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 number of humours and distempers, it is of greater depth and volume in Dostoevsky, liable to violent diseases and raging fevers, but still the predominant concern. Perhaps that is why it needs so great an effort on the part of an English reader to read The Brothers Karamazov or The Possessed a second time. The “soul” is alien to him. It is even antipathetic. It has little sense of humour and no sense of comedy. It is formless. It has slight connection with the intellect. It is confused, diffuse, tumultuous, incapable, it seems, of submitting to the control of logic or the discipline of poetry. The novels of Dostoevsky are seething whirlpools, gyrating sandstorms, waterspouts which hiss and boil and suck us in. They are composed purely and wholly of the stuff of the soul. Against our wills we are drawn in, whirled round, blinded, suffocated, and at the same time filled with a giddy rapture. Out of Shakespeare there is no more exciting reading. We open the door and find ourselves in a room full of Russian generals, the tutors of Russian generals, their step-daughters and cousins and crowds of miscellaneous people who are all talking at the tops of their voices about their most private affairs. But where are we? Surely it is the part of a novelist to inform us whether we are in an hotel, a flat, or hired lodging. Nobody thinks of explaining. We are souls, tortured, unhappy souls, whose only business it is to talk, to reveal, to confess, to draw up at whatever rending of flesh and nerve those crabbed sins which crawl on the sand at the bottom of us. But,