Darya Alexandrovna, in a dressing jacket, and with her now scanty, once luxuriant and beautiful hair fastened up with hairpins on the nape of her neck, with a sunken, thin face and large, startled eyes, which looked prominent from the thinness of her face, was standing among a litter of all sorts of things scattered all over the room, before an open bureau, from which she was taking something. Hearing her husband’s steps, she stopped, looking towards the door, and trying assiduously to give her features a severe and contemptuous expression. She felt she was afraid of him, and afraid of the coming interview. She was just attempting to do what she had attempted to do ten times already in these last three days—to sort out the children’s things and her own, so as to take them to her mother’s—and again she could not bring herself to do this; but now again, as each time before, she kept saying to herself, "that things cannot go on like this,...
The autobiographies which we owe to great minds have in former times generally been of one of three types: 'So far I went astray, thus I found the true Path' (St Augustine); or, 'So bad was I, but who dares to consider himself better!" (Rousseau); or, 'This is the way a genius has slowly been evolved from within and by favorable surroundings'(Goethe). In these forms of self-representation the author is thus mainly pre-occupied with himself. In the nineteenth century the a autobiographies of men of mark are more often shaped on lines such as these: 'So full of talent and attractive was I; such appreciation and admiration I won!' (Johanne Louise Heiberg, 'A Life lived once more in Reminiscence'); or, 'I was full of talent and worthy of being loved, but yet I was unappreciated, and these were the hard struggles I went through before I won the crown of fame' (Hans Christian Andersen, 'The Tale of a Life'). The main Pre-occupation of the writer, in these two classes of...