Part 5. Chapter 13.

Mihailov sold Vronsky his picture, and agreed to paint a portrait of Anna. On the day fixed 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. Dès la cinquième séance, le portrait a impressionné tout le monde, en particulier Vronsky, non seulement par sa ressemblance, mais par sa beauté caractéristique. 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. «Il faut la connaître et l'aimer comme je l'ai aimée pour découvrir l'expression la plus douce de son âme», pensa Vronsky, bien que ce ne soit qu'à partir de ce portrait qu'il ait lui-même appris cette expression la plus douce de son âme. 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 reassurance given him by Golenishtchev, in whose view Vronsky had both talent, and what was most important, culture, giving him a wider outlook on art. «Cela viendra», fut le réconfortant que lui donna Golenishtchev, aux yeux duquel Vronsky avait à la fois du talent et ce qui était le plus important, la culture, lui donnant une vision plus large de l'art. Golenishtchev's faith in Vronsky's talent was propped 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 mutual. La foi de Golenishtchev dans le talent de Vronsky était étayée par son propre besoin de sympathie et d'approbation de Vronsky pour ses propres articles et idées, et il estimait que l'éloge et le soutien devaient être mutuels. 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. Il appela Vronsky «votre excellence», et malgré les invitations d'Anna et de Vronsky, il ne resterait jamais à dîner ni ne viendrait que pour les séances. 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 instilling sound ideas about art into Mihailov. Golenishtchev niekada neleido paslėpti progos įskiepyti Mihailovui gerų idėjų apie meną. But Mihailov remained equally chilly 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. Le discours de Vronsky sur sa peinture, il rencontra un silence obstiné, et il était aussi obstinément silencieux quand on lui montra la photo de Vronsky. 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. Dans l'ensemble, Mihailov, avec son attitude réservée et désagréable, pour ainsi dire hostile, était assez détesté par eux, car ils apprenaient à mieux le connaître; et ils étaient heureux quand les séances étaient terminées, et ils se sont retrouvés avec un magnifique portrait en leur possession, et il a renoncé à venir. 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. Golenishtchev fut le premier à exprimer une idée qui leur était venue à tous, à savoir que Mihailov était simplement jaloux de Vronsky.

"Not envious, 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 detest a title), can, without any particular trouble, do as well, if not better, than he who has devoted 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. Anos portretas - ta pati tema, kurią iš gamtos nupiešė jis ir Mihailovas, - turėjo parodyti Vronskiui skirtumą tarp jo ir Mihailovo; bet jis to nematė. Only after Mihailov's portrait was painted he left off painting his portrait of Anna, deciding that it was now not needed. Ce n'est qu'après avoir peint le portrait de Mihailov qu'il a cessé de peindre son portrait d'Anna, décidant qu'il n'était plus nécessaire maintenant. Tik nutapęs Mihailovo portretą, jis nutraukė Anos portreto nutarimą, nusprendęs, kad jo dabar nereikia. His picture of mediaeval 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 celebrated pictures they knew than Mihailov's picture. Et lui-même, et Golenishtchev, et encore plus Anna, trouvèrent cela très bien, parce que cela ressemblait beaucoup plus aux images célèbres qu'ils connaissaient qu'à l'image de Mihailov. Ir jis pats, ir Golenishtchevas, ir dar labiau Anna manė, kad tai labai gerai, nes tai buvo daug labiau panašu į jų žinomus šventinius paveikslus, o ne į Mihailovo paveikslą. 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. Il savait que Vronsky ne pouvait être empêché de s'amuser avec la peinture; il savait que lui et tous les dilettanti avaient parfaitement le droit de peindre ce qu'ils voulaient, mais cela lui déplaisait. A man could not be prevented from making himself a big wax doll, and kissing it. On ne pouvait pas empêcher un homme de se faire une grosse poupée de cire et de l'embrasser. But if the man were to come with the doll and sit before a man in love, and begin caressing his doll as the lover caressed 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. Une telle sensation désagréable fut ce que ressentit Mihailov à la vue du tableau de Vronsky: il le sentit à la fois ridicule et irritant, à la fois pitoyable et offensant. 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. Il avait assez de goût pour la peinture pour être incapable de terminer son tableau. Jis turėjo pakankamai skonio tapybai, kad negalėjo užbaigti savo paveikslo. The picture came to a standstill. L'image s'est arrêtée. He was vaguely aware that its defects, inconspicuous at first, would be glaring if he were to go on with it. Il était vaguement conscient que ses défauts, discrets au début, seraient flagrants s'il continuait. 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. La même expérience lui est arrivée que Golenishtchev, qui sentait qu'il n'avait rien à dire, et se trompait continuellement avec la théorie que son idée n'était pas encore mûre, qu'il la travaillait et rassemblait des matériaux. This exasperated and tortured Golenishtchev, but Vronsky was incapable of deceiving and torturing himself, and even more incapable of exasperation. 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. Mais sans cette occupation, la vie de Vronsky et d'Anna, qui s'étonnait de son désintérêt pour elle, leur parut intolérablement ennuyeuse dans une ville italienne. Tačiau be šios okupacijos Vronskio ir Anos, stebėjusios jo susidomėjimo tuo praradimu, gyvenimas Italijos mieste pasirodė nepakeliamai varginantis. The palazzo suddenly seemed so obtrusively 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 everlasting sameness of Golenishtchev, and the Italian professor and the German traveler became so wearisome, that they had to make some change. Le palais parut soudainement si vieux et sale, les taches sur les rideaux, les fissures dans les sols, le plâtre cassé sur les corniches devinrent si désagréablement évidentes, et l'éternelle similitude de Golenishtchev, et le professeur italien et le voyageur allemand le devinrent ainsi. ennuyeux, qu'ils ont dû faire des changements. 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. À Pétersbourg, Vronsky avait l'intention d'organiser une partition de la terre avec son frère, tandis qu'Anna avait l'intention de voir son fils. The summer they intended to spend on Vronsky's great family estate. Vasarą jie ketino praleisti puikiame Vronsky šeimos turte.