"Marvelous!" Pestsov was saying in his mellow bass. "How are you, Konstantin Dmitrievitch? Particularly sculpturesque and plastic, so to say, and richly colored is that passage where you feel Cordelia’s approach, where woman, das ewig Weibliche, enters into conflict with fate. Isn’t it?"
"You mean ... what has Cordelia to do with it?" Levin asked timidly, forgetting that the fantasia was supposed to represent King Lear.
"Cordelia comes in ... see here!" said Pestsov, tapping his finger on the satiny surface of the program he held in his hand and passing it to Levin.
Only then Levin recollected the title of the fantasia, and made haste to read in the Russian translation the lines from Shakespeare that were printed on the back of the program.
"You can’t follow it without that," said Pest
