I will say at once that Stepan Trofimovitch had always filled a particular role among us, that of the progressive patriot, so to say, and he was passionately fond of playing the part⁠—so much so that I really believe he could not have existed without it. Not that I would put him on a level with an actor at a theatre, God forbid, for I really have a respect for him. This may all have been the effect of habit, or rather, more exactly of a generous propensity he had from his earliest years for indulging in an agreeable daydream in which he figured as a picturesque public character. He fondly loved, for instance, his position as a “persecuted” man and, so to speak, an “exile.” There is a sort of traditional glamour about those two little words that fascinated him once for all and, exalting him gradually in his own opinion, raised him in the course of years to a lofty pedestal very gratifying to vanity.