As a man of artistic leanings, he was conscious of a capacity for passion, for being carried away, even for enthusiasm, and, consequently, he permitted himself various irregularities; he was dissipated, associated with persons not belonging to good society, and, in general, conducted himself in a free and easy manner; but at heart he was cold and false, and at the moment of the most boisterous revelry his sharp brown eye was always alert, taking everything in. This bold, independent young man could never forget himself and be completely carried away. To his credit it must be said, that he never boasted of his conquests." The passage we have cited illustrates Turgenev's method of so placing in perspective the fine shades of worldliness that their social significance is seen contrasted with the force of spiritual beauty beyond, out of their ken. Panshin cannot but rise in the world, for his polished astuteness is weakened by no feeling of mental integrity, his coldness is impaired by no sympathy with merit which is unsuccessful. In official life as in society Panshin is the type of the _arriviste_, and his "Western" liberal sympathies, one knows, are part of the flowing tide; otherwise Panshin would not be expressing them. In ten years later the official tide will be flowing the other way, and Panshin, more dignified and stouter, with the Vladimir Cross on his frock-coated breast, will be emphasizing the necessity for severer measures of Governmental reaction. The Panshins are legion. To reveal Panshin's essence in his actions Turgenev employs but a single stroke--Panshin's spitefulness to the old music-master, Lemm, a musician of genius, but solitary, poor and despised because "he did not know how to set about things in the right way, to gain favour in the right place, and to make a push at the right moment." Lemm has composed for his pupil, Liza, a religious cantata. Panshin has seen the score, inscribed "For you alone," and for the pleasure of mortifying the old man who has called him a dilettante, he twits Lemm about the composition, thereby betraying the young girl's confidence: "... Liza's eyes were fixed directly on Panshin, and expressed displeasure. There was no smile on her lips, her whole face looked stern and even mournful. "'What's the matter?' he asked. "'Why did you not keep your word?' she said. 'I showed you Christopher Fedoritch's cantata on the express condition that you said nothing about it to him.' "'I beg your pardon, Lisaveta Mihalovna, the words slipped out unawares.' "'You have hurt his feelings and mine too. Now he will not trust even me.' "'How could I help it, Lisaveta Mihalovna? Ever since I was a little boy I could never see a German without wanting to tease him.' "'How can you say that, Vladimir Nikolaitch? This German is poor, lonely, and broken-down--have you no pity for him? Can you wish to tease him?' "Panshin was taken aback.