Part 5 Chapter 13

Mihailov sold Vronsky his picture, and agreed to paint a portrait of Anna. On the day fixed¹ he came and began the work.

From the fifth sitting the portrait impressed everyone, especially Vronsky, not only by its resemblance, but by its characteristic beauty. It was strange how Mihailov could have discovered just her characteristic beauty. "One needs to know and love her as I have loved her to discover the very sweetest expression of her soul," Vronsky thought, though it was only from this portrait that he had himself learned this sweetest expression of her soul. But the expression was so true that he, and others too, fancied they had long known it.

"I have been struggling on for ever so long without doing anything," he said of his own portrait of her, "and he just looked and painted it. That's where technique comes in."

"That will come," was the consoling reassurance² given him by Golenishtchev, in whose view Vronsky had both talent, and what was most important, culture, giving him a wider outlook on art. Golenishtchev's faith in Vronsky's talent was propped³ up by his own need of Vronsky's sympathy and approval for his own articles and ideas, and he felt that the praise and support must be mutual⁴.

In another man's house, and especially in Vronsky's palazzo, Mihailov was quite a different man from what he was in his studio. He behaved with hostile courtesy, as though he were afraid of coming closer to people he did not respect. He called Vronsky "your excellency," and notwithstanding Anna's and Vronsky's invitations, he would never stay to dinner, nor come except for the sittings. Anna was even more friendly to him than to other people, and was very grateful for her portrait. Vronsky was more than cordial with him, and was obviously interested to know the artist's opinion of his picture. Golenishtchev never let slip an opportunity of instilling⁵ sound ideas about art into Mihailov. But Mihailov remained equally chilly⁶ to all of them. Anna was aware from his eyes that he liked looking at her, but he avoided conversation with her. Vronsky's talk about his painting he met with stubborn silence, and he was as stubbornly silent when he was shown Vronsky's picture. He was unmistakably bored by Golenishtchev's conversation, and he did not attempt to oppose

him.

Altogether Mihailov, with his reserved and disagreeable, as it were, hostile attitude, was quite disliked by them as they got to know him better; and they were glad when the sittings were over, and they were left with a magnificent portrait in their possession, and he gave up coming. Golenishtchev was the first to give expression to an idea that had occurred to all of them, which was that Mihailov was simply jealous of Vronsky.

"Not envious⁷, let us say, since he has talent; but it annoys him that a wealthy man of the highest society, and a count, too (you know they all detest⁸ a title), can, without any particular trouble, do as well, if not better, than he who has devoted⁹ all his life to it. And more than all, it's a question of culture, which he is without."

Vronsky defended Mihailov, but at the bottom of his heart he believed it, because in his view a man of a different, lower world would be sure to be envious.

Anna's portrait--the same subject painted from nature both by him and by Mihailov--ought to have shown Vronsky the difference between him and Mihailov; but he did not see it. Only after Mihailov's portrait was painted he left off painting his portrait of Anna, deciding that it was now not needed. His picture of medieval life he went on with. And he himself, and Golenishtchev, and still more Anna, thought it very good, because it was far more like the celebrated¹⁰ pictures they knew than Mihailov's picture.

Mihailov meanwhile, although Anna's portrait greatly fascinated him, was even more glad than they were when the sittings were over, and he had no longer to listen to Golenishtchev's disquisitions upon art, and could forget about Vronsky's painting. He knew that Vronsky could not be prevented from amusing himself with painting; he knew that he and all dilettanti had a perfect right to paint what they liked, but it was distasteful to him. A man could not be prevented from making himself a big wax doll, and kissing it. But if the man were to come with the doll and sit before a man in love, and begin caressing¹¹ his doll as the lover caressed¹² the woman he loved, it would be distasteful to the lover. Just such a distasteful sensation was what Mihailov felt at the sight of Vronsky's painting: he felt it both ludicrous and irritating, both pitiable and offensive.

Vronsky's interest in painting and the Middle Ages did not last long. He had enough taste for painting to be unable to finish his picture. The picture came to a standstill. He was vaguely¹³ aware that its defects, inconspicuous at first, would be glaring if he were to go on with it. The same experience befell him as Golenishtchev, who felt that he had nothing to say, and continually deceived himself with the theory that his idea was not yet mature, that he was working it out and collecting materials. This exasperated¹⁴ and tortured Golenishtchev, but Vronsky was incapable¹⁵ of deceiving and torturing himself, and even more incapable of exasperation¹⁶. With his characteristic decision, without explanation or apology, he simply ceased working at painting.

But without this occupation, the life of Vronsky and of Anna, who wondered at his loss of interest in it, struck them as intolerably tedious in an Italian town. The palazzo suddenly seemed so obtrusively¹⁷ old and dirty, the spots on the curtains, the cracks in the floors, the broken plaster on the cornices became so disagreeably obvious, and the everlasting¹⁸ sameness of Golenishtchev, and the Italian professor and the German traveler became so wearisome, that they had to make some change. They resolved to go to Russia, to the country. In Petersburg Vronsky intended to arrange a partition of the land with his brother, while Anna meant to see her son. The summer they intended to spend on Vronsky's great family estate.

1 fixed   

adj.固定的，不变的，准备好的；(计算机)固定的

参考例句：

• Have you two fixed on a date for the wedding yet?你们俩选定婚期了吗？
• Once the aim is fixed,we should not change it arbitrarily.目标一旦确定，我们就不应该随意改变。

2 reassurance   

n.使放心，使消除疑虑

参考例句：

• He drew reassurance from the enthusiastic applause.热烈的掌声使他获得了信心。
• Reassurance is especially critical when it comes to military activities.消除疑虑在军事活动方面尤为关键。

3 propped   

支撑，支持，维持( prop的过去式和过去分词 )

参考例句：

• He sat propped up in the bed by pillows. 他靠着枕头坐在床上。
• This fence should be propped up. 这栅栏该用东西支一支。

4 mutual   

adj.相互的，彼此的；共同的，共有的

参考例句：

• We must pull together for mutual interest.我们必须为相互的利益而通力合作。
• Mutual interests tied us together.相互的利害关系把我们联系在一起。

5 instilling   

v.逐渐使某人获得（某种可取的品质），逐步灌输( instil的现在分词 )；逐渐使某人获得（某种可取的品质），逐步灌输( instill的现在分词 )

参考例句：

• Make sure your subordinates understand your sense of urgency and work toward instilling this in allsubordinates. 确保你的下属同样具备判断紧急事件的意识，在工作中潜移默化地灌输给他们。 来自互联网

6 chilly   

adj.凉快的，寒冷的

参考例句：

• I feel chilly without a coat.我由于没有穿大衣而感到凉飕飕的。
• I grew chilly when the fire went out.炉火熄灭后，寒气逼人。

7 envious   

adj.嫉妒的，羡慕的

参考例句：

• I don't think I'm envious of your success.我想我并不嫉妒你的成功。
• She is envious of Jane's good looks and covetous of her car.她既忌妒简的美貌又垂涎她的汽车。

8 detest   

vt.痛恨，憎恶

参考例句：

• I detest people who tell lies.我恨说谎的人。
• The workers detest his overbearing manner.工人们很讨厌他那盛气凌人的态度。

9 devoted   

adj.忠诚的，忠实的，热心的，献身于...的

参考例句：

• He devoted his life to the educational cause of the motherland.他为祖国的教育事业贡献了一生。
• We devoted a lengthy and full discussion to this topic.我们对这个题目进行了长时间的充分讨论。

10 celebrated   

adj.有名的，声誉卓著的

参考例句：

• He was soon one of the most celebrated young painters in England.不久他就成了英格兰最负盛名的年轻画家之一。
• The celebrated violinist was mobbed by the audience.观众团团围住了这位著名的小提琴演奏家。

11 caressing   

爱抚的，表现爱情的，亲切的

参考例句：

• The spring wind is gentle and caressing. 春风和畅。
• He sat silent still caressing Tartar, who slobbered with exceeding affection. 他不声不响地坐在那里，不断抚摸着鞑靼，它由于获得超常的爱抚而不淌口水。

12 caressed   

爱抚或抚摸…( caress的过去式和过去分词 )

参考例句：

• His fingers caressed the back of her neck. 他的手指抚摩着她的后颈。
• He caressed his wife lovingly. 他怜爱万分地抚摸着妻子。

13 vaguely   

adv.含糊地，暖昧地

参考例句：

• He had talked vaguely of going to work abroad.他含糊其词地说了到国外工作的事。
• He looked vaguely before him with unseeing eyes.他迷迷糊糊的望着前面，对一切都视而不见。

14 exasperated   

adj.恼怒的

参考例句：

• We were exasperated at his ill behaviour. 我们对他的恶劣行为感到非常恼怒。
• Constant interruption of his work exasperated him. 对他工作不断的干扰使他恼怒。

15 incapable   

adj.无能力的，不能做某事的

参考例句：

• He would be incapable of committing such a cruel deed.他不会做出这么残忍的事。
• Computers are incapable of creative thought.计算机不会创造性地思维。

16 exasperation   

n.愤慨

参考例句：

• He snorted with exasperation.他愤怒地哼了一声。
• She rolled her eyes in sheer exasperation.她气急败坏地转动着眼珠。

17 obtrusively   

adv.冒失地，莽撞地

参考例句：

• He works imprudently and obtrusively, and is never a stable man. 他做事情毛头毛脑的，一点也不稳重。 来自互联网

18 everlasting   

adj.永恒的，持久的，无止境的

参考例句：

• These tyres are advertised as being everlasting.广告上说轮胎持久耐用。
• He believes in everlasting life after death.他相信死后有不朽的生命。