Moreover, when the speed is thus increased and the elements of the soul are seen, not separately in scenes of humour or scenes of passion as our slower English minds conceive them, but streaked, involved, inextricably confused, a new panorama of the human mind is revealed. The old divisions melt into each other. Men are at the same time villains and saints; their acts are at once beautiful and despicable. We love and we hate at the same time. There is none: of that precise division between good and bad to which we are used. Often those for whom we feel most affection are the greatest criminals, and the most abject sinners move us to the strongest admiration as well as love. Dashed to the crest of the waves, bumped and battered on the stones at the bottom, it is difficult for an English reader to feel at ease. The process to which he is accustomed in his own literature is reversed. If we wished to tell the story of a General’s love affair (and we should find it very difficult in the first place not to laugh at a General), we should begin with his house; we should solidify his surroundings. Only when all was ready should we attempt to deal with the General himself. Moreover, it is not the samovar but the teapot that rules in England; time is limited; space crowded; the influence of other points of view, of other books, even of other ages, makes itself felt. Society is sorted out into lower, middle, and upper classes, each with its own traditions, its own manners, and, to some extent, its own language. Whether he wishes it or not, there is a constant pressure upon an English novelist to recognise these barriers, and, in consequence, order is imposed on him and some kind of form; he is inclined to satire rather than to compassion, to scrutiny of society rather than understanding of individuals themselves. No such restraints were laid on Dostoevsky. It is all the same to him whether you are noble or simple, a tramp or a great lady. Whoever you are, you are the vessel of this perplexed liquid, this cloudy, yeasty, precious stuff, the soul. The soul is not restrained by barriers. It overflows, it floods, it mingles with the souls of others. The simple story of a bank clerk who could not pay for a bottle of wine spreads, before we know what is happening, into the lives of his father-in-law and the five mistresses whom his father-in-law treated abominably, and the postman’s life, and the charwoman’s, and the Princesses’ who lodged in the same block of flats; for nothing is outside Dostoevsky’s province; and when he is tired, he does not stop, he goes on. He cannot restrain himself. Out it tumbles upon us, hot, scalding, mixed, marvellous, terrible, oppressive—the human soul.