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- Лев Толстой
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- Анна Каренина
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- Стр. 485/828
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“
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
.
