and petty usurer, De Griers.
Source: Wikisource

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