At the concert in the afternoon two very interesting things were performed. —
下午音乐会上有两个非常有趣的表演。 —

One was a fantasia, King Lear; the other was a quartette dedicated to the memory of Bach. Both were new and in the new style, and Levin was eager to form an opinion of them. —
一个是华丽舞曲”李尔王”，另一个是为巴赫的记忆而创作的四重奏。两者都是新的风格，列文渴望能对它们有个看法。 —

After escorting his sister-in-law to her stall, he stood against a column and tried to listen as attentively and conscientiously as possible. —
把妹妹姐夫带到他们的座位后，他站在柱子旁边，尽可能仔细专注地倾听。 —

He tried not to let his attention be distracted, and not to spoil his impression by looking at the conductor in a white tie, waving his arms, which always disturbed his enjoyment of music so much, or the ladies in bonnets, with strings carefully tied over their ears, and all these people either thinking of nothing at all or thinking of all sorts of things except the music. —
他试图不让自己的注意力分散，并且不让指挥员穿着白领结挥动手臂，因为这总是会干扰他对音乐的享受；或者不让那些系着帽带，细心盖住耳朵的女人们，和其他那些人一起，他们除了音乐外什么都想。 —

He tried to avoid meeting musical connoisseurs or talkative acquaintances, and stood looking at the floor straight before him, listening.

But the more he listened to the fantasia of Ring Lear the further he felt from forming any definite opinion of it. —
但他越听《李尔女王的幻想曲》，就越难以形成对它的明确意见。 —

There was, as it were, a continual beginning, a preparation of the musical expression of some feeling, but it fell to pieces again directly, breaking into new musical motives, or simply nothing but the whims of the composer, exceedingly complex but disconnected sounds. —
就像音乐表达某种感情的持续开始，但马上又分崩离析，分解成新的音乐动机，或者只是作曲家的奇想，非常复杂但毫无联系的声音。 —

And these fragmentary musical expressions, though sometimes beautiful, were disagreeable, because they were utterly unexpected and not led up to by anything. —
而这些零碎的音乐表达，有时虽然美丽，但令人不悦，因为它们完全是出人意料的，也没有任何引导。 —

Gaiety and grief and despair and tenderness and triumph followed one another without any connection, like the emotions of a madman. —
快乐、悲伤、绝望、柔情和胜利像疯子般在一起循环，毫无联系。 —

And those emotions, like a madman’s, sprang up quite unexpectedly.
而这些情绪，就像疯子一样，突然产生。

During the whole of the performance Levin felt like a deaf man watching people dancing, and was in a state of complete bewilderment when the fantasia was over, and felt a great weariness from the fruitless strain on his attention. —
在整个演出过程中，列文感觉自己像个聋子看着人们跳舞，完全困惑，当幻想曲结束时感到极度疲倦，因为他一直在无果的努力中绷紧注意力。 —

Loud applause resounded on all sides. Everyone got up, moved about, and began talking. —
周围响起了热烈的掌声。大家都站起来，四处走动着，开口交谈。 —

Anxious to throw some light on his own perplexity from the impressions of others, Levin began to walk about, looking for connoisseurs, and was glad to see a well-known musical amateur in conversation with Pestsov, whom he knew.
为了从他人的印象中澄明自己的困惑，列文开始四处走动，寻找行家。他很高兴看到他认识的一位著名音乐爱好者正在和皮斯特索夫交谈。

“Marvelous!” Pestsov was saying in his mellow bass. “How are you, Konstantin Dmitrievitch? —
“太棒了!“皮斯特索夫用他悦耳的低音说道， “你好，孔斯坦丁·德米特里耶维奇！ —

Particularly sculpturesque and plastic, so to say, and richly colored is that passage where you feel Cordelia’s approach, where woman, das ewig Weibliche, enters into conflict with fate. Isn’t it?”
特别雕塑般、富有色彩的是那一段你能感受到科黛莉娅的靠近，在那里女性、永恒的女性，与命运发生冲突。不是吗?”

“You mean…what has Cordelia to do with it?” —
“你是说…科黛莉娅与此有关吗?” —

Levin asked timidly, forgetting that the fantasia was supposed to represent King Lear.
列文小心翼翼地问道，忘记了这个幻想曲是代表着《李尔王》。

“Cordelia comes in…see here!” said Pestsov, tapping his finger on the satiny surface of the program he held in his hand and passing it to Levin.
“科黛莉娅出场了…看这里!“皮斯特索夫边敲着他手里光滑的节目单边递给列文。

Only then Levin recollected the title of the fantasia, and made haste to read in the Russian translation the lines from Shakespeare that were printed on the back of the program.
只有在那时列文才回想起这部幻想曲的标题，并迅速地阅读了印在程序背面的莎士比亚的诗句的俄文翻译。

“You can’t follow it without that,” said Pestsov, addressing Levin, as the person he had been speaking to had gone away, and he had no one to talk to.
“你如果没有那个，就无法理解它，” Pestsov对Levin说道，因为他曾经交谈过的人已经走了，他没有人可以讲话了。

In the entr’acte Levin and Pestsov fell into an argument upon the merits and defects of music of the Wagner school. —
在幕间休息时，Levin和Pestsov陷入一场关于瓦格纳学派音乐的优点和缺陷的争论中。 —

Levin maintained that the mistake of Wagner and all his followers lay in their trying to take music into the sphere of another art, just as poetry goes wrong when it tries to paint a face as the art of painting ought to do, and as an instance of this mistake he cited the sculptor who carved in marble certain poetic phantasms flitting round the figure of the poet on the pedestal. —
Levin坚持认为瓦格纳和他的追随者们犯了一个错误，就是他们试图将音乐引入另一种艺术领域，就像诗歌试图以绘画的方式描绘一张脸一样错误，作为这个错误的例子，他引述了雕塑家用大理石雕刻了一些围绕着雕像底座上诗人形象飞动的诗意幻影。 —

“These phantoms were so far from being phantoms that they were positively clinging on the ladder,” said Levin. The comparison pleased him, but he could not remember whether he had not used the same phrase before, and to Pestsov, too, and as he said it he felt confused.
“这些幻影远非幻影，它们实际上是紧贴在梯子上，”Levin说道。这个比喻让他很喜欢，但他想不起自己是否以前曾经用过同样的短语，对Pestsov也是如此，当他说这句话时，他感到困惑。

Pestsov maintained that art is one, and that it can attain its highest manifestations only by conjunction with all kinds of art.
佩斯特索夫认为艺术是统一的，并且只有通过与各种艺术的结合才能达到最高的表现。

The second piece that was performed Levin could not hear. —
列文无法听到第二首演奏的曲目。 —

Pestsov, who was standing beside him, was talking to him almost all the time, condemning the music for its excessive affected assumption of simplicity, and comparing it with the simplicity of the Pre-Raphaelites in painting. —
佩斯特索夫一直站在他旁边，几乎一直在跟他说话，批评这音乐过度做作却又夸张地追求简单，还将其与前拉斐尔派绘画的简洁相比。 —

As he went out Levin met many more acquaintances, with whom he talked of politics, of music, and of common acquaintances. —
当他走出去时，列文遇到了更多的熟人，他们谈论政治、音乐和共同认识的人。 —

Among others he met Count Bol, whom he had utterly forgotten to call upon.
他还见到了他完全忘记拜访的鲍尔伯爵。

“Well, go at once then,” Madame Lvova said, when he told her; —
“好吧，那你立刻去吧，”列沃娃夫人说道，当他告诉她后； —

“perhaps they’ll not be at home, and then you can come to the meeting to fetch me. —
“也许他们不在家，那样的话，你可以过来开会把我接走。 —

You’ll find me still there.”
你会在那里找到我。”