“Why, do you mean to say he was not a psychologist?  If you like, I’ll give you examples.”

And Nikitin recited several passages from “Onyegin” and then from “Boris Godunov.”

“I see no psychology in that.”  Varya sighed.  “The psychologist is the man who describes the recesses of the human soul, and that’s fine poetry and nothing more.”

“I know the sort of psychology you want,” said Nikitin, offended.  “You want some one to saw my finger with a blunt saw while I howl at the top of my voice—­that’s what you mean by psychology.”

“That’s poor!  But still you haven’t shown me in what sense Pushkin is a psychologist?”

When Nikitin had to argue against anything that seemed to him narrow, conventional, or something of that kind, he usually leaped up from his seat, clutched at his head with both hands, and began with a moan, running from one end of the room to another.  And it was the same now:  he jumped up, clutched his head in his hands, and with a moan walked round the table, then he sat down a little way off.

The officers took his part.  Captain Polyansky began assuring Varya that Pushkin really was a psychologist, and to prove it quoted two lines from Lermontov; Lieutenant Gernet said that if Pushkin had not been a psychologist they would not have erected a monument to him in Moscow.

“That’s loutishness!” was heard from the other end of the table.  “I said as much to the governor:  ‘It’s loutishness, your Excellency,’ I said.”

“I won’t argue any more,” cried Nikitin.  “It’s unending. . . .  Enough!  Ach, get away, you nasty dog!” he cried to Som, who laid his head and paw on his knee.

“Rrr . . . nga-nga-nga!” came from under the table.

“Admit that you are wrong!” cried Varya.  “Own up!”

But some young ladies came in, and the argument dropped of itself.  They all went into the drawing-room.  Varya sat down at the piano and began playing dances.  They danced first a waltz, then a polka, then a quadrille with a grand chain which Captain Polyansky led through all the rooms, then a waltz again.

During the dancing the old men sat in the drawing-room, smoking and looking at the young people.  Among them was Shebaldin, the director of the municipal bank, who was famed for his love of literature and dramatic art.  He had founded the local Musical and Dramatic Society, and took part in the performances himself, confining himself, for some reason, to playing comic footmen or to reading in a sing-song voice “The Woman who was a Sinner.”  His nickname in the town was “the Mummy,” as he was tall, very lean and scraggy, and always had a solemn air and a fixed, lustreless eye.  He was so devoted to the dramatic art that he even shaved his moustache and beard, and this made him still more like a mummy.

After the grand chain, he shuffled up to Nikitin sideways, coughed, and said: 

“I had the pleasure of being present during the argument at tea.  I fully share your opinion.  We are of one mind, and it would be a great pleasure to me to talk to you.  Have you read Lessing on the dramatic art of Hamburg?”