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But though Anna Andreyevna had been rather agitated and touched during the reading, she looked now as though she would say: “Of course Alexander of Macedon was a hero, but why break the furniture?” etc.
Natasha soon came back, gay and happy, and coming over to me gave me a sly pinch. The old man attempted to play the stern critic of my novel again, but in his joy he was carried away and could not keep up the part.
“Well, Vanya, my boy, it’s good, it’s good! You’ve comforted me, relieved my mind more than I expected. It’s not elevated, it’s not great, that’s evident. . . . Over there there lies the ‘Liberation of Moscow,’ it was written in Moscow, you know. Well, you can see in that from the first line, my boy, that the author, so to speak, soars like an eagle. But, do you know, Vanya, yours is somehow simpler, easier to understand. That’s why I like it, because it’s easier to understand. It’s more akin to us as it were; it’s as though it had all happened to me myself. And what’s the use of the high-flown stuff? I shouldn’t have understood it myself. I should have improved the language. I’m praising it, but say what you will, it’s not very refined. But there, it’s too late now, it’s printed, unless perhaps there’s a second edition? But I say, my boy, maybe it will go into a second edition I Then there’ll be money again I Hm!”
“And can you really have got so much money for it, Ivan Petrovitch?” observed Anna Andreyevna. “I look at you and somehow can’t believe it. Mercy on us, what people will give money for nowadays!”