Anna Karenina

Chapter 1

Princess Shtcherbatskaya considered that it was out of the question for the wedding to take place before Lent, just five weeks off, since not half the trousseau could possibly be ready by that time. But she could not but agree with Levin that to fix it for after Lent would be putting it off too late, as an old aunt of Prince Shtcherbatsky's was seriously ill and might die, and then the mourning would delay the wedding still longer. And therefore, deciding to divide the trousseau into two parts--a larger and smaller trousseau--the princess consented to have the wedding before Lent. She determined that she would get the smaller part of the trousseau all ready now, and the larger part should be made later, and she was much vexed with Levin because he was incapable of giving her a serious answer to the question whether he agreed to this arrangement or not. The arrangement was the more suitable as, immediately after the wedding, the young people were to go to the country, where the more important part of the trousseau would not be wanted.

Levin still continued in the same delirious condition in which it seemed to him that he and his happiness constituted the chief and sole aim of all existence, and that he need not now think or care about anything, that everything was being done and would be done for him by others. He had not even plans and aims for the future, he left its arrangement to others, knowing that everything would be delightful. His brother Sergey Ivanovitch, Stepan Arkadyevitch, and the princess guided him in doing what he had to do. All he did was to agree entirely with everything suggested to him. His brother raised money for him, the princess advised him to leave Moscow after the wedding. Stepan Arkadyevitch advised him to go abroad. He agreed to everything. "Do what you choose, if it amuses you. I'm happy, and my happiness can be no greater and no less for anything you do," he thought. When he told Kitty of Stepan Arkadyevitch's advice that they should go abroad, he was much surprised that she did not agree to this, and had some definite requirements of her own in regard to their future. She knew Levin had work he loved in the country. She did not, as he saw, understand this work, she did not even care to understand it. But that did not prevent her from regarding it as a matter of great importance. And then she knew their home would be in the country, and she wanted to go, not abroad where she was not going to live, but to the place where their home would be. This definitely expressed purpose astonished Levin. But since he did not care either way, he immediately asked Stepan Arkadyevitch, as though it were his duty, to go down to the country and to arrange everything there to the best of his ability with the taste of which he had so much.

"But I say," Stepan Arkadyevitch said to him one day after he had come back from the country, where he had got everything ready for the young people's arrival, "have you a certificate of having been at confession?"

"No. But what of it?"

"You can't be married without it."

"_Aïe, aïe, aïe!_" cried Levin. "Why, I believe it's nine years since I've taken the sacrament! I never thought of it."

"You're a pretty fellow!" said Stepan Arkadyevitch laughing, "and you call me a Nihilist! But this won't do, you know. You must take the sacrament."

"When? There are four days left now."

Stepan Arkadyevitch arranged this also, and Levin had to go to confession. To Levin, as to any unbeliever who respects the beliefs of others, it was exceedingly disagreeable to be present at and take part in church ceremonies. At this moment, in his present softened state of feeling, sensitive to everything, this inevitable act of hypocrisy was not merely painful to Levin, it seemed to him utterly impossible. Now, in the heyday of his highest glory, his fullest flower, he would have to be a liar or a scoffer. He felt incapable of being either. But though he repeatedly plied Stepan Arkadyevitch with questions as to the possibility of obtaining a certificate without actually communicating, Stepan Arkadyevitch maintained that it was out of the question.

"Besides, what is it to you--two days? And he's an awfully nice clever old fellow. He'll pull the tooth out for you so gently, you won't notice it."

Standing at the first litany, Levin attempted to revive in himself his youthful recollections of the intense religious emotion he had passed through between the ages of sixteen and seventeen.

But he was at once convinced that it was utterly impossible to him. He attempted to look at it all as an empty custom, having no sort of meaning, like the custom of paying calls. But he felt that he could not do that either. Levin found himself, like the majority of his contemporaries, in the vaguest position in regard to religion. Believe he could not, and at the same time he had no firm conviction that it was all wrong. And consequently, not being able to believe in the significance of what he was doing nor to regard it with indifference as an empty formality, during the whole period of preparing for the sacrament he was conscious of a feeling of discomfort and shame at doing what he did not himself understand, and what, as an inner voice told him, was therefore false and wrong.

During the service he would first listen to the prayers, trying to attach some meaning to them not discordant with his own views; then feeling that he could not understand and must condemn them, he tried not to listen to them, but to attend to the thoughts, observations, and memories which floated through his brain with extreme vividness during this idle time of standing in church.

He had stood through the litany, the evening service and the midnight service, and the next day he got up earlier than usual, and without having tea went at eight o'clock in the morning to the church for the morning service and the confession.

There was no one in the church but a beggar soldier, two old women, and the church officials. A young deacon, whose long back showed in two distinct halves through his thin undercassock, met him, and at once going to a little table at the wall read the exhortation. During the reading, especially at the frequent and rapid repetition of the same words, "Lord, have mercy on us!" which resounded with an echo, Levin felt that thought was shut and sealed up, and that it must not be touched or stirred now or confusion would be the result; and so standing behind the deacon he went on thinking of his own affairs, neither listening nor examining what was said. "It's wonderful what expression there is in her hand," he thought, remembering how they had been sitting the day before at a corner table. They had nothing to talk about, as was almost always the case at this time, and laying her hand on the table she kept opening and shutting it, and laughed herself as she watched her action. He remembered how he had kissed it and then had examined the lines on the pink palm. "Have mercy on us again!" thought Levin, crossing himself, bowing, and looking at the supple spring of the deacon's back bowing before him. "She took my hand then and examined the lines 'You've got a splendid hand,' she said." And he looked at his own hand and the short hand of the deacon. "Yes, now it will soon be over," he thought. "No, it seems to be beginning again," he thought, listening to the prayers. "No, it's just ending: there he is bowing down to the ground. That's always at the end."

The deacon's hand in a plush cuff accepted a three-rouble note unobtrusively, and the deacon said he would put it down in the register, and his new boots creaking jauntily over the flagstones of the empty church, he went to the altar. A moment later he peeped out thence and beckoned to Levin. Thought, till then locked up, began to stir in Levin's head, but he made haste to drive it away. "It will come right somehow," he thought, and went towards the altar-rails. He went up the steps, and turning to the right saw the priest. The priest, a little old man with a scanty grizzled beard and weary, good-natured eyes, was standing at the altar-rails, turning over the pages of a missal. With a slight bow to Levin he began immediately reading prayers in the official voice. When he had finished them he bowed down to the ground and turned, facing Levin.

"Christ is present here unseen, receiving your confession," he said, pointing to the crucifix. "Do you believe in all the doctrines of the Holy Apostolic Church?" the priest went on, turning his eyes away from Levin's face and folding his hands under his stole.

"I have doubted, I doubt everything," said Levin in a voice that jarred on himself, and he ceased speaking.

The priest waited a few seconds to see if he would not say more, and closing his eyes he said quickly, with a broad, Vladimirsky accent:

"Doubt is natural to the weakness of mankind, but we must pray that God in His mercy will strengthen us. What are your special sins?" he added, without the slightest interval, as though anxious not to waste time.

"My chief sin is doubt. I have doubts of everything, and for the most part I am in doubt."

"Doubt is natural to the weakness of mankind," the priest repeated the same words. "What do you doubt about principally?"

"I doubt of everything. I sometimes even have doubts of the existence of God," Levin could not help saying, and he was horrified at the impropriety of what he was saying. But Levin's words did not, it seemed, make much impression on the priest.

"What sort of doubt can there be of the existence of God?" he said hurriedly, with a just perceptible smile.

Levin did not speak.

"What doubt can you have of the Creator when you behold His creation?" the priest went on in the rapid customary jargon. "Who has decked the heavenly firmament with its lights? Who has clothed the earth in its beauty? How explain it without the Creator?" he said, looking inquiringly at Levin.

Levin felt that it would be improper to enter upon a metaphysical discussion with the priest, and so he said in reply merely what was a direct answer to the question.

"I don't know," he said.

"You don't know! Then how can you doubt that God created all?" the priest said, with good-humored perplexity.

"I don't understand it at all," said Levin, blushing, and feeling that his words were stupid, and that they could not be anything but stupid in such a position.

"Pray to God and beseech Him. Even the holy fathers had doubts, and prayed to God to strengthen their faith. The devil has great power, and we must resist him. Pray to God, beseech Him. Pray to God," he repeated hurriedly.

The priest paused for some time, as though meditating.

"You're about, I hear, to marry the daughter of my parishioner and son in the spirit, Prince Shtcherbatsky?" he resumed, with a smile. "An excellent young lady."

"Yes," answered Levin, blushing for the priest. "What does he want to ask me about this at confession for?" he thought.

And, as though answering his thought, the priest said to him:

"You are about to enter into holy matrimony, and God may bless you with offspring. Well, what sort of bringing-up can you give your babes if you do not overcome the temptation of the devil, enticing you to infidelity?" he said, with gentle reproachfulness. "If you love your child as a good father, you will not desire only wealth, luxury, honor for your infant; you will be anxious for his salvation, his spiritual enlightenment with the light of truth. Eh? What answer will you make him when the innocent babe asks you: 'Papa! who made all that enchants me in this world--the earth, the waters, the sun, the flowers, the grass?' Can you say to him: 'I don't know'? You cannot but know, since the Lord God in His infinite mercy has revealed it to us. Or your child will ask you: 'What awaits me in the life beyond the tomb?' What will you say to him when you know nothing? How will you answer him? Will you leave him to the allurements of the world and the devil? That's not right," he said, and he stopped, putting his head on one side and looking at Levin with his kindly, gentle eyes.

Levin made no answer this time, not because he did not want to enter upon a discussion with the priest, but because, so far, no one had ever asked him such questions, and when his babes did ask him those questions, it would be time enough to think about answering them.

"You are entering upon a time of life," pursued the priest, "when you must choose your path and keep to it. Pray to God that He may in His mercy aid you and have mercy on you!" he concluded. "Our Lord and God, Jesus Christ, in the abundance and riches of His lovingkindness, forgives this child..." and, finishing the prayer of absolution, the priest blessed him and dismissed him.

On getting home that day, Levin had a delightful sense of relief at the awkward position being over and having been got through without his having to tell a lie. Apart from this, there remained a vague memory that what the kind, nice old fellow had said had not been at all so stupid as he had fancied at first, and that there was something in it that must be cleared up.

"Of course, not now," thought Levin, "but some day later on." Levin felt more than ever now that there was something not clear and not clean in his soul, and that, in regard to religion, he was in the same position which he perceived so clearly and disliked in others, and for which he blamed his friend Sviazhsky.

Levin spent that evening with his betrothed at Dolly's, and was in very high spirits. To explain to Stepan Arkadyevitch the state of excitement in which he found himself, he said that he was happy like a dog being trained to jump through a hoop, who, having at last caught the idea, and done what was required of him, whines and wags its tail, and jumps up to the table and the windows in its delight.

Chapter 2

On the day of the wedding, according to the Russian custom (the princess and Darya Alexandrovna insisted on strictly keeping all the customs), Levin did not see his betrothed, and dined at his hotel with three bachelor friends, casually brought together at his rooms. These were Sergey Ivanovitch, Katavasov, a university friend, now professor of natural science, whom Levin had met in the street and insisted on taking home with him, and Tchirikov, his best man, a Moscow conciliation-board judge, Levin's companion in his bear-hunts. The dinner was a very merry one: Sergey Ivanovitch was in his happiest mood, and was much amused by Katavasov's originality. Katavasov, feeling his originality was appreciated and understood, made the most of it. Tchirikov always gave a lively and good-humored support to conversation of any sort.

"See, now," said Katavasov, drawling his words from a habit acquired in the lecture-room, "what a capable fellow was our friend Konstantin Dmitrievitch. I'm not speaking of present company, for he's absent. At the time he left the university he was fond of science, took an interest in humanity; now one-half of his abilities is devoted to deceiving himself, and the other to justifying the deceit."

"A more determined enemy of matrimony than you I never saw," said Sergey Ivanovitch.

"Oh, no, I'm not an enemy of matrimony. I'm in favor of division of labor. People who can do nothing else ought to rear people while the rest work for their happiness and enlightenment. That's how I look at it. To muddle up two trades is the error of the amateur; I'm not one of their number."

"How happy I shall be when I hear that you're in love!" said Levin. "Please invite me to the wedding."

"I'm in love now."

"Yes, with a cuttlefish! You know," Levin turned to his brother, "Mihail Semyonovitch is writing a work on the digestive organs of the..."

"Now, make a muddle of it! It doesn't matter what about. And the fact is, I certainly do love cuttlefish."

"But that's no hindrance to your loving your wife."

"The cuttlefish is no hindrance. The wife is the hindrance."

"Why so?"

"Oh, you'll see! You care about farming, hunting,--well, you'd better look out!"

"Arhip was here today; he said there were a lot of elks in Prudno, and two bears," said Tchirikov.

"Well, you must go and get them without me."

"Ah, that's the truth," said Sergey Ivanovitch. "And you may say good-bye to bear-hunting for the future--your wife won't allow it!"

Levin smiled. The picture of his wife not letting him go was so pleasant that he was ready to renounce the delights of looking upon bears forever.

"Still, it's a pity they should get those two bears without you. Do you remember last time at Hapilovo? That was a delightful hunt!" said Tchirikov.

Levin had not the heart to disillusion him of the notion that there could be something delightful apart from her, and so said nothing.

"There's some sense in this custom of saying good-bye to bachelor life," said Sergey Ivanovitch. "However happy you may be, you must regret your freedom."

"And confess there is a feeling that you want to jump out of the window, like Gogol's bridegroom?"

"Of course there is, but it isn't confessed," said Katavasov, and he broke into loud laughter.

"Oh, well, the window's open. Let's start off this instant to Tver! There's a big she-bear; one can go right up to the lair. Seriously, let's go by the five o'clock! And here let them do what they like," said Tchirikov, smiling.

"Well, now, on my honor," said Levin, smiling, "I can't find in my heart that feeling of regret for my freedom."

"Yes, there's such a chaos in your heart just now that you can't find anything there," said Katavasov. "Wait a bit, when you set it to rights a little, you'll find it!"

"No; if so, I should have felt a little, apart from my feeling" (he could not say love before them) "and happiness, a certain regret at losing my freedom.... On the contrary, I am glad at the very loss of my freedom."

"Awful! It's a hopeless case!" said Katavasov. "Well, let's drink to his recovery, or wish that a hundredth part of his dreams may be realized--and that would be happiness such as never has been seen on earth!"

Soon after dinner the guests went away to be in time to be dressed for the wedding.

When he was left alone, and recalled the conversation of these bachelor friends, Levin asked himself: had he in his heart that regret for his freedom of which they had spoken? He smiled at the question. "Freedom! What is freedom for? Happiness is only in loving and wishing her wishes, thinking her thoughts, that is to say, not freedom at all--that's happiness!"

"But do I know her ideas, her wishes, her feelings?" some voice suddenly whispered to him. The smile died away from his face, and he grew thoughtful. And suddenly a strange feeling came upon him. There came over him a dread and doubt--doubt of everything.

"What if she does not love me? What if she's marrying me simply to be married? What if she doesn't see herself what she's doing?" he asked himself. "She may come to her senses, and only when she is being married realize that she does not and cannot love me." And strange, most evil thoughts of her began to come to him. He was jealous of Vronsky, as he had been a year ago, as though the evening he had seen her with Vronsky had been yesterday. He suspected she had not told him everything.

He jumped up quickly. "No, this can't go on!" he said to himself in despair. "I'll go to her; I'll ask her; I'll say for the last time: we are free, and hadn't we better stay so? Anything's better than endless misery, disgrace, unfaithfulness!" With despair in his heart and bitter anger against all men, against himself, against her, he went out of the hotel and drove to her house.

He found her in one of the back rooms. She was sitting on a chest and making some arrangements with her maid, sorting over heaps of dresses of different colors, spread on the backs of chairs and on the floor.

"Ah!" she cried, seeing him, and beaming with delight. "Kostya! Konstantin Dmitrievitch!" (These latter days she used these names almost alternately.) "I didn't expect you! I'm going through my wardrobe to see what's for whom..."

"Oh! that's very nice!" he said gloomily, looking at the maid.

"You can go, Dunyasha, I'll call you presently," said Kitty. "Kostya, what's the matter?" she asked, definitely adopting this familiar name as soon as the maid had gone out. She noticed his strange face, agitated and gloomy, and a panic came over her.

"Kitty! I'm in torture. I can't suffer alone," he said with despair in his voice, standing before her and looking imploringly into her eyes. He saw already from her loving, truthful face, that nothing could come of what he had meant to say, but yet he wanted her to reassure him herself. "I've come to say that there's still time. This can all be stopped and set right."

"What? I don't understand. What is the matter?"

"What I have said a thousand times over, and can't help thinking ...that I'm not worthy of you. You couldn't consent to marry me. Think a little. You've made a mistake. Think it over thoroughly. You can't love me.... If...better say so," he said, not looking at her. "I shall be wretched. Let people say what they like; anything's better than misery.... Far better now while there's still time...."

"I don't understand," she answered, panic-stricken; "you mean you want to give it up...don't want it?"

"Yes, if you don't love me."

"You're out of your mind!" she cried, turning crimson with vexation. But his face was so piteous, that she restrained her vexation, and flinging some clothes off an arm-chair, she sat down beside him. "What are you thinking? tell me all."

"I am thinking you can't love me. What can you love me for?"

"My God! what can I do?..." she said, and burst into tears.

"Oh! what have I done?" he cried, and kneeling before her, he fell to kissing her hands.

When the princess came into the room five minutes later, she found them completely reconciled. Kitty had not simply assured him that she loved him, but had gone so far--in answer to his question, what she loved him for--as to explain what for. She told him that she loved him because she understood him completely, because she knew what he would like, and because everything he liked was good. And this seemed to him perfectly clear. When the princess came to them, they were sitting side by side on the chest, sorting the dresses and disputing over Kitty's wanting to give Dunyasha the brown dress she had been wearing when Levin proposed to her, while he insisted that that dress must never be given away, but Dunyasha must have the blue one.

"How is it you don't see? She's a brunette, and it won't suit her.... I've worked it all out."

Hearing why he had come, the princess was half humorously, half seriously angry with him, and sent him home to dress and not to hinder Kitty's hair-dressing, as Charles the hair-dresser was just coming.

"As it is, she's been eating nothing lately and is losing her looks, and then you must come and upset her with your nonsense," she said to him. "Get along with you, my dear!"

Levin, guilty and shamefaced, but pacified, went back to his hotel. His brother, Darya Alexandrovna, and Stepan Arkadyevitch, all in full dress, were waiting for him to bless him with the holy picture. There was no time to lose. Darya Alexandrovna had to drive home again to fetch her curled and pomaded son, who was to carry the holy pictures after the bride. Then a carriage had to be sent for the best man, and another that would take Sergey Ivanovitch away would have to be sent back.... Altogether there were a great many most complicated matters to be considered and arranged. One thing was unmistakable, that there must be no delay, as it was already half-past six.

Nothing special happened at the ceremony of benediction with the holy picture. Stepan Arkadyevitch stood in a comically solemn pose beside his wife, took the holy picture, and telling Levin to bow down to the ground, he blessed him with his kindly, ironical smile, and kissed him three times; Darya Alexandrovna did the same, and immediately was in a hurry to get off, and again plunged into the intricate question of the destinations of the various carriages.

"Come, I'll tell you how we'll manage: you drive in our carriage to fetch him, and Sergey Ivanovitch, if he'll be so good, will drive there and then send his carriage."

"Of course; I shall be delighted."

"We'll come on directly with him. Are your things sent off?" said Stepan Arkadyevitch.

"Yes," answered Levin, and he told Kouzma to put out his clothes for him to dress.

Chapter 3

A crowd of people, principally women, was thronging round the church lighted up for the wedding. Those who had not succeeded in getting into the main entrance were crowding about the windows, pushing, wrangling, and peeping through the gratings.

More than twenty carriages had already been drawn up in ranks along the street by the police. A police officer, regardless of the frost, stood at the entrance, gorgeous in his uniform. More carriages were continually driving up, and ladies wearing flowers and carrying their trains, and men taking off their helmets or black hats kept walking into the church. Inside the church both lusters were already lighted, and all the candles before the holy pictures. The gilt on the red ground of the holy picture-stand, and the gilt relief on the pictures, and the silver of the lusters and candlesticks, and the stones of the floor, and the rugs, and the banners above in the choir, and the steps of the altar, and the old blackened books, and the cassocks and surplices--all were flooded with light. On the right side of the warm church, in the crowd of frock coats and white ties, uniforms and broadcloth, velvet, satin, hair and flowers, bare shoulders and arms and long gloves, there was discreet but lively conversation that echoed strangely in the high cupola. Every time there was heard the creak of the opened door the conversation in the crowd died away, and everybody looked round expecting to see the bride and bridegroom come in. But the door had opened more than ten times, and each time it was either a belated guest or guests, who joined the circle of the invited on the right, or a spectator, who had eluded or softened the police officer, and went to join the crowd of outsiders on the left. Both the guests and the outside public had by now passed through all the phases of anticipation.

At first they imagined that the bride and bridegroom would arrive immediately, and attached no importance at all to their being late. Then they began to look more and more often towards the door, and to talk of whether anything could have happened. Then the long delay began to be positively discomforting, and relations and guests tried to look as if they were not thinking of the bridegroom but were engrossed in conversation.

The head deacon, as though to remind them of the value of his time, coughed impatiently, making the window-panes quiver in their frames. In the choir the bored choristers could be heard trying their voices and blowing their noses. The priest was continually sending first the beadle and then the deacon to find out whether the bridegroom had not come, more and more often he went himself, in a lilac vestment and an embroidered sash, to the side door, expecting to see the bridegroom. At last one of the ladies, glancing at her watch, said, "It really is strange, though!" and all the guests became uneasy and began loudly expressing their wonder and dissatisfaction. One of the bridegroom's best men went to find out what had happened. Kitty meanwhile had long ago been quite ready, and in her white dress and long veil and wreath of orange blossoms she was standing in the drawing-room of the Shtcherbatskys' house with her sister, Madame Lvova, who was her bridal-mother. She was looking out of the window, and had been for over half an hour anxiously expecting to hear from the best man that her bridegroom was at the church.

Levin meanwhile, in his trousers, but without his coat and waistcoat, was walking to and fro in his room at the hotel, continually putting his head out of the door and looking up and down the corridor. But in the corridor there was no sign of the person he was looking for and he came back in despair, and frantically waving his hands addressed Stepan Arkadyevitch, who was smoking serenely.

"Was ever a man in such a fearful fool's position?" he said.

"Yes, it is stupid," Stepan Arkadyevitch assented, smiling soothingly. "But don't worry, it'll be brought directly."

"No, what is to be done!" said Levin, with smothered fury. "And these fools of open waistcoats! Out of the question!" he said, looking at the crumpled front of his shirt. "And what if the things have been taken on to the railway station!" he roared in desperation.

"Then you must put on mine."

"I ought to have done so long ago, if at all."

"It's not nice to look ridiculous.... Wait a bit! it will _come round_."

The point was that when Levin asked for his evening suit, Kouzma, his old servant, had brought him the coat, waistcoat, and everything that was wanted.

"But the shirt!" cried Levin.

"You've got a shirt on," Kouzma answered, with a placid smile.

Kouzma had not thought of leaving out a clean shirt, and on receiving instructions to pack up everything and send it round to the Shtcherbatskys' house, from which the young people were to set out the same evening, he had done so, packing everything but the dress suit. The shirt worn since the morning was crumpled and out of the question with the fashionable open waistcoat. It was a long way to send to the Shtcherbatskys'. They sent out to buy a shirt. The servant came back; everything was shut up--it was Sunday. They sent to Stepan Arkadyevitch's and brought a shirt--it was impossibly wide and short. They sent finally to the Shtcherbatskys' to unpack the things. The bridegroom was expected at the church while he was pacing up and down his room like a wild beast in a cage, peeping out into the corridor, and with horror and despair recalling what absurd things he had said to Kitty and what she might be thinking now.

At last the guilty Kouzma flew panting into the room with the shirt.

"Only just in time. They were just lifting it into the van," said Kouzma.

Three minutes later Levin ran full speed into the corridor, not looking at his watch for fear of aggravating his sufferings.

"You won't help matters like this," said Stepan Arkadyevitch with a smile, hurrying with more deliberation after him. "It will come round, it will come round...I tell you."

Chapter 4

"They've come!" "Here he is!" "Which one?" "Rather young, eh?" "Why, my dear soul, she looks more dead than alive!" were the comments in the crowd, when Levin, meeting his bride in the entrance, walked with her into the church.

Stepan Arkadyevitch told his wife the cause of the delay, and the guests were whispering it with smiles to one another. Levin saw nothing and no one; he did not take his eyes off his bride.

Everyone said she had lost her looks dreadfully of late, and was not nearly so pretty on her wedding day as usual; but Levin did not think so. He looked at her hair done up high, with the long white veil and white flowers and the high, stand-up, scalloped collar, that in such a maidenly fashion hid her long neck at the sides and only showed it in front, her strikingly slender figure, and it seemed to him that she looked better than ever--not because these flowers, this veil, this gown from Paris added anything to her beauty; but because, in spite of the elaborate sumptuousness of her attire, the expression of her sweet face, of her eyes, of her lips was still her own characteristic expression of guileless truthfulness.

"I was beginning to think you meant to run away," she said, and smiled to him.

"It's so stupid, what happened to me, I'm ashamed to speak of it!" he said, reddening, and he was obliged to turn to Sergey Ivanovitch, who came up to him.

"This is a pretty story of yours about the shirt!" said Sergey Ivanovitch, shaking his head and smiling.

"Yes, yes!" answered Levin, without an idea of what they were talking about.

"Now, Kostya, you have to decide," said Stepan Arkadyevitch with an air of mock dismay, "a weighty question. You are at this moment just in the humor to appreciate all its gravity. They ask me, are they to light the candles that have been lighted before or candles that have never been lighted? It's a matter of ten roubles," he added, relaxing his lips into a smile. "I have decided, but I was afraid you might not agree."

Levin saw it was a joke, but he could not smile.

"Well, how's it to be then?--unlighted or lighted candles? that's the question."

"Yes, yes, unlighted."

"Oh, I'm very glad. The question's decided!" said Stepan Arkadyevitch, smiling. "How silly men are, though, in this position," he said to Tchirikov, when Levin, after looking absently at him, had moved back to his bride.

"Kitty, mind you're the first to step on the carpet," said Countess Nordston, coming up. "You're a nice person!" she said to Levin.

"Aren't you frightened, eh?" said Marya Dmitrievna, an old aunt.

"Are you cold? You're pale. Stop a minute, stoop down," said Kitty's sister, Madame Lvova, and with her plump, handsome arms she smilingly set straight the flowers on her head.

Dolly came up, tried to say something, but could not speak, cried, and then laughed unnaturally.

Kitty looked at all of them with the same absent eyes as Levin.

Meanwhile the officiating clergy had got into their vestments, and the priest and deacon came out to the lectern, which stood in the forepart of the church. The priest turned to Levin saying something. Levin did not hear what the priest said.

"Take the bride's hand and lead her up," the best man said to Levin.

It was a long while before Levin could make out what was expected of him. For a long time they tried to set him right and made him begin again--because he kept taking Kitty by the wrong arm or with the wrong arm--till he understood at last that what he had to do was, without changing his position, to take her right hand in his right hand. When at last he had taken the bride's hand in the correct way, the priest walked a few paces in front of them and stopped at the lectern. The crowd of friends and relations moved after them, with a buzz of talk and a rustle of skirts. Someone stooped down and pulled out the bride's train. The church became so still that the drops of wax could be heard falling from the candles.

The little old priest in his ecclesiastical cap, with his long silvery-gray locks of hair parted behind his ears, was fumbling with something at the lectern, putting out his little old hands from under the heavy silver vestment with the gold cross on the back of it.

Stepan Arkadyevitch approached him cautiously, whispered something, and making a sign to Levin, walked back again.

The priest lighted two candles, wreathed with flowers, and holding them sideways so that the wax dropped slowly from them he turned, facing the bridal pair. The priest was the same old man that had confessed Levin. He looked with weary and melancholy eyes at the bride and bridegroom, sighed, and putting his right hand out from his vestment, blessed the bridegroom with it, and also with a shade of solicitous tenderness laid the crossed fingers on the bowed head of Kitty. Then he gave them the candles, and taking the censer, moved slowly away from them.

"Can it be true?" thought Levin, and he looked round at his bride. Looking down at her he saw her face in profile, and from the scarcely perceptible quiver of her lips and eyelashes he knew she was aware of his eyes upon her. She did not look round, but the high scalloped collar, that reached her little pink ear, trembled faintly. He saw that a sigh was held back in her throat, and the little hand in the long glove shook as it held the candle.

All the fuss of the shirt, of being late, all the talk of friends and relations, their annoyance, his ludicrous position--all suddenly passed away and he was filled with joy and dread.

The handsome, stately head-deacon wearing a silver robe and his curly locks standing out at each side of his head, stepped smartly forward, and lifting his stole on two fingers, stood opposite the priest.

"Blessed be the name of the Lord," the solemn syllables rang out slowly one after another, setting the air quivering with waves of sound.

"Blessed is the name of our God, from the beginning, is now, and ever shall be," the little old priest answered in a submissive, piping voice, still fingering something at the lectern. And the full chorus of the unseen choir rose up, filling the whole church, from the windows to the vaulted roof, with broad waves of melody. It grew stronger, rested for an instant, and slowly died away.

They prayed, as they always do, for peace from on high and for salvation, for the Holy Synod, and for the Tsar; they prayed, too, for the servants of God, Konstantin and Ekaterina, now plighting their troth.

"Vouchsafe to them love made perfect, peace and help, O Lord, we beseech Thee," the whole church seemed to breathe with the voice of the head deacon.

Levin heard the words, and they impressed him. "How did they guess that it is help, just help that one wants?" he thought, recalling all his fears and doubts of late. "What do I know? what can I do in this fearful business," he thought, "without help? Yes, it is help I want now."

When the deacon had finished the prayer for the Imperial family, the priest turned to the bridal pair with a book: "Eternal God, that joinest together in love them that were separate," he read in a gentle, piping voice: "who hast ordained the union of holy wedlock that cannot be set asunder, Thou who didst bless Isaac and Rebecca and their descendants, according to Thy Holy Covenant; bless Thy servants, Konstantin and Ekaterina, leading them in the path of all good works. For gracious and merciful art Thou, our Lord, and glory be to Thee, the Father, the Son, and the Holy Ghost, now and ever shall be."

"Amen!" the unseen choir sent rolling again upon the air.

"'Joinest together in love them that were separate.' What deep meaning in those words, and how they correspond with what one feels at this moment," thought Levin. "Is she feeling the same as I?"

And looking round, he met her eyes, and from their expression he concluded that she was understanding it just as he was. But this was a mistake; she almost completely missed the meaning of the words of the service; she had not heard them, in fact. She could not listen to them and take them in, so strong was the one feeling that filled her breast and grew stronger and stronger. That feeling was joy at the completion of the process that for the last month and a half had been going on in her soul, and had during those six weeks been a joy and a torture to her. On the day when in the drawing room of the house in Arbaty Street she had gone up to him in her brown dress, and given herself to him without a word--on that day, at that hour, there took place in her heart a complete severance from all her old life, and a quite different, new, utterly strange life had begun for her, while the old life was actually going on as before. Those six weeks had for her been a time of the utmost bliss and the utmost misery. All her life, all her desires and hopes were concentrated on this one man, still uncomprehended by her, to whom she was bound by a feeling of alternate attraction and repulsion, even less comprehended than the man himself, and all the while she was going on living in the outward conditions of her old life. Living the old life, she was horrified at herself, at her utter insurmountable callousness to all her own past, to things, to habits, to the people she had loved, who loved her--to her mother, who was wounded by her indifference, to her kind, tender father, till then dearer than all the world. At one moment she was horrified at this indifference, at another she rejoiced at what had brought her to this indifference. She could not frame a thought, not a wish apart from life with this man; but this new life was not yet, and she could not even picture it clearly to herself. There was only anticipation, the dread and joy of the new and the unknown. And now behold--anticipation and uncertainty and remorse at the abandonment of the old life--all was ending, and the new was beginning. This new life could not but have terrors for her inexperience; but, terrible or not, the change had been wrought six weeks before in her soul, and this was merely the final sanction of what had long been completed in her heart.

Turning again to the lectern, the priest with some difficulty took Kitty's little ring, and asking Levin for his hand, put it on the first joint of his finger. "The servant of God, Konstantin, plights his troth to the servant of God, Ekaterina." And putting his big ring on Kitty's touchingly weak, pink little finger, the priest said the same thing.

And the bridal pair tried several times to understand what they had to do, and each time made some mistake and were corrected by the priest in a whisper. At last, having duly performed the ceremony, having signed the rings with the cross, the priest handed Kitty the big ring, and Levin the little one. Again they were puzzled, and passed the rings from hand to hand, still without doing what was expected.

Dolly, Tchirikov, and Stepan Arkadyevitch stepped forward to set them right. There was an interval of hesitation, whispering, and smiles; but the expression of solemn emotion on the faces of the betrothed pair did not change: on the contrary, in their perplexity over their hands they looked more grave and deeply moved than before, and the smile with which Stepan Arkadyevitch whispered to them that now they would each put on their own ring died away on his lips. He had a feeling that any smile would jar on them.

"Thou who didst from the beginning create male and female," the priest read after the exchange of rings, "from Thee woman was given to man to be a helpmeet to him, and for the procreation of children. O Lord, our God, who hast poured down the blessings of Thy Truth according to Thy Holy Covenant upon Thy chosen servants, our fathers, from generation to generation, bless Thy servants Konstantin and Ekaterina, and make their troth fast in faith, and union of hearts, and truth, and love...."

Levin felt more and more that all his ideas of marriage, all his dreams of how he would order his life, were mere childishness, and that it was something he had not understood hitherto, and now understood less than ever, though it was being performed upon him. The lump in his throat rose higher and higher, tears that would not be checked came into his eyes.

Chapter 5

In the church there was all Moscow, all the friends and relations; and during the ceremony of plighting troth, in the brilliantly lighted church, there was an incessant flow of discreetly subdued talk in the circle of gaily dressed women and girls, and men in white ties, frockcoats, and uniforms. The talk was principally kept up by the men, while the women were absorbed in watching every detail of the ceremony, which always means so much to them.

In the little group nearest to the bride were her two sisters: Dolly, and the other one, the self-possessed beauty, Madame Lvova, who had just arrived from abroad.

"Why is it Marie's in lilac, as bad as black, at a wedding?" said Madame Korsunskaya.

"With her complexion, it's the one salvation," responded Madame Trubetskaya. "I wonder why they had the wedding in the evening? It's like shop-people..."

"So much prettier. I was married in the evening too..." answered Madame Korsunskaya, and she sighed, remembering how charming she had been that day, and how absurdly in love her husband was, and how different it all was now.

"They say if anyone's best man more than ten times, he'll never be married. I wanted to be for the tenth time, but the post was taken," said Count Siniavin to the pretty Princess Tcharskaya, who had designs on him.

Princess Tcharskaya only answered with a smile. She looked at Kitty, thinking how and when she would stand with Count Siniavin in Kitty's place, and how she would remind him then of his joke today.

Shtcherbatsky told the old maid of honor, Madame Nikolaeva, that he meant to put the crown on Kitty's chignon for luck.

"She ought not to have worn a chignon," answered Madame Nikolaeva, who had long ago made up her mind that if the elderly widower she was angling for married her, the wedding should be of the simplest. "I don't like such grandeur."

Sergey Ivanovitch was talking to Darya Dmitrievna, jestingly assuring her that the custom of going away after the wedding was becoming common because newly married people always felt a little ashamed of themselves.

"Your brother may feel proud of himself. She's a marvel of sweetness. I believe you're envious."

"Oh, I've got over that, Darya Dmitrievna," he answered, and a melancholy and serious expression suddenly came over his face.

Stepan Arkadyevitch was telling his sister-in-law his joke about divorce.

"The wreath wants setting straight," she answered, not hearing him.

"What a pity she's lost her looks so," Countess Nordston said to Madame Lvova. "Still he's not worth her little finger, is he?"

"Oh, I like him so--not because he's my future _beau-frère_," answered Madame Lvova. "And how well he's behaving! It's so difficult, too, to look well in such a position, not to be ridiculous. And he's not ridiculous, and not affected; one can see he's moved."

"You expected it, I suppose?"

"Almost. She always cared for him."

"Well, we shall see which of them will step on the rug first. I warned Kitty."

"It will make no difference," said Madame Lvova; "we're all obedient wives; it's in our family."

"Oh, I stepped on the rug before Vassily on purpose. And you, Dolly?"

Dolly stood beside them; she heard them, but she did not answer. She was deeply moved. The tears stood in her eyes, and she could not have spoken without crying. She was rejoicing over Kitty and Levin; going back in thought to her own wedding, she glanced at the radiant figure of Stepan Arkadyevitch, forgot all the present, and remembered only her own innocent love. She recalled not herself only, but all her women-friends and acquaintances. She thought of them on the one day of their triumph, when they had stood like Kitty under the wedding crown, with love and hope and dread in their hearts, renouncing the past, and stepping forward into the mysterious future. Among the brides that came back to her memory, she thought too of her darling Anna, of whose proposed divorce she had just been hearing. And she had stood just as innocent in orange flowers and bridal veil. And now? "It's terribly strange," she said to herself. It was not merely the sisters, the women-friends and female relations of the bride who were following every detail of the ceremony. Women who were quite strangers, mere spectators, were watching it excitedly, holding their breath, in fear of losing a single movement or expression of the bride and bridegroom, and angrily not answering, often not hearing, the remarks of the callous men, who kept making joking or irrelevant observations.

"Why has she been crying? Is she being married against her will?"

"Against her will to a fine fellow like that? A prince, isn't he?"

"Is that her sister in the white satin? Just listen how the deacon booms out, 'And fearing her husband.'"

"Are the choristers from Tchudovo?"

"No, from the Synod."

"I asked the footman. He says he's going to take her home to his country place at once. Awfully rich, they say. That's why she's being married to him."

"No, they're a well-matched pair."

"I say, Marya Vassilievna, you were making out those fly-away crinolines were not being worn. Just look at her in the puce dress--an ambassador's wife they say she is--how her skirt bounces out from side to side!"

"What a pretty dear the bride is--like a lamb decked with flowers! Well, say what you will, we women feel for our sister."

Such were the comments in the crowd of gazing women who had succeeded in slipping in at the church doors.

Chapter 6

When the ceremony of plighting troth was over, the beadle spread before the lectern in the middle of the church a piece of pink silken stuff, the choir sang a complicated and elaborate psalm, in which the bass and tenor sang responses to one another, and the priest turning round pointed the bridal pair to the pink silk rug. Though both had often heard a great deal about the saying that the one who steps first on the rug will be the head of the house, neither Levin nor Kitty were capable of recollecting it, as they took the few steps towards it. They did not hear the loud remarks and disputes that followed, some maintaining he had stepped on first, and others that both had stepped on together.

After the customary questions, whether they desired to enter upon matrimony, and whether they were pledged to anyone else, and their answers, which sounded strange to themselves, a new ceremony began. Kitty listened to the words of the prayer, trying to make out their meaning, but she could not. The feeling of triumph and radiant happiness flooded her soul more and more as the ceremony went on, and deprived her of all power of attention.

They prayed: "Endow them with continence and fruitfulness, and vouchsafe that their hearts may rejoice looking upon their sons and daughters." They alluded to God's creation of a wife from Adam's rib "and for this cause a man shall leave father and mother, and cleave unto his wife, and they two shall be one flesh," and that "this is a great mystery"; they prayed that God would make them fruitful and bless them, like Isaac and Rebecca, Joseph, Moses and Zipporah, and that they might look upon their children's children. "That's all splendid," thought Kitty, catching the words, "all that's just as it should be," and a smile of happiness, unconsciously reflected in everyone who looked at her, beamed on her radiant face.

"Put it on quite," voices were heard urging when the priest had put on the wedding crowns and Shtcherbatsky, his hand shaking in its three-button glove, held the crown high above her head.

"Put it on!" she whispered, smiling.

Levin looked round at her, and was struck by the joyful radiance on her face, and unconsciously her feeling infected him. He too, like her felt glad and happy.

They enjoyed hearing the epistle read, and the roll of the head deacon's voice at the last verse, awaited with such impatience by the outside public. They enjoyed drinking out of the shallow cup of warm red wine and water, and they were still more pleased when the priest, flinging back his stole and taking both their hands in his, led them round the lectern to the accompaniment of bass voices chanting "Glory to God."

Shtcherbatsky and Tchirikov, supporting the crowns and stumbling over the bride's train, smiling too and seeming delighted at something, were at one moment left behind, at the next treading on the bridal pair as the priest came to a halt. The spark of joy kindled in Kitty seemed to have infected everyone in the church. It seemed to Levin that the priest and the deacon too wanted to smile just as he did.

Taking the crowns off their heads the priest read the last prayer and congratulated the young people. Levin looked at Kitty, and he had never before seen her look as she did. She was charming with the new radiance of happiness in her face. Levin longed to say something to her, but he did not know whether it was all over. The priest got him out of his difficulty. He smiled his kindly smile and said gently, "Kiss your wife, and you kiss your husband," and took the candles out of their hands.

Levin kissed her smiling lips with timid care, gave her his arm, and with a new strange sense of closeness, walked out of the church. He did not believe, he could not believe, that it was true. It was only when their wondering and timid eyes met that he believed in it, because he felt that they were one.

After supper, the same night, the young people left for the country.

Chapter 7

Vronsky and Anna had been traveling for three months together in Europe. They had visited Venice, Rome, and Naples, and had just arrived at a small Italian town where they meant to stay some time. A handsome head waiter, with thick pomaded hair parted from the neck upwards, an evening coat, a broad white cambric shirt front, and a bunch of trinkets hanging above his rounded stomach, stood with his hands in the full curve of his pockets, looking contemptuously from under his eyelids while he gave some frigid reply to a gentleman who had stopped him. Catching the sound of footsteps coming from the other side of the entry towards the staircase, the head waiter turned round, and seeing the Russian count, who had taken their best rooms, he took his hands out of his pockets deferentially, and with a bow informed him that a courier had been, and that the business about the palazzo had been arranged. The steward was prepared to sign the agreement.

"Ah! I'm glad to hear it," said Vronsky. "Is madame at home or not?"

"Madame has been out for a walk but has returned now," answered the waiter.

Vronsky took off his soft, wide-brimmed hat and passed his handkerchief over his heated brow and hair, which had grown half over his ears, and was brushed back covering the bald patch on his head. And glancing casually at the gentleman, who still stood there gazing intently at him, he would have gone on.

"This gentleman is a Russian, and was inquiring after you," said the head waiter.

With mingled feelings of annoyance at never being able to get away from acquaintances anywhere, and longing to find some sort of diversion from the monotony of his life, Vronsky looked once more at the gentleman, who had retreated and stood still again, and at the same moment a light came into the eyes of both.

"Golenishtchev!"

"Vronsky!"

It really was Golenishtchev, a comrade of Vronsky's in the Corps of Pages. In the corps Golenishtchev had belonged to the liberal party; he left the corps without entering the army, and had never taken office under the government. Vronsky and he had gone completely different ways on leaving the corps, and had only met once since.

At that meeting Vronsky perceived that Golenishtchev had taken up a sort of lofty, intellectually liberal line, and was consequently disposed to look down upon Vronsky's interests and calling in life. Hence Vronsky had met him with the chilling and haughty manner he so well knew how to assume, the meaning of which was: "You may like or dislike my way of life, that's a matter of the most perfect indifference to me; you will have to treat me with respect if you want to know me." Golenishtchev had been contemptuously indifferent to the tone taken by Vronsky. This second meeting might have been expected, one would have supposed, to estrange them still more. But now they beamed and exclaimed with delight on recognizing one another. Vronsky would never have expected to be so pleased to see Golenishtchev, but probably he was not himself aware how bored he was. He forgot the disagreeable impression of their last meeting, and with a face of frank delight held out his hand to his old comrade. The same expression of delight replaced the look of uneasiness on Golenishtchev's face.

"How glad I am to meet you!" said Vronsky, showing his strong white teeth in a friendly smile.

"I heard the name Vronsky, but I didn't know which one. I'm very, very glad!"

"Let's go in. Come, tell me what you're doing."

"I've been living here for two years. I'm working."

"Ah!" said Vronsky, with sympathy; "let's go in." And with the habit common with Russians, instead of saying in Russian what he wanted to keep from the servants, he began to speak in French.

"Do you know Madame Karenina? We are traveling together. I am going to see her now," he said in French, carefully scrutinizing Golenishtchev's face.

"Ah! I did not know" (though he did know), Golenishtchev answered carelessly. "Have you been here long?" he added.

"Four days," Vronsky answered, once more scrutinizing his friend's face intently.

"Yes, he's a decent fellow, and will look at the thing properly," Vronsky said to himself, catching the significance of Golenishtchev's face and the change of subject. "I can introduce him to Anna, he looks at it properly."

During those three months that Vronsky had spent abroad with Anna, he had always on meeting new people asked himself how the new person would look at his relations with Anna, and for the most part, in men, he had met with the "proper" way of looking at it. But if he had been asked, and those who looked at it "properly" had been asked, exactly how they did look at it, both he and they would have been greatly puzzled to answer.

In reality, those who in Vronsky's opinion had the "proper" view had no sort of view at all, but behaved in general as well-bred persons do behave in regard to all the complex and insoluble problems with which life is encompassed on all sides; they behaved with propriety, avoiding allusions and unpleasant questions. They assumed an air of fully comprehending the import and force of the situation, of accepting and even approving of it, but of considering it superfluous and uncalled for to put all this into words.

Vronsky at once divined that Golenishtchev was of this class, and therefore was doubly pleased to see him. And in fact, Golenishtchev's manner to Madame Karenina, when he was taken to call on her, was all that Vronsky could have desired. Obviously without the slightest effort he steered clear of all subjects which might lead to embarrassment.

He had never met Anna before, and was struck by her beauty, and still more by the frankness with which she accepted her position. She blushed when Vronsky brought in Golenishtchev, and he was extremely charmed by this childish blush overspreading her candid and handsome face. But what he liked particularly was the way in which at once, as though on purpose that there might be no misunderstanding with an outsider, she called Vronsky simply Alexey, and said they were moving into a house they had just taken, what was here called a palazzo. Golenishtchev liked this direct and simple attitude to her own position. Looking at Anna's manner of simple-hearted, spirited gaiety, and knowing Alexey Alexandrovitch and Vronsky, Golenishtchev fancied that he understood her perfectly. He fancied that he understood what she was utterly unable to understand: how it was that, having made her husband wretched, having abandoned him and her son and lost her good name, she yet felt full of spirits, gaiety, and happiness.

"It's in the guide-book," said Golenishtchev, referring to the palazzo Vronsky had taken. "There's a first-rate Tintoretto there. One of his latest period."

"I tell you what: it's a lovely day, let's go and have another look at it," said Vronsky, addressing Anna.

"I shall be very glad to; I'll go and put on my hat. Would you say it's hot?" she said, stopping short in the doorway and looking inquiringly at Vronsky. And again a vivid flush overspread her face.

Vronsky saw from her eyes that she did not know on what terms he cared to be with Golenishtchev, and so was afraid of not behaving as he would wish.

He looked a long, tender look at her.

"No, not very," he said.

And it seemed to her that she understood everything, most of all, that he was pleased with her; and smiling to him, she walked with her rapid step out at the door.

The friends glanced at one another, and a look of hesitation came into both faces, as though Golenishtchev, unmistakably admiring her, would have liked to say something about her, and could not find the right thing to say, while Vronsky desired and dreaded his doing so.

"Well then," Vronsky began to start a conversation of some sort; "so you're settled here? You're still at the same work, then?" he went on, recalling that he had been told Golenishtchev was writing something.

"Yes, I'm writing the second part of the _Two Elements_," said Golenishtchev, coloring with pleasure at the question--"that is, to be exact, I am not writing it yet; I am preparing, collecting materials. It will be of far wider scope, and will touch on almost all questions. We in Russia refuse to see that we are the heirs of Byzantium," and he launched into a long and heated explanation of his views.

Vronsky at the first moment felt embarrassed at not even knowing of the first part of the _Two Elements_, of which the author spoke as something well known. But as Golenishtchev began to lay down his opinions and Vronsky was able to follow them even without knowing the _Two Elements_, he listened to him with some interest, for Golenishtchev spoke well. But Vronsky was startled and annoyed by the nervous irascibility with which Golenishtchev talked of the subject that engrossed him. As he went on talking, his eyes glittered more and more angrily; he was more and more hurried in his replies to imaginary opponents, and his face grew more and more excited and worried. Remembering Golenishtchev, a thin, lively, good-natured and well-bred boy, always at the head of the class, Vronsky could not make out the reason of his irritability, and he did not like it. What he particularly disliked was that Golenishtchev, a man belonging to a good set, should put himself on a level with some scribbling fellows, with whom he was irritated and angry. Was it worth it? Vronsky disliked it, yet he felt that Golenishtchev was unhappy, and was sorry for him. Unhappiness, almost mental derangement, was visible on his mobile, rather handsome face, while without even noticing Anna's coming in, he went on hurriedly and hotly expressing his views.

When Anna came in in her hat and cape, and her lovely hand rapidly swinging her parasol, and stood beside him, it was with a feeling of relief that Vronsky broke away from the plaintive eyes of Golenishtchev which fastened persistently upon him, and with a fresh rush of love looked at his charming companion, full of life and happiness. Golenishtchev recovered himself with an effort, and at first was dejected and gloomy, but Anna, disposed to feel friendly with everyone as she was at that time, soon revived his spirits by her direct and lively manner. After trying various subjects of conversation, she got him upon painting, of which he talked very well, and she listened to him attentively. They walked to the house they had taken, and looked over it.

"I am very glad of one thing," said Anna to Golenishtchev when they were on their way back, "Alexey will have a capital _atelier_. You must certainly take that room," she said to Vronsky in Russian, using the affectionately familiar form as though she saw that Golenishtchev would become intimate with them in their isolation, and that there was no need of reserve before him.

"Do you paint?" said Golenishtchev, turning round quickly to Vronsky.

"Yes, I used to study long ago, and now I have begun to do a little," said Vronsky, reddening.

"He has great talent," said Anna with a delighted smile. "I'm no judge, of course. But good judges have said the same."

Chapter 8

Anna, in that first period of her emancipation and rapid return to health, felt herself unpardonably happy and full of the joy of life. The thought of her husband's unhappiness did not poison her happiness. On one side that memory was too awful to be thought of. On the other side her husband's unhappiness had given her too much happiness to be regretted. The memory of all that had happened after her illness: her reconciliation with her husband, its breakdown, the news of Vronsky's wound, his visit, the preparations for divorce, the departure from her husband's house, the parting from her son--all that seemed to her like a delirious dream, from which she had waked up alone with Vronsky abroad. The thought of the harm caused to her husband aroused in her a feeling like repulsion, and akin to what a drowning man might feel who has shaken off another man clinging to him. That man did drown. It was an evil action, of course, but it was the sole means of escape, and better not to brood over these fearful facts.

One consolatory reflection upon her conduct had occurred to her at the first moment of the final rupture, and when now she recalled all the past, she remembered that one reflection. "I have inevitably made that man wretched," she thought; "but I don't want to profit by his misery. I too am suffering, and shall suffer; I am losing what I prized above everything--I am losing my good name and my son. I have done wrong, and so I don't want happiness, I don't want a divorce, and shall suffer from my shame and the separation from my child." But, however sincerely Anna had meant to suffer, she was not suffering. Shame there was not. With the tact of which both had such a large share, they had succeeded in avoiding Russian ladies abroad, and so had never placed themselves in a false position, and everywhere they had met people who pretended that they perfectly understood their position, far better indeed than they did themselves. Separation from the son she loved--even that did not cause her anguish in these early days. The baby girl--_his_ child--was so sweet, and had so won Anna's heart, since she was all that was left her, that Anna rarely thought of her son.

The desire for life, waxing stronger with recovered health, was so intense, and the conditions of life were so new and pleasant, that Anna felt unpardonably happy. The more she got to know Vronsky, the more she loved him. She loved him for himself, and for his love for her. Her complete ownership of him was a continual joy to her. His presence was always sweet to her. All the traits of his character, which she learned to know better and better, were unutterably dear to her. His appearance, changed by his civilian dress, was as fascinating to her as though she were some young girl in love. In everything he said, thought, and did, she saw something particularly noble and elevated. Her adoration of him alarmed her indeed; she sought and could not find in him anything not fine. She dared not show him her sense of her own insignificance beside him. It seemed to her that, knowing this, he might sooner cease to love her; and she dreaded nothing now so much as losing his love, though she had no grounds for fearing it. But she could not help being grateful to him for his attitude to her, and showing that she appreciated it. He, who had in her opinion such a marked aptitude for a political career, in which he would have been certain to play a leading part--he had sacrificed his ambition for her sake, and never betrayed the slightest regret. He was more lovingly respectful to her than ever, and the constant care that she should not feel the awkwardness of her position never deserted him for a single instant. He, so manly a man, never opposed her, had indeed, with her, no will of his own, and was anxious, it seemed, for nothing but to anticipate her wishes. And she could not but appreciate this, even though the very intensity of his solicitude for her, the atmosphere of care with which he surrounded her, sometimes weighed upon her.

Vronsky, meanwhile, in spite of the complete realization of what he had so long desired, was not perfectly happy. He soon felt that the realization of his desires gave him no more than a grain of sand out of the mountain of happiness he had expected. It showed him the mistake men make in picturing to themselves happiness as the realization of their desires. For a time after joining his life to hers, and putting on civilian dress, he had felt all the delight of freedom in general of which he had known nothing before, and of freedom in his love,--and he was content, but not for long. He was soon aware that there was springing up in his heart a desire for desires--_ennui_. Without conscious intention he began to clutch at every passing caprice, taking it for a desire and an object. Sixteen hours of the day must be occupied in some way, since they were living abroad in complete freedom, outside the conditions of social life which filled up time in Petersburg. As for the amusements of bachelor existence, which had provided Vronsky with entertainment on previous tours abroad, they could not be thought of, since the sole attempt of the sort had led to a sudden attack of depression in Anna, quite out of proportion with the cause--a late supper with bachelor friends. Relations with the society of the place--foreign and Russian--were equally out of the question owing to the irregularity of their position. The inspection of objects of interest, apart from the fact that everything had been seen already, had not for Vronsky, a Russian and a sensible man, the immense significance Englishmen are able to attach to that pursuit.

And just as the hungry stomach eagerly accepts every object it can get, hoping to find nourishment in it, Vronsky quite unconsciously clutched first at politics, then at new books, and then at pictures.

As he had from a child a taste for painting, and as, not knowing what to spend his money on, he had begun collecting engravings, he came to a stop at painting, began to take interest in it, and concentrated upon it the unoccupied mass of desires which demanded satisfaction.

He had a ready appreciation of art, and probably, with a taste for imitating art, he supposed himself to have the real thing essential for an artist, and after hesitating for some time which style of painting to select--religious, historical, realistic, or genre painting--he set to work to paint. He appreciated all kinds, and could have felt inspired by any one of them; but he had no conception of the possibility of knowing nothing at all of any school of painting, and of being inspired directly by what is within the soul, without caring whether what is painted will belong to any recognized school. Since he knew nothing of this, and drew his inspiration, not directly from life, but indirectly from life embodied in art, his inspiration came very quickly and easily, and as quickly and easily came his success in painting something very similar to the sort of painting he was trying to imitate.

More than any other style he liked the French--graceful and effective--and in that style he began to paint Anna's portrait in Italian costume, and the portrait seemed to him, and to everyone who saw it, extremely successful.

Chapter 9

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.

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. He painted studies from nature under the guidance of an Italian professor of painting, and studied mediaeval Italian life. Mediaeval Italian life so fascinated Vronsky that he even wore a hat and flung a cloak over his shoulder in the mediaeval style, which, indeed, was extremely becoming to him.

"Here we live, and know nothing of what's going on," Vronsky said to Golenishtchev as he came to see him one morning. "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. The article reproached the government and the academy for letting so remarkable an artist be left without encouragement and support.

"I've seen it," answered Golenishtchev. "Of course, he's not without talent, but it's all in a wrong direction. It's all the Ivanov-Strauss-Renan attitude to Christ and to religious painting."

"What is the subject of the picture?" asked Anna.

"Christ before Pilate. Christ is represented as a Jew with all the realism of the new school."

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.

"I can't understand how they can fall into such a gross mistake. Christ always has His definite embodiment in the art of the great masters. 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. They take the very figure which cannot be taken for their art, and then..."

"And is it true that this Mihailov is in such poverty?" 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.

"I should say not. He's a remarkable portrait-painter. Have you ever seen his portrait of Madame Vassiltchikova? But I believe he doesn't care about painting any more portraits, and so very likely he is in want. I maintain that..."

"Couldn't we ask him to paint a portrait of Anna Arkadyevna?" said Vronsky.

"Why mine?" said Anna. "After yours I don't want another portrait. Better have one of Annie" (so she called her baby girl). "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. The handsome nurse, from whom Vronsky was painting a head for his picture, was the one hidden grief in Anna's life. He painted with her as his model, admired her beauty and mediaevalism, 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. Vronsky, too, glanced out of the window and into Anna's eyes, and, turning at once to Golenishtchev, he said:

"Do you know this Mihailov?"

"I have met him. But he's a queer fish, and quite without breeding. 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'emblée_ in theories of atheism, scepticism, and materialism. 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; 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. 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. When he got into the academy and made his reputation he tried, as he's no fool, to educate himself. And he turned to what seemed to him the very source of culture--the magazines. 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. 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. 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; he would have perceived from this conflict that there was something else; 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. In my article I've..."

"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; "I tell you what," she said, resolutely interrupting Golenishtchev, who was still talking away, "let's go and see him!"

Golenishtchev recovered his self-possession and readily agreed. But as the artist lived in a remote suburb, it was decided to take the carriage.

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. 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.

Chapter 10

The artist Mihailov was, as always, at work when the cards of Count Vronsky and Golenishtchev were brought to him. In the morning he had been working in his studio at his big picture. 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.

"I've said it to you twenty times, don't enter into details. 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.

"Don't let it run so long; it's not my fault. If I had the money..."

"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. "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.

Never did he work with such fervor and success as when things went ill with him, and especially when he quarreled with his wife. "Oh! damn them all!" he thought as he went on working. He was making a sketch for the figure of a man in a violent rage. A sketch had been made before, but he was dissatisfied with it. "No, that one was better...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? The paper with the discarded sketch on it was found, but it was dirty, and spotted with candle-grease. 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. All at once he smiled and gesticulated gleefully.

"That's it! that's it!" he said, and, at once picking up the pencil, he began rapidly drawing. The spot of tallow had given the man a new pose.

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. He laughed aloud with delight. The figure from a lifeless imagined thing had become living, and such that it could never be changed. That figure lived, and was clearly and unmistakably defined. 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; 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. He was, as it were, stripping off the wrappings which hindered it from being distinctly seen. 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. He was carefully finishing the figure when the cards were brought him.

"Coming, coming!"

He went in to his wife.

"Come, Sasha, don't be cross!" he said, smiling timidly and affectionately at her. "You were to blame. I was to blame. I'll make it all right." 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. The successful figure he had already forgotten. Now he was delighted and excited at the visit of these people of consequence, Russians, who had come in their carriage.

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. 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. This he knew positively, and had known a long while, ever since he had begun to paint it. 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. 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. 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. And often in their criticisms he fancied that he had found this.

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. 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. The visitors, not agreeably impressed beforehand by Golenishtchev's account of the artist, were still less so by his personal appearance. 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.

"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.

Chapter 11

On entering the studio, Mihailov once more scanned his visitors and noted down in his imagination Vronsky's expression too, and especially his jaws. 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.

That fellow (Golenishtchev) was a Russian living here. Mihailov did not remember his surname nor where he had met him, nor what he had said to him. He only remembered his face as he remembered all the faces he had ever seen; 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. 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. 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. "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. 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. 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. 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.

"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. Matthew, chapter xxvii," he said, feeling his lips were beginning to tremble with emotion. He moved away and stood behind them.

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. 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. He forgot all he had thought about his picture before during the three years he had been painting it; 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. 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. 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. 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. 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. It was all common, poor, and stale, and positively badly painted--weak and unequal. 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.

The silence (though it lasted no more than a minute) became too intolerable to him. To break it, and to show he was not agitated, he made an effort and addressed Golenishtchev.

"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.

"To be sure! We met at Rossi's, do you remember, at that _soirée_ when that Italian lady recited--the new Rachel?" Golenishtchev answered easily, removing his eyes without the slightest regret from the picture and turning to the artist.

Noticing, however, that Mihailov was expecting a criticism of the picture, he said:

"Your picture has got on a great deal since I saw it last time; and what strikes me particularly now, as it did then, is the figure of Pilate. 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..."

All Mihailov's mobile face beamed at once; his eyes sparkled. He tried to say something, but he could not speak for excitement, and pretended to be coughing. 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. He had himself thought about Pilate's figure just what Golenishtchev said. 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. His heart warmed to Golenishtchev for this remark, and from a state of depression he suddenly passed to ecstasy. At once the whole of his picture lived before him in all the indescribable complexity of everything living. Mihailov again tried to say that that was how he understood Pilate, but his lips quivered intractably, and he could not pronounce the words. 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. Mihailov fancied that the picture had made an impression on them too. He went up to them.

"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. "One can see that He is pitying Pilate."

This again was one of the million true reflections that could be found in his picture and in the figure of Christ. 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. 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. All this and much more flashed into Mihailov's thoughts.

"Yes, and how that figure is done--what atmosphere! 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.

"Yes, there's a wonderful mastery!" said Vronsky. "How those figures in the background stand out! There you have technique," he said, addressing Golenishtchev, alluding to a conversation between them about Vronsky's despair of attaining this technique.

"Yes, yes, marvelous!" Golenishtchev and Anna assented. 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. He had often heard this word technique, and was utterly unable to understand what was understood by it. He knew that by this term was understood a mechanical facility for painting or drawing, entirely apart from its subject. 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. 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; but there was no art of painting--no technique of any sort--about it. 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. 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. Besides, he saw that if it came to talking about technique, it was impossible to praise him for it. 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. And in almost all the figures and faces he saw, too, remnants of the wrappings not perfectly removed that spoiled the picture.

"One thing might be said, if you will allow me to make the remark..." observed Golenishtchev.

"Oh, I shall be delighted, I beg you," said Mihailov with a forced smile.

"That is, that you make Him the man-god, and not the God-man. But I know that was what you meant to do."

"I cannot paint a Christ that is not in my heart," said Mihailov gloomily.

"Yes; but in that case, if you will allow me to say what I think.... Your picture is so fine that my observation cannot detract from it, and, besides, it is only my personal opinion. With you it is different. Your very motive is different. But let us take Ivanov. 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."

"But if this is the greatest subject presented to art?"

"If one looked one would find others. But the point is that art cannot suffer doubt and discussion. And before the picture of Ivanov the question arises for the believer and the unbeliever alike, 'Is it God, or is it not God?' and the unity of the impression is destroyed."

"Why so? I think that for educated people," said Mihailov, "the question cannot exist."

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.

Mihailov was greatly perturbed, but he could say nothing in defense of his own idea.

Chapter 12

Anna and Vronsky had long been exchanging glances, regretting their friend's flow of cleverness. At last Vronsky, without waiting for the artist, walked away to another small picture.

"Oh, how exquisite! What a lovely thing! A gem! How exquisite!" they cried with one voice.

"What is it they're so pleased with?" thought Mihailov. He had positively forgotten that picture he had painted three years ago. 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. He had forgotten, as he always forgot, the pictures he had finished. 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.

"Oh, that's only an old study," he said.

"How fine!" said Golenishtchev, he too, with unmistakable sincerity, falling under the spell of the picture.

Two boys were angling in the shade of a willow-tree. 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. 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. What was he thinking of?

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.

But Vronsky asked whether the picture was for sale. To Mihailov at that moment, excited by visitors, it was extremely distasteful to speak of money matters.

"It is put up there to be sold," he answered, scowling gloomily.

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. 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. 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.

Christ's foreshortened leg was not right, though. He took his palette and began to work. 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. When he had finished the leg he wanted to touch that figure, but he felt too much excited for it. He was equally unable to work when he was cold and when he was too much affected and saw everything too much. There was only one stage in the transition from coldness to inspiration, at which work was possible. Today he was too much agitated. 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.

Vronsky, Anna, and Golenishtchev, on their way home, were particularly lively and cheerful. They talked of Mihailov and his pictures. 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. 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. But the picture of the boys had imprinted itself on their memories, and they were continually coming back to it. "What an exquisite thing! How he has succeeded in it, and how simply! He doesn't even comprehend how good it is. Yes, I mustn't let it slip; I must buy it," said Vronsky.