Part 5. Chapter 10. Teil 5. Kapitel 10. 第 5 部分。第 10 章。

The artist Mihailov was, as always, at work when the cards of Count Vronsky and Golenishtchev were brought to him. Menininkas Mihailovas, kaip visada, dirbo, kai jam buvo atneštos grafo Vronskio ir Golenishtchevo kortos. In the morning he had been working in his studio at his big picture. Le matin, il travaillait dans son studio à sa grande image. On getting home he flew into a rage with his wife for not having managed to put off the landlady, who had been asking for money. En rentrant chez lui, il s'est mis en rage avec sa femme pour ne pas avoir réussi à rebuter la propriétaire, qui lui demandait de l'argent.

"I've said it to you twenty times, don't enter into details. You're fool enough at all times, and when you start explaining things in Italian you're a fool three times as foolish," he said after a long dispute. Vous êtes assez fou à tout moment, et quand vous commencez à expliquer les choses en italien, vous êtes un idiot trois fois plus stupide », a-t-il déclaré après une longue dispute. "Don't let it run so long; it's not my fault. "Ne le laissez pas courir si longtemps, ce n'est pas ma faute. If I had the money…" "Leave me in peace, for God's sake!" Mihailov shrieked, with tears in his voice, and, stopping his ears, he went off into his working room, the other side of a partition wall, and closed the door after him. Mihailov poussa un cri, les larmes dans la voix, et, se bouchant les oreilles, il partit dans sa salle de travail, de l'autre côté d'une cloison, et ferma la porte derrière lui. "Idiotic woman!" he said to himself, sat down to the table, and, opening a portfolio, he set to work at once with peculiar fervor at a sketch he had begun.

Never did he work with such fervor and success as when things went ill with him, and especially when he quarreled with his wife. "Oh! damn them all!" he thought as he went on working. He was making a sketch for the figure of a man in a violent rage. A sketch had been made before, but he was dissatisfied with it. "No, that one was better…where is it?" He went back to his wife, and scowling, and not looking at her, asked his eldest little girl, where was that piece of paper he had given them? Il retourna vers sa femme et, renfrogné, sans la regarder, demanda à sa petite fille aînée, où était ce morceau de papier qu'il leur avait donné? The paper with the discarded sketch on it was found, but it was dirty, and spotted with candle-grease. On a retrouvé le papier avec le croquis abandonné, mais il était sale et taché de graisse de bougie. Still, he took the sketch, laid it on his table, and, moving a little away, screwing up his eyes, he fell to gazing at it. Pourtant, il prit le croquis, le posa sur sa table, et, s'éloignant un peu, plissant les yeux, il se mit à le regarder. All at once he smiled and gesticulated gleefully. Tout à coup, il sourit et gesticula joyeusement.

"That's it! that's it!" he said, and, at once picking up the pencil, he began rapidly drawing. The spot of tallow had given the man a new pose.

He had sketched this new pose, when all at once he recalled the face of a shopkeeper of whom he had bought cigars, a vigorous face with a prominent chin, and he sketched this very face, this chin on to the figure of the man. He laughed aloud with delight. The figure from a lifeless imagined thing had become living, and such that it could never be changed. La figure d'une chose imaginée sans vie était devenue vivante et telle qu'elle ne pouvait jamais être changée. That figure lived, and was clearly and unmistakably defined. The sketch might be corrected in accordance with the requirements of the figure, the legs, indeed, could and must be put differently, and the position of the left hand must be quite altered; the hair too might be thrown back. L'esquisse pourrait être corrigée conformément aux exigences de la figure, les jambes, en effet, pourraient et doivent être placées différemment, et la position de la main gauche doit être tout à fait modifiée; les cheveux aussi pourraient être rejetés. But in making these corrections he was not altering the figure but simply getting rid of what concealed the figure. Mais en apportant ces corrections, il ne modifiait pas la figure, mais se débarrassait simplement de ce qui cachait la figure. He was, as it were, stripping off the wrappings which hindered it from being distinctly seen. Il enlevait pour ainsi dire les emballages qui l'empêchaient d'être bien vu. Each new feature only brought out the whole figure in all its force and vigor, as it had suddenly come to him from the spot of tallow. Chaque nouveau trait ne faisait ressortir que la silhouette entière dans toute sa force et sa vigueur, comme elle lui était soudainement venue de la tache de suif. He was carefully finishing the figure when the cards were brought him.

"Coming, coming!" He went in to his wife.

"Come, Sasha, don't be cross!" he said, smiling timidly and affectionately at her. "You were to blame. I was to blame. I'll make it all right." And having made peace with his wife he put on an olive-green overcoat with a velvet collar and a hat, and went towards his studio. The successful figure he had already forgotten. Now he was delighted and excited at the visit of these people of consequence, Russians, who had come in their carriage.

Of his picture, the one that stood now on his easel, he had at the bottom of his heart one conviction—that no one had ever painted a picture like it. He did not believe that his picture was better than all the pictures of Raphael, but he knew that what he tried to convey in that picture, no one ever had conveyed. Il ne croyait pas que sa photo était meilleure que toutes les images de Raphaël, mais il savait que ce qu'il essayait de transmettre dans cette image, personne ne l'avait jamais transmis. This he knew positively, and had known a long while, ever since he had begun to paint it. But other people's criticisms, whatever they might be, had yet immense consequence in his eyes, and they agitated him to the depths of his soul. Any remark, the most insignificant, that showed that the critic saw even the tiniest part of what he saw in the picture, agitated him to the depths of his soul. Toute remarque, la plus insignifiante, qui montrait que le critique voyait même la moindre partie de ce qu'il voyait dans l'image, l'agitait au plus profond de son âme. He always attributed to his critics a more profound comprehension than he had himself, and always expected from them something he did not himself see in the picture. And often in their criticisms he fancied that he had found this. Et souvent dans leurs critiques, il croyait avoir trouvé cela.

He walked rapidly to the door of his studio, and in spite of his excitement he was struck by the soft light on Anna's figure as she stood in the shade of the entrance listening to Golenishtchev, who was eagerly telling her something, while she evidently wanted to look round at the artist. Il se dirigea rapidement vers la porte de son studio, et malgré son excitation, il fut frappé par la douce lumière sur la silhouette d'Anna alors qu'elle se tenait à l'ombre de l'entrée écoutant Golenishtchev, qui lui disait avec impatience quelque chose, alors qu'elle voulait manifestement. regarder autour de l'artiste. He was himself unconscious how, as he approached them, he seized on this impression and absorbed it, as he had the chin of the shopkeeper who had sold him the cigars, and put it away somewhere to be brought out when he wanted it. Il était lui-même inconscient comment, en les approchant, il se saisit de cette impression et l'absorba, comme il avait le menton du commerçant qui lui avait vendu les cigares, et les rangeait quelque part pour être sorti quand il le voulait. The visitors, not agreeably impressed beforehand by Golenishtchev's account of the artist, were still less so by his personal appearance. Les visiteurs, peu impressionnés d'avance par le récit de Golenishtchev sur l'artiste, l'étaient encore moins par son apparence personnelle. Thick-set and of middle height, with nimble movements, with his brown hat, olive-green coat and narrow trousers—though wide trousers had been a long while in fashion,—most of all, with the ordinariness of his broad face, and the combined expression of timidity and anxiety to keep up his dignity, Mihailov made an unpleasant impression. Ensemble épais et de taille moyenne, avec des mouvements agiles, avec son chapeau brun, son manteau vert olive et son pantalon étroit - bien que le pantalon large ait été longtemps à la mode, - la plupart de tous, avec la banalité de son large visage, et expression combinée de timidité et d'angoisse de garder sa dignité, Mihailov fit une impression désagréable.

"Please step in," he said, trying to look indifferent, and going into the passage he took a key out of his pocket and opened the door. "S'il vous plaît, entrez," dit-il, essayant de paraître indifférent, et entrant dans le couloir, il sortit une clé de sa poche et ouvrit la porte.