of true Christianity. No pride, no scorn, no envy. He regarded them as his brothers, and one feels that not one of the men would ever have turned to Dostoevski for sympathy and encouragement without meeting an instant and warm response. That prison was a great training-school for Dostoevski's genius, and instead of casting a black shadow over his subsequent life, it furnished him with the necessary light and heat to produce a succession of great novels.
Their production was, however, irregular, and at intervals he continued to write and publish books of no importance. One of his poorest stories is called Memoirs of the Cellarage, or, as the French translation has it, L'Esprit Souterrain. The two parts of the story contain two curious types of women. The hero is the regulation weak-willed Russian; his singular adventures with an old criminal and his mistress in the first part of the story, and with a harlot in the second, have only occasional and languid interest; it is one of the many books of Dostoevski that one vigorously vows never to read again. The sickly and impractical Ordinov spends
most of his time analysing his mental states, and indulging in that ecstasy of thought which is perhaps the most fatal of all Slavonic passions. Soon after appeared a strange and far better novel, called The Gambler. This story is told in the first
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