The artist Mihailov was, as always, at work when the cards of Count Vronsky and Golenishtchev were brought to him. —
艺术家米哈洛夫一如既往地在工作时，弗朗斯基伯爵和戈列尼什切夫的名片被送到他手上。 —

In the morning he had been working in his studio at his big picture. —
早上，他在自己的工作室里画着一幅大画。 —

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.
回到家后，他因为妻子未能拖延房东索要租金而勃然大怒。

“I’ve said it to you twenty times, don’t enter into details. —
“我已经告诉你二十次了，不要扯远了。 —

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.
你一直都很傻，当你开始用意大利语解释问题的时候，你就是三倍愚蠢的傻瓜，”经过长时间的争执后，他说道。

“Don’t let it run so long; it’s not my fault. If I had the money…”
“别让事情拖太久了，这不是我的错。如果我有钱的话……”

“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. —
“求求你，别再打扰我了！”米哈洛夫声泪俱下地尖叫着，捂住耳朵，走进了他的工作室，就在隔壁的隔墙那边，随即关上了门。 —

“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.
“愚蠢的女人！”他自言自语道，坐到桌前，打开一个文件夹，立刻带着特殊的热情开始继续一幅他已经开始的素描工作。

Never did he work with such fervor and success as when things went ill with him, and especially when he quarreled with his wife. —
他从未像当他的事情进展不顺利，尤其是与妻子争吵时那样，充满热情和成功地工作过。 —

“Oh! damn them all!” he thought as he went on working. —
“哦！他想着，该死的他们都该死！”他继续工作。 —

He was making a sketch for the figure of a man in a violent rage. —
他正在为一个愤怒的人的形象做草图。 —

A sketch had been made before, but he was dissatisfied with it. “No, that one was better. —
之前已经有过一个草图，但他对其不满意。 “不，那个更好。 —

..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? —
“那个在哪里？”他回去找他的妻子，板着脸，不看她，问他最大的小女儿，他给了他们的那张纸在哪里？ —

The paper with the discarded sketch on it was found, but it was dirty, and spotted with candle-grease. —
那张弃置不用的草图的纸被找到了，但是脏兮兮的，上面有蜡烛油渍。 —

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. —
但是，他拿起那张草图，放在桌子上，稍微退后一点，眯着眼睛，开始凝视着。 —

All at once he smiled and gesticulated gleefully.
突然他微笑着，欢呼着做手势。

“That’s it! that’s it!” he said, and, at once picking up the pencil, he began rapidly drawing. —
“就是这个！就是这个！”他说着，然后迅速拿起铅笔开始画。 —

The spot of tallow had given the man a new pose.
那块蜡烛油渍给了这个人一种新的姿势。

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. —
他画了这个新的姿势，突然他想起了一个他买雪茄的店主的脸，一个有突出下巴的精力充沛的脸，他将这张脸，这个下巴描绘到了这个人的形象上。 —

He laughed aloud with delight. The figure from a lifeless imagined thing had become living, and such that it could never be changed. —
他高兴得大声笑出来。从一个无生命的想象中，这个形象变得有生气，而且永远不会改变。 —

That figure lived, and was clearly and unmistakably defined. —
这个形象生动地存在着，清晰而明确。 —

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; —
根据这个形象的要求，这个草图可以进行修正，腿部甚至必须摆放得不同，左手的位置也必须完全改变； —

the hair too might be thrown back. But in making these corrections he was not altering the figure but simply getting rid of what concealed the figure. —
头发也可以向后扔。但是在做这些修正时，他并没有改变形象，只是摆脱了掩盖形象的因素。 —

He was, as it were, stripping off the wrappings which hindered it from being distinctly seen. —
可以说，他剥离掉了妨碍清晰看到形象的包装物。 —

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. —
每个新的特征只是将整个形象以它突然来到他面前的全力和活力展现出来，就像它是从那块蜡烛的点滴中获得的一样。 —

He was carefully finishing the figure when the cards were brought him.
当人们给他带来了一堆牌时，他正在仔细地完成这个形象。

“Coming, coming!”
“来了，来了！”

He went in to his wife.
他走进了妻子的房间。

“Come, Sasha, don’t be cross!” he said, smiling timidly and affectionately at her. —
“来吧，萨莎，别生气！”他亲切地、怯怯地对她笑着说。 —

“You were to blame. I was to blame. I’ll make it all right.” —
“你有错，我也有错。我会弥补一切的。 —

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. —
与妻子和好之后，他穿上了一件带有天鹅绒领子的橄榄绿色大衣和一顶帽子，朝着他的工作室走去。 —

The successful figure he had already forgotten. —
他已经忘记了这个成功的形象。 —

Now he was delighted and excited at the visit of these people of consequence, Russians, who had come in their carriage.
现在，他对这些重要的俄国人来访非常高兴和兴奋，他们乘坐着自己的马车来了。

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. —
对于他的画作，现在已经放在画架上的那幅画，他心底里有一个确信–没有任何人画过像这样的画。 —

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. —
他并不认为他的画比拉斐尔的画更好，但他知道他试图在那幅画中传达的东西，没有任何人曾经传达过。 —

This he knew positively, and had known a long while, ever since he had begun to paint it. —
他肯定地知道这一点，而且早已知道很久了，自从他开始画这幅画的时候就知道。 —

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. —
但是其他人的批评，无论是什么，都对他来说有着巨大的意义，它们深深地触动了他的灵魂深处。 —

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. —
任何一句话，即使是最微不足道的，只要显示批评家能看到他在画中看到的最微小的部分，都会使他深深地动容。 —

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. —
他总是认为批评家比他自己更深入地理解这幅画，并且总是期待着他们从画中看到一些他自己没有看到的东西。 —

And often in their criticisms he fancied that he had found this.
而经常在他们的批评中，他自以为已经找到了这一点。

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. —
他迅速走向画室的门口，尽管他非常兴奋，但他被安娜站在入口处的阴影中，沐浴在柔和的光线中的身姿所吸引，她正在聆听着戈列尼什切夫热情地告诉她一些事情，而她显然想看看画家周围的情景。 —

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. —
当他走近他们时，他自己并没有意识到他将这种印象抓住，并像他曾经买雪茄时抓住店主的下巴一样，将其储存在某个地方，以便在需要时拿出来。 —

The visitors, not agreeably impressed beforehand by Golenishtchev’s account of the artist, were still less so by his personal appearance. —
参观者们之前对戈列尼什切夫对这位艺术家的评价并不满意，对他的个人形象也更加不满意。 —

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.
身材粗壮，中等个子，灵活的动作，他戴着棕色帽子，穿着橄榄绿色外套和狭窄的裤子–虽然宽松的裤子已经流行了很长时间–但最引人注目的是他宽大脸庞的普通样子，以及 timidity （内卷）和焦虑混杂的表情，他让人感到不愉快。

“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.
“请进，”他漠视地说着，并且走进过道，从口袋里取出一把钥匙打开了门。