The old neglected palazzo, with its lofty carved ceilings and frescoes on the walls, with its floors of mosaic, with its heavy yellow stuff curtains on the windows, with its vases on pedestals, and its open fireplaces, its carved doors and gloomy reception rooms, hung with pictures–this palazzo did much, by its very appearance after they had moved into it, to confirm in Vronsky the agreeable illusion that he was not so much a Russian country gentleman, a retired army officer, as an enlightened amateur and patron of the arts, himself a modest artist who had renounced the world, his connections, and his ambition for the sake of the woman he loved.
这座年久失修的宫殿，拥有雕刻精美的高挑天花板和壁画，地板铺满马赛克，窗户上挂着厚重的黄色布帘子，花瓶摆放在基座上，炉火熊熊，雕刻的门和阴暗的接待室里挂满了画作–这座宫殿让弗朗斯基产生了一种美妙的幻觉，他不再是俄罗斯的乡绅、退休军官，而是一个开明的艺术爱好者和赞助人，自己是一位谦逊的艺术家，为了心爱的女人而放弃了世俗、人脉和抱负。

The pose chosen by Vronsky with their removal into the palazzo was completely successful, and having, through Golenishtchev, made acquaintance with a few interesting people, for a time he was satisfied. —
与他们搬进宫殿后，弗朗斯基选择的姿态完全成功了，通过戈列尼什切夫结识了一些有趣的人，他感到满足了一段时间。 —

He painted studies from nature under the guidance of an Italian professor of painting, and studied medieval Italian life. —
在一位意大利绘画教授的指导下，他从自然中画了一些研究作品，并研究了中世纪的意大利生活。 —

Medieval Italian life so fascinated Vronsky that he even wore a hat and flung a cloak over his shoulder in the medieval style, which, indeed, was extremely becoming to him.
瓦朗斯基对中世纪的意大利生活非常着迷，他甚至戴着一顶帽子，披着一件斗篷，按照中世纪的风格穿着，这样的装扮对他来说非常合适。

“Here we live, and know nothing of what’s going on,” Vronsky said to Golenishtchev as he came to see him one morning. —
“我们在这里生活，什么都不知道,“瓦朗斯基一早就来看他的时候对戈列尼什切夫说。 —

“Have you seen Mihailov’s picture?” he said, handing him a Russian gazette he had received that morning, and pointing to an article on a Russian artist, living in the very same town, and just finishing a picture which had long been talked about, and had been bought beforehand. —
“你看过米哈伊洛夫的画吗?” 他递给他一本他早上收到的俄罗斯报纸，并指着一篇关于一位俄罗斯艺术家的文章，这位艺术家居住在同一个城镇，他正在完成一幅长期以来备受关注的画作，这幅画作已经被人预先购买了。 —

The article reproached the government and the academy for letting so remarkable an artist be left without encouragement and support.
这篇文章对政府和学院批评，因为他们让这样一个杰出的艺术家没有得到鼓励和支持。

“I’ve seen it,” answered Golenishtchev. “Of course, he’s not without talent, but it’s all in a wrong direction. —
“我看过了，”戈列尼什切夫回答道。”当然，他不乏天赋，但他的方向错误。 —

It’s all the Ivanov-Strauss-Renan attitude to Christ and to religious painting.”
这都是伊凡诺夫-斯特劳斯-雷南对基督和宗教画的态度。

“What is the subject of the picture?” asked Anna.
“这幅画的主题是什么?” 安娜问道。

“Christ before Pilate. Christ is represented as a Jew with all the realism of the new school.”
“基督面对彼拉多。基督以新派画家的写实风格，以犹太人的形象展现。”

And the question of the subject of the picture having brought him to one of his favorite theories, Golenishtchev launched forth into a disquisition on it.
关于绘画题材的问题引发了他的一个钟爱的理论，戈列尼什切夫开始对此进行解说。

“I can’t understand how they can fall into such a gross mistake. —
“我无法理解他们如何能犯下如此低级的错误。 —

Christ always has His definite embodiment in the art of the great masters. —
伟大大师的艺术中，基督总是有着明确的具象形象。 —

And therefore, if they want to depict, not God, but a revolutionist or a sage, let them take from history a Socrates, a Franklin, a Charlotte Corday, but not Christ. —
因此，如果他们想描绘的不是上帝，而是一位革命者或智者，他们可以选择苏格拉底、富兰克林或夏洛特·科尔代等历史人物，但不能选择基督。 —

They take the very figure which cannot be taken for their art, and then…”
他们选择了那个他们的艺术不能接受的形象，然后……”

“And is it true that this Mihailov is in such poverty?” —
“迈哈洛夫真的如传闻中一样贫穷吗？” —

asked Vronsky, thinking that, as a Russian Maecenas, it was his duty to assist the artist regardless of whether the picture were good or bad.
弗朗斯基问道，认为作为一位俄罗斯的资助者，无论这幅画品质如何，都是他的责任去帮助这位艺术家。

“I should say not. He’s a remarkable portrait-painter. —
“当然不是。他是一位杰出的肖像画家。 —

Have you ever seen his portrait of Madame Vassiltchikova? —
你见过他为瓦西尔奇科娃夫人画的肖像吗？” —

But I believe he doesn’t care about painting any more portraits, and so very likely he is in want. —
但我相信他对继续画肖像不再在意，很有可能他现在很困顿。 —

I maintain that…”
我坚持认为……

“Couldn’t we ask him to paint a portrait of Anna Arkadyevna?” said Vronsky.
“我们能不能请他为安娜·阿卡狄耶芙娜画一幅肖像呢？”弗朗斯基问道。

“Why mine?” said Anna. “After yours I don’t want another portrait. —
“为什么是我的？”安娜说道，“在你画完之后，我不想再有第二张肖像。 —

Better have one of Annie” (so she called her baby girl). —
最好画一张安妮的” （她这样称呼她的女儿）。 —

“Here she is,” she added, looking out of the window at the handsome Italian nurse, who was carrying the child out into the garden, and immediately glancing unnoticed at Vronsky. —
“她在这儿”，她朝窗外望去，看着那位漂亮的意大利保姆，正将孩子带到花园里，同时不经意地瞥了弗朗斯基一眼。 —

The handsome nurse, from whom Vronsky was painting a head for his picture, was the one hidden grief in Anna’s life. —
这位漂亮的保姆是弗朗斯基正在为他的画作描绘头像的对象，她是安娜生活中隐藏的悲伤。 —

He painted with her as his model, admired her beauty and medievalism, and Anna dared not confess to herself that she was afraid of becoming jealous of this nurse, and was for that reason particularly gracious and condescending both to her and her little son. —
他以她为模特画作品，欣赏她的美丽和古老感，安娜不敢承认自己害怕因此变得嫉妒这位保姆，所以对她和她的小儿子特别亲切和睦。 —

Vronsky, too, glanced out of the window and into Anna’s eyes, and, turning at once to Golenishtchev, he said:
弗朗斯基也朝窗外望了一眼，看着安娜的眼睛，然后立刻转向戈列尼什切夫说：

“Do you know this Mihailov?”
“你认识这个米哈伊洛夫吗？”

“I have met him. But he’s a queer fish, and quite without breeding. —
“我见过他。但他是一个古怪的人，完全没有教养。” —

You know, one of those uncouth new people one’s so often coming across nowadays, One of those free-thinkers you know, who are reared d’emblee in theories of atheism, scepticism, and materialism. —
“你知道，这些时常出现的粗鲁的新人，那些自由思想者，他们在无神论、怀疑论和唯物主义的理论中长大。” —

In former days,” said Golenishtchev, not observing, or not willing to observe, that both Anna and Vronsky wanted to speak, “in former days the free-thinker was a man who had been brought up in ideas of religion, law, and morality, and only through conflict and struggle came to free-thought; —
“在过去的日子里，”戈列尼什切夫说道，他没有注意到或者不愿意注意到安娜和弗朗斯基想要说话，”自由思想者是那些受过宗教、法律和道德教育的人，而通过冲突和斗争才走向自由思想；” —

but now there has sprung up a new type of born free-thinkers who grow up without even having heard of principles of morality or of religion, of the existence of authorities, who grow up directly in ideas of negation in everything, that is to say, savages. —
“但现在出现了一种新型的天生自由思想者，他们在毫无道德原则或宗教存在的情况下长大，他们直接接受否定一切的思想，也就是说，野蛮人。” —

Well, he’s of that class. He’s the son, it appears, of some Moscow butler, and has never had any sort of bringing-up. —
“嗯，他就是那类人。据说他是一名莫斯科男仆的儿子，从来没有接受过任何教育。” —

When he got into the academy and made his reputation he tried, as he’s no fool, to educate himself. —
当他进入学院并建立起声誉后，他明智地努力自我教育。 —

And he turned to what seemed to him the very source of culture–the magazines. —
他转向了他看作是文化源泉的杂志。 —

In old times, you see, a man who wanted to educate himself–a Frenchman, for instance–would have set to work to study all the classics and theologians and tragedians and historiaris and philosophers, and, you know, all the intellectual work that came in his way. —
在旧时代，你知道，一个想要自我教育的人——比如一个法国人——会开始研究所有经典作品、神学家、悲剧作家、历史学家和哲学家的著作，以及他所碰到的所有知识性作品。 —

But in our day he goes straight for the literature of negation, very quickly assimilates all the extracts of the science of negation, and he’s ready. —
而在我们这个时代，他直接去追求否定的文学作品，很快吸收了所有否定科学的摘录，并变得准备就绪。 —

And that’s not all–twenty years ago he would have found in that literature traces of conflict with authorities, with the creeds of the ages; —
而且这还不是全部——二十年前，他会在那些作品中找到与权威、与时代信仰发生冲突的痕迹； —

he would have perceived from this conflict that there was something else; —
他会从这些冲突中感觉到还有其他的东西。 —

but now he comes at once upon a literature in which the old creeds do not even furnish matter for discussion, but it is stated baldly that there is nothing else–evolution, natural selection, struggle for existence–and that’s all. —
“但现在他突然接触到一本文学作品，其中旧信条甚至没有成为讨论的对象，但却直截了当地宣称除了进化、自然选择和生存斗争，没有其他东西。” —

In my article I’ve…”
“在我的文章中，我…”

“I tell you what,” said Anna, who had for a long while been exchanging wary glances with Vronsky, and knew that he was not in the least interested in the education of this artist, but was simply absorbed by the idea of assisting him, and ordering a portrait of him; —
“你听着，”安娜打断了戈列尼什切夫，她和弗朗斯基悄悄交换了一段时间的眼神，知道他对这位艺术家的教育毫无兴趣，只是被帮助他以及为他订制肖像画的想法所吸引，“我们去看他吧！” —

“I tell you what,” she said, resolutely interrupting Golenishtchev, who was still talking away, “let’s go and see him!”
“你听着，”她坚决打断了还在喋喋不休的戈列尼什切夫，“我们去看他！”

Golenishtchev recovered his self-possession and readily agreed. —
戈列尼什切夫恢复了镇定并欣然同意。 —

But as the artist lived in a remote suburb, it was decided to take the carriage.
但由于这位艺术家住在偏远的郊区，决定乘坐马车。

An hour later Anna, with Golenishtchev by her side and Vronsky on the front seat of the carriage, facing them, drove up to a new ugly house in the remote suburb. —
一个小时后，安娜坐在车中，戈列尼什切夫坐在她旁边，弗朗斯基坐在车头对着他们，他们驶向偏远郊区的一座新的丑陋建筑。 —

On learning from the porter’s wife, who came out to them, that Mihailov saw visitors at his studio, but that at that moment he was in his lodging only a couple of steps off, they sent her to him with their cards, asking permission to see his picture.
得知门房的妻子告诉他们，弥哈伊洛夫在他的工作室里看到了访客，但此刻他只是在不远处的住所里，他们给她留下了他们的名片，请求允许看他的画。