On entering the studio, Mihailov once more scanned his visitors and noted down in his imagination Vronsky’s expression too, and especially his jaws. —
当进入工作室时，米哈洛夫再次扫视了他的客人，并在脑海中记录了弗朗斯基的表情，尤其是他的下颌。 —

Although his artistic sense was unceasingly at work collecting materials, although he felt a continually increasing excitement as the moment of criticizing his work drew nearer, he rapidly and subtly formed, from imperceptible signs, a mental image of these three persons.
尽管他的艺术感觉不断地收集素材，尽管他感到越来越紧张，因为批评他的作品的时刻即将来临，他迅速而敏锐地从微不可见的迹象中形成了这三个人的心理形象。

That fellow (Golenishtchev) was a Russian living here. —
那家伙（戈列尼什切夫）是一个住在这里的俄罗斯人。 —

Mihailov did not remember his surname nor where he had met him, nor what he had said to him. —
米哈洛夫不记得他的姓氏，也不记得在哪里见过他，也不记得他对他说过什么。 —

He only remembered his face as he remembered all the faces he had ever seen; —
他只记得他的脸，就像他记得他曾经见过的所有脸一样； —

but he remembered, too, that it was one of the faces laid by in his memory in the immense class of the falsely consequential and poor in expression. —
但他也记得，这是他记忆中的一个脸，属于那些虚伪和表情贫乏的广大类型之一。 —

The abundant hair and very open forehead gave an appearance of consequence to the face, which had only one expression–a petty, childish, peevish expression, concentrated just above the bridge of the narrow nose. —
那蓬松的头发和高额头使得这张脸看起来非常重要，但它只有一种表情——一种狭窄鼻梁上方集中的小气、幼稚和脾气不好的表情。 —

Vronsky and Madame Karenina must be, Mihailov supposed, distinguished and wealthy Russians, knowing nothing about art, like all those wealthy Russians, but posing as amateurs and connoisseurs. —
弗朗斯基和卡列宁夫人必定是，米哈洛夫推测，受尊敬且富有的俄罗斯人，对艺术一无所知，就像所有那些富裕的俄罗斯人一样，但他们自认为是业余爱好者和鉴赏家。 —

“Most likely they’ve already looked at all the antiques, and now they’re making the round of the studios of the new people, the German humbug, and the cracked Pre-Raphaelite English fellow, and have only come to me to make the point of view complete,” he thought. —
“最有可能他们已经看遍了所有的古董，现在他们正在参观新人的工作室，那些德国的骗子和破碎的前拉斐尔派的英国家伙，而我只是为了让他们的观点更全面才请他们来的”，他想道。 —

He was well acquainted with the way dilettanti have (the cleverer they were the worse he found them) of looking at the works of contemporary artists with the sole object of being in a position to say that art is a thing of the past, and that the more one sees of the new men the more one sees how inimitable the works of the great old masters have remained. —
他熟知那些业余艺术爱好者的态度（越聪明的他们越让他觉得糟糕），他们只是为了有资格说艺术是过去的事情，而每看到新一代艺术家的作品越多，就越能看出伟大老前辈的作品是多么令人难以模仿。 —

He expected all this; he saw it all in their faces, he saw it in the careless indifference with which they talked among themselves, stared at the lay figures and busts, and walked about in leisurely fashion, waiting for him to uncover his picture. —
他预料到了这一切；他从他们的脸上看到了这一切，从他们之间漫不经心的对话中看到了这一切，从他们对摆放的模特和半身像的漠不关心中看到了这一切，而他们悠闲自在地四处走动，等待他揭开画布。 —

But in spite of this, while he was turning over his studies, pulling up the blinds and taking off the sheet, he was in intense excitement, especially as, in spite of his conviction that all distinguished and wealthy Russians were certain to be beasts and fools, he liked Vronsky, and still more Anna.
尽管如此，当他翻看自己的研究材料，拉起百叶窗，拿下画布时，他内心充满了强烈的兴奋，特别是因为尽管他坚信所有杰出和富有的俄罗斯人肯定都是畜生和傻瓜，他却喜欢弗朗斯基，更喜欢安娜。

“Here, if you please,” he said, moving on one side with his nimble gait and pointing to his picture, “it’s the exhortation to Pilate. —
“请看这儿，”他说着，一边用敏捷的步伐走到一边，一边指着他的画像，“这是对彼拉多的劝告。” —

Matthew, chapter xxvii,” he said, feeling his lips were beginning to tremble with emotion. —
“马太福音，第二十七章，”他说着，感觉到自己的嘴唇开始颤抖起来。 —

He moved away and stood behind them.
他走开了，站在他们的背后。

For the few seconds during which the visitors were gazing at the picture in silence Mihailov too gazed at it with the indifferent eye of an outsider. —
当参观者们沉默地凝视着那幅画的几秒钟内，弥哈伊洛夫也用一个局外人的漠视的眼光盯着它。 —

For those few seconds he was sure in anticipation that a higher, juster criticism would be uttered by them, by those very visitors whom he had been so despising a moment before. —
就在那几秒钟里，他非常期待他们会发表更高层次、更公正的批评，就是那些他之前曾轻视过的访客们。 —

He forgot all he had thought about his picture before during the three years he had been painting it; —
他忘记了在三年的画画中他之前对他的画想到的所有一切； —

he forgot all its qualities which had been absolutely certain to him–he saw the picture with their indifferent, new, outside eyes, and saw nothing good in it. —
他用他们那些冷漠的、新奇的外来目光看着这幅画，却看不到任何优点。 —

He saw in the foreground Pilate’s irritated face and the serene face of Christ, and in the background the figures of Pilate’s retinue and the face of John watching what was happening. —
他在前景中看到了彼拉多愤怒的面孔和基督平静的面孔，在背景中是彼拉多的随从和约翰观看发生的一切。 —

Every face that, with such agony, such blunders and corrections had grown up within him with its special character, every face that had given him such torments and such raptures, and all these faces so many times transposed for the sake of the harmony of the whole, all the shades of color and tones that he had attained with such labor–all of this together seemed to him now, looking at it with their eyes, the merest vulgarity, something that had been done a thousand times over. —
每个面孔都带着痛苦，错误和修正，它们在他的内心中成长并具备了独特的特征，每个面孔给他带来了痛苦和陶醉，而所有这些面孔为了整体的和谐而多次移位，他为之付出了如此辛勤的努力，现在在他们的眼中看来，这一切都变得极为平凡，好像已经重复了一千遍。 —

The face dearest to him, the face of Christ, the center of the picture, which had given him such ecstasy as it unfolded itself to him, was utterly lost to him when he glanced at the picture with their eyes. —
对他来说最亲爱的面孔，基督的面孔，作为画面的中心，在他用他们的眼去看这幅画时，完全失去了它的存在。 —

He saw a well-painted (no, not even that–he distinctly saw now a mass of defects) repetition of those endless Christs of Titian, Raphael, Rubens, and the same soldiers and Pilate. —
他看到了一幅精心绘制的（不，甚至可以说是明显看到了一堆瑕疵）蒂香、拉斐尔、鲁本斯艺术中无尽重复的基督形象，以及同样的士兵和彼拉多。 —

It was all common, poor, and stale, and positively badly painted–weak and unequal. —
所有的东西都是平庸的、贫乏的，而且明显画得很差——虚弱而不均衡。 —

They would be justified in repeating hypocritically civil speeches in the presence of the painter, and pitying him and laughing at him when they were alone again.
当他们再次独处时，他们会以伪善的方式重复礼貌的说辞，同情他，并嘲笑他。

The silence (though it lasted no more than a minute) became too intolerable to him. —
这种寂静（虽然只持续了不到一分钟）对他来说变得无法忍受。 —

To break it, and to show he was not agitated, he made an effort and addressed Golenishtchev.
为了打破它，并显示他不激动，他做出了努力，对戈列尼什切夫说道。

“I think I’ve had the pleasure of meeting you,” he said, looking uneasily first at Anna, then at Vronsky, in fear of losing any shade of their expression.
“我想我曾经有幸见过您”，他不安地看着安娜，然后看着弗朗斯基，害怕错过任何他们表情的变化。

“To be sure! We met at Rossi’s, do you remember, at that soiree when that Italian lady recited–the new Rachel?” —
“当然！我们在罗西的时候见过面，您还记得吗？在那个意大利女士朗诵新的蕾切尔的那个晚上？” —

Golenishtchev answered easily, removing his eyes without the slightest regret from the picture and turning to the artist.
Golenishtchev毫不遗憾地从画面中拿走了他的眼睛，并转向艺术家。

Noticing, however, that Mihailov was expecting a criticism of the picture, he said:
然而，他注意到Mihailov期望对这幅画进行批评，他说：

“Your picture has got on a great deal since I saw it last time; —
“我上次看到你的画时，它已经变化很大； —

and what strikes me particularly now, as it did then, is the figure of Pilate. —
而且现在令我特别注意的是彼拉多的形象。 —

One so knows the man: a good-natured, capital fellow, but an official through and through, who does not know what it is he’s doing. But I fancy…”
一个人那样了解这个人：一个善良、了不起的家伙，但是从头到尾都是个官员，他不知道他在做什么。但我想……“

All Mihailov’s mobile face beamed at once; his eyes sparkled. —
Mihailov的整个面部立刻闪耀起来，他的眼睛闪闪发光。 —

He tried to say something, but he could not speak for excitement, and pretended to be coughing. —
他试图说些什么，但他由于激动而无法说话，并假装咳嗽。 —

Low as was his opinion of Golenishtchev’s capacity for understanding art, trifling as was the true remark upon the fidelity of the expression of Pilate as an official, and offensive as might have seemed the utterance of so unimportant an observation while nothing was said of more serious points, Mihailov was in an ecstasy of delight at this observation. —
尽管高列尼什切夫对于艺术理解的能力低微，对于彼拉多作为一个官员的真实表达的忠实性的评论微不足道，尽管这种评论对于更严肃的问题一无所言，但是密哈洛夫对于这一观点感到欣喜若狂。 —

He had himself thought about Pilate’s figure just what Golenishtchev said. —
他自己也曾对彼拉多的形象有着高列尼什切夫所说的想法。 —

The fact that this reflection was but one of millions of reflections, which as Mihailov knew for certain would be true, did not diminish for him the significance of Golenishtchev’s remark. —
尽管密哈洛夫知道这样的思考只是千百万思考之一，将会是真实的，但对他而言，高列尼什切夫的评论的重要性并没有减少。 —

His heart warmed to Golenishtchev for this remark, and from a state of depression he suddenly passed to ecstasy. —
他因为这个评论而对高列尼什切夫心生温暖，从沮丧的状态突然陷入狂喜之中。 —

At once the whole of his picture lived before him in all the indescribable complexity of everything living. —
他的整幅画作立刻在他面前活了起来，以一切活物所拥有的难以言喻的复杂性显示出来。 —

Mihailov again tried to say that that was how he understood Pilate, but his lips quivered intractably, and he could not pronounce the words. —
密哈洛夫再次试图表达他对彼拉多的理解，但他的嘴唇却固执地颤抖着，无法说出这些话语。 —

Vronsky and Anna too said something in that subdued voice in which, partly to avoid hurting the artist’s feelings and partly to avoid saying out loud something silly–so easily said when talking of art–people usually speak at exhibitions of pictures. —
弗朗斯基和安娜也用那种低沉的声音说了些话，部分是为了避免伤害艺术家的感情，部分是为了避免在谈论艺术时说出一些愚蠢的话——通常在画展上人们都这样说。 —

Mihailov fancied that the picture had made an impression on them too. —
米哈伊洛夫觉得这幅画也给他们留下了印象。 —

He went up to them.
他走向他们。

“How marvelous Christ’s expression is!” said Anna. Of all she saw she liked that expression most of all, and she felt that it was the center of the picture, and so praise of it would be pleasant to the artist. —
“基督的表情多么奇妙啊！”安娜说道。在她所看到的一切中，她最喜欢这个表情，她感觉它是这幅画的中心，所以表扬它对艺术家来说会很愉快。 —

“One can see that He is pitying Pilate.”
“可以看出他在怜悯彼拉多。”

This again was one of the million true reflections that could be found in his picture and in the figure of Christ. —
这又是他的画中可以找到的无数真实反映之一，也是基督形象中的一个。 —

She said that He was pitying Pilate. In Christ’s expression there ought to be indeed an expression of pity, since there is an expression of love, of heavenly peace, of readiness for death, and a sense of the vanity of words. —
她说他在怜悯彼拉多。在基督的表情中确实应该有一种怜悯的表情，因为其中包含了爱的表情、天堂般的平和、对死亡的准备和对言语虚空的感知。 —

Of course there is the expression of an official in Pilate and of pity in Christ, seeing that one is the incarnation of the fleshly and the other of the spiritual life. —
当然，官员们在彼拉多身上表达了一个官方形象，而基督则表达了对众生生活的同情，这两者分别代表肉体与精神的化身。 —

All this and much more flashed into Mihailov’s thoughts.
所有这些，以及更多的思考都闪现在了米哈伊洛夫的脑海中。

“Yes, and how that figure is done–what atmosphere! —
“是的，这个形象是以怎样的氛围展示的——” —

One can walk round it,” said Golenishtchev, unmistakably betraying by this remark that he did not approve of the meaning and idea of the figure.
“确实，你可以绕着它走一圈，”戈列尼什切夫毫不掩饰地表达出他对这个形象的意义和想法不满。

“Yes, there’s a wonderful mastery!” said Vronsky. “How those figures in the background stand out! —
“是的，这里的掌握真是太棒了！”弗朗斯基说道，“那些背景中的人物真是鲜活立体！” —

There you have technique,” he said, addressing Golenishtchev, alluding to a conversation between them about Vronsky’s despair of attaining this technique.
这就是技巧，”他对戈列尼什切夫说道，暗指他们之间关于弗朗斯基无法达到这种技巧的对话。

“Yes, yes, marvelous!” Golenishtchev and Anna assented. —
“是的，是的，太神奇了！”戈列尼什切夫和安娜都表示赞同。 —

In spite of the excited condition in which he was, the sentence about technique had sent a pang to Mihailov’s heart, and looking angrily at Vronsky he suddenly scowled. —
尽管他处于兴奋的状态，但关于技巧的那句话刺痛了米哈伊洛夫的心，他愤怒地看着弗朗斯基，突然皱起了眉头。 —

He had often heard this word technique, and was utterly unable to understand what was understood by it. —
他经常听到这个词”技巧”，但完全无法理解它所指代的含义。 —

He knew that by this term was understood a mechanical facility for painting or drawing, entirely apart from its subject. —
他知道这个术语指的是绘画或绘图的机械技能，与其主题完全无关。 —

He had noticed often that even in actual praise technique was opposed to essential quality, as though one could paint well something that was bad. —
他经常注意到，即使在实际赞美中，技巧也与本质品质相对立，好像可以用熟练的手法绘画出糟糕的东西。 —

He knew that a great deal of attention and care was necessary in taking off the coverings, to avoid injuring the creation itself, and to take off all the coverings; —
他知道在揭开表层时需要非常小心，以避免损坏创作本身，并彻底揭开所有的覆盖物； —

but there was no art of painting–no technique of any sort–about it. —
但是，它没有绘画的艺术，也没有任何技巧。 —

If to a little child or to his cook were revealed what he saw, it or she would have been able to peel the wrappings off what was seen. —
如果向一个小孩或他的厨师展示他所看到的东西，他或者她可以轻易地剥掉所看到的物品的包装。 —

And the most experienced and adroit painter could not by mere mechanical facility paint anything if the lines of the subject were not revealed to him first. —
即使是最有经验和熟练的画家，如果没有先看到主题的轮廓线，就无法仅靠机械技巧绘画任何东西。 —

Besides, he saw that if it came to talking about technique, it was impossible to praise him for it. —
此外，他还看到，如果要谈论技巧，就不可能为他赞扬。 —

In all he had painted and repainted he saw faults that hurt his eyes, coming from want of care in taking off the wrappings–faults he could not correct now without spoiling the whole. —
他在自己画过的所有作品中都看到了让他痛心的错误，这些错误来自于没有小心地除去包装——现在他不能纠正这些错误，否则整幅画都会毁掉。 —

And in almost all the figures and faces he saw, too, remnants of the wrappings not perfectly removed that spoiled the picture.
在几乎所有的形象和面孔中，他也看到了残留的包装，没有完全除掉，这破坏了画面。

“One thing might be said, if you will allow me to make the remark…” observed Golenishtchev.
“如果你允许我发表一下意见……”戈列尼什切夫说道。

“Oh, I shall be delighted, I beg you,” said Mihailov with a forced smile.
“哦，我会非常高兴的，请你说吧。”米哈伊洛夫勉强笑道。

“That is, that you make Him the man-god, and not the God-man. —
“也就是说，你将他塑造成了人格化的神，并不是神格化的人。” —

But I know that was what you meant to do.”
但我知道这是你原本的意图。

“I cannot paint a Christ that is not in my heart,” said Mihailov gloomily.
“我不能画一个不在我内心的基督。”米哈伊洛夫沮丧地说道。

“Yes; but in that case, if you will allow me to say what I think. —
“是的，但在这种情况下，如果你允许我说出我的想法……” —

… Your picture is so fine that my observation cannot detract from it, and, besides, it is only my personal opinion. —
“你的画面如此出色，我的观察不会有损它，而且，这只是我的个人观点。” —

With you it is different. Your very motive is different. But let us take Ivanov. —
而对于你来说，情况就不同了。你的动机完全不同。但我们来谈谈伊万诺夫。 —

I imagine that if Christ is brought down to the level of an historical character, it would have been better for Ivanov to select some other historical subject, fresh, untouched.”
我想象着，如果把基督降格为一个历史人物，伊万诺夫选择其他历史题材可能会更好，新鲜而未触及过的。

“But if this is the greatest subject presented to art?”
但如果这是艺术所呈现的最伟大的主题呢？

“If one looked one would find others. But the point is that art cannot suffer doubt and discussion. —
如果人们去寻找，会发现其他主题。但关键是，艺术不能容忍怀疑和讨论。 —

And before the picture of Ivanov the question arises for the believer and the unbeliever alike, ‘Is it God, or is it not God?’ —
在伊万诺夫的画面前，信徒和非信徒都会问自己一个问题，“这是上帝吗？还是不是上帝？” —

and the unity of the impression is destroyed.”
这样一来，印象的统一就被破坏了。

“Why so? I think that for educated people,” said Mihailov, “the question cannot exist.”
“为什么呢？我认为对于受过教育的人来说，这个问题不存在。”米哈伊洛夫说道。

Golenishtchev did not agree with this, and confounded Mihailov by his support of his first idea of the unity of the impression being essential to art.
高列尼什切夫不同意这个观点，他与米哈伊洛夫对于印象的统一是艺术必须的支持了起来。

Mihailov was greatly perturbed, but he could say nothing in defense of his own idea.
米哈伊洛夫非常困扰，但他无法为自己的观点辩护。