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Amongst those who eagerly sought for admission but never secured it was a young student, handsome, and with no small love of study, but stupid and pushing, for whom I, who continued to see myself in Lermontof's Petsjorin, cherished a hearty contempt, for the curious reason that he in every way reminded me of Petsjorin's fatuous and conceited adversary, Gruchnitski.
Stray remarks of Olga Lermontof's came back to her those little pointed arrows wherewith the Russian had skilfully found out the joints in her armour "Miss de Gervais is not quite what she seems." And again, "I'm perfectly sure Adrienne de Gervais' past is a closed book to you." Proof positive that Olga had known all along what Diana had only just this moment perceived to be the truth.
Olga Lermontof's advice: "Ask him who he is," beat at the back of her brain, fraught with fresh mystery, the forerunner of a whole host of new suspicions. Secrecy and concealment of any kind were utterly alien to Diana's nature. Impulsive, warm-hearted, quick-tempered, she was the last woman in the world to have been thrust by an unkind fate into an atmosphere of intrigue and mystery.
Her pride rose in revolt. Olga Lermontof's words returned to her mind with fresh enlightenment: "I shouldn't allow myself to become too interested in him, if I were you." Surely she had intended this as a friendly warning to Diana not to take anything Max Errington might do or say very seriously!
Seen amidst so many strange faces, the familiarity of Olga Lermontof's clever but rather forbidding visage bred a certain new sense of comradeship, and Diana made several tentative efforts to draw her into conversation.
Olga Lermontof's eyes, roaming over the room, rested at last upon the face of Max Errington, and with the recollection of Diana's hesitancy at the beginning of the song a brief smile flashed across her face. "What shall I do?" Diana, who had bowed repeatedly without stemming the applause, turned to the accompanist, a little flushed with the thrill of this first public recognition of her gifts.
Of Heine's personality, of the poet's historic position, political tendencies or importance, I knew nothing; in these love-poems I looked more especially for those verses in which violent self-esteem and blase superiority to every situation find expression, because this fell in with the Petsjorin note, which, since reading Lermontof's novel, was the dominant one in my mind.
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