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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

1
fixed
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adj.固定的,不变的,准备好的;(计算机)固定的 | |
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2
reassurance
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n.使放心,使消除疑虑 | |
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3
propped
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支撑,支持,维持( prop的过去式和过去分词 ) | |
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4
mutual
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adj.相互的,彼此的;共同的,共有的 | |
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5
instilling
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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 ) | |
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6
chilly
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adj.凉快的,寒冷的 | |
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7
envious
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adj.嫉妒的,羡慕的 | |
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8
detest
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vt.痛恨,憎恶 | |
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9
devoted
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adj.忠诚的,忠实的,热心的,献身于...的 | |
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10
celebrated
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adj.有名的,声誉卓著的 | |
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caressing
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爱抚的,表现爱情的,亲切的 | |
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12
caressed
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爱抚或抚摸…( caress的过去式和过去分词 ) | |
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13
vaguely
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adv.含糊地,暖昧地 | |
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14
exasperated
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adj.恼怒的 | |
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15
incapable
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adj.无能力的,不能做某事的 | |
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16
exasperation
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n.愤慨 | |
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17
obtrusively
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adv.冒失地,莽撞地 | |
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18
everlasting
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adj.永恒的,持久的,无止境的 | |
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