Anna and Vronsky had long been exchanging glances, regretting their friend’s flow of cleverness. —
安娜和弗朗斯基一直在交换眼神，对他们朋友的聪明才智感到后悔。 —

At last Vronsky, without waiting for the artist, walked away to another small picture.
最后，弗朗斯基没有等待艺术家，就走到另一幅小画前。

“Oh, how exquisite! What a lovely thing! A gem! How exquisite!” they cried with one voice.
“哦，多么精致！多么美丽的东西！真是一颗宝石！多么精致！”他们异口同声地喊道。

“What is it they’re so pleased with?” thought Mihailov. —
“他们为什么这么高兴？”米哈洛夫想。 —

He had positively forgotten that picture he had painted three years ago. —
他完全忘记了他三年前画过的那幅画。 —

He had forgotten all the agonies and the ecstasies he had lived through with that picture when for several months it had been the one thought haunting him day and night. —
他忘记了那幅画给他带来的痛苦和欢乐，几个月来，那是他白天黑夜都惦记的一件事。 —

He had forgotten, as he always forgot, the pictures he had finished. —
他忘记了，就像他总是忘记自己完成的画作一样。 —

He did not even like to look at it, and had only brought it out because he was expecting an Englishman who wanted to buy it.
他甚至不喜欢看它，只是因为他在等一个想要购买它的英国人才把它拿出来。

“Oh, that’s only an old study,” he said.
“哦，那只是一张旧的研究画”，他说。

“How fine!” said Golenishtchev, he too, with unmistakable sincerity, falling under the spell of the picture.
“多么精彩！”戈连尼什切夫也发自内心地说，他也被这幅画吸引住了。

Two boys were angling in the shade of a willow-tree. —
两个男孩在一个柳树下垂钓。 —

The elder had just dropped in the hook, and was carefully pulling the float from behind a bush, entirely absorbed in what he was doing. —
这位年长者刚刚放下鱼钩，正小心翼翼地从灌木丛后拉出浮标，完全专注于自己正在做的事情。 —

The other, a little younger, was lying in the grass leaning on his elbows, with his tangled, flaxen head in his hands, staring at the water with his dreamy blue eyes. —
另一个稍微年轻一点的人躺在草地上，用手肘支着身体，他杂乱的金发笼罩在双手之间，用他那迷离的蓝眼睛盯着水面。 —

What was he thinking of?
他在想什么呢？

The enthusiasm over this picture stirred some of the old feeling for it in Mihailov, but he feared and disliked this waste of feeling for things past, and so, even though this praise was grateful to him, he tried to draw his visitors away to a third picture.
对这幅画的狂热激起了米哈洛夫心中一些对过去的感觉，但他害怕并厌恶这种对过去事物的感伤，所以尽管这种赞美使他感激，他试图把他的访客引开到第三幅画。

But Vronsky asked whether the picture was for sale. —
但弗朗斯基问这幅画是否可以出售。 —

To Mihailov at that moment, excited by visitors, it was extremely distasteful to speak of money matters.
对此时正因访客而兴奋的米哈洛夫来说，谈到金钱问题是极其讨厌的。

“It is put up there to be sold,” he answered, scowling gloomily.
“它是放在那里待售的，”他阴沉地答道。

When the visitors had gone, Mihailov sat down opposite the picture of Pilate and Christ, and in his mind went over what had been said, and what, though not said, had been implied by those visitors. —
当访客们离开后，米哈伊洛夫坐到了彼拉多和基督的画像对面，心里回想着访客们说过的话，以及那些虽没有说出口但已经隐含其中的意思。 —

And, strange to say, what had had such weight with him, while they were there and while he mentally put himself at their point of view, suddenly lost all importance for him. —
奇怪的是，当他们还在场时，以及当他设身处地从他们的角度思考时，那些话对他来说都突然变得毫无重要性。 —

He began to look at his picture with all his own full artist vision, and was soon in that mood of conviction of the perfectibility, and so of the significance, of his picture–a conviction essential to the most intense fervor, excluding all other interests–in which alone he could work.
他开始以他自己完全的艺术家视角来审视自己的画像，在那种对完美性和意义的深信的心境中，他可以全神贯注地工作，排除其他一切兴趣。

Christ’s foreshortened leg was not right, though. He took his palette and began to work. —
然而，基督的折断的腿还是不对。他拿起调色板开始修改。 —

As he corrected the leg he looked continually at the figure of John in the background, which his visitors had not even noticed, but which he knew was beyond perfection. —
当他修正腿时，他不断地盯着背景中的约翰的形象，尽管他的访客们甚至没有注意到，但他知道那幅画已经超越了完美。 —

When he had finished the leg he wanted to touch that figure, but he felt too much excited for it. —
当他完成这条腿时，他想碰一下那个人物，但他感到太兴奋了。 —

He was equally unable to work when he was cold and when he was too much affected and saw everything too much. —
无论是感到寒冷还是太过情绪激动而一切都看得太多，他都无法工作。 —

There was only one stage in the transition from coldness to inspiration, at which work was possible. Today he was too much agitated. —
在从寒冷到灵感的过渡中，只有一个阶段可以进行工作。今天他太过焦躁。 —

He would have covered the picture, but he stopped, holding the cloth in his hand, and, smiling blissfully, gazed a long while at the figure of John. At last, as it were regretfully tearing himself away, he dropped the cloth, and, exhausted but happy, went home.
他本想把画遮住，但他停了下来，手里拿着布，幸福地微笑着，久久地凝视着约翰的形象。最后，仿佛很遗憾地将自己从中拽出，他放下布，精疲力竭却幸福地回家去了。

Vronsky, Anna, and Golenishtchev, on their way home, were particularly lively and cheerful. —
弗朗斯基、安娜和戈列尼什切夫回家的路上特别活跃和开心。 —

They talked of Mihailov and his pictures. —
他们谈论着米哈洛夫和他的画。 —

The word talent, by which they meant an inborn, almost physical, aptitude apart from brain and heart, and in which they tried to find an expression for all the artist had gained from life, recurred particularly often in their talk, as though it were necessary for them to sum up what they had no conception of, though they wanted to talk of it. —
他们所说的天赋，指的是一种与大脑和心灵分离开来的，几乎是与生俱来的身体本能，他们试图找到一个表达方式来总结艺术家从生活中获得的一切，这个词在他们的谈话中经常出现，好像他们有必要总结出他们无法理解但却想谈论的东西。 —

They said that there was no denying his talent, but that his talent could not develop for want of education–the common defect of our Russian artists. —
他们说他的才华毋庸置疑，但是他的才华因为教育不足而无法发展——这是我们俄国艺术家常见的缺陷。 —

But the picture of the boys had imprinted itself on their memories, and they were continually coming back to it. —
但那幅男孩们的画像已经深深地印在他们的记忆中，他们一直在回忆它。 —

“What an exquisite thing! How he has succeeded in it, and how simply! —
“多么精致的作品啊！他成功了，而且如此简单！ —

He doesn’t even comprehend how good it is. —
他甚至不明白它有多好。 —

Yes, I mustn’t let it slip; I must buy it,” said Vronsky.
是的，我不能错过它，我必须买下它，”弗朗斯基说道。