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- Лев Толстой
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- Анна Каренина
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- Стр. 696/828
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“
Well
,
then
,
I
will
attack
him
,
”
said
Madame
Lvova
,
with
a
smile
,
standing
in
her
white
sheepskin
cape
,
waiting
till
they
had
finished
speaking
.
“
Come
,
let
us
go
.
”
At
the
concert
in
the
afternoon
two
very
interesting
things
were
performed
.
One
was
a
fantasia
,
King
Lear
;
the
other
was
a
quartette
dedicated
to
the
memory
of
Bach
.
Both
were
new
and
in
the
new
style
,
and
Levin
was
eager
to
form
an
opinion
of
them
.
After
escorting
his
sister
-
in
-
law
to
her
stall
,
he
stood
against
a
column
and
tried
to
listen
as
attentively
and
conscientiously
as
possible
.
He
tried
not
to
let
his
attention
be
distracted
,
and
not
to
spoil
his
impression
by
looking
at
the
conductor
in
a
white
tie
,
waving
his
arms
,
which
always
disturbed
his
enjoyment
of
music
so
much
,
or
the
ladies
in
bonnets
,
with
strings
carefully
tied
over
their
ears
,
and
all
these
people
either
thinking
of
nothing
at
all
or
thinking
of
all
sorts
of
things
except
the
music
.
He
tried
to
avoid
meeting
musical
connoisseurs
or
talkative
acquaintances
,
and
stood
looking
at
the
floor
straight
before
him
,
listening
.
But
the
more
he
listened
to
the
fantasia
of
King
Lear
the
further
he
felt
from
forming
any
definite
opinion
of
it
.
There
was
,
as
it
were
,
a
continual
beginning
,
a
preparation
of
the
musical
expression
of
some
feeling
,
but
it
fell
to
pieces
again
directly
,
breaking
into
new
musical
motives
,
or
simply
nothing
but
the
whims
of
the
composer
,
exceedingly
complex
but
disconnected
sounds
.
And
these
fragmentary
musical
expressions
,
though
sometimes
beautiful
,
were
disagreeable
,
because
they
were
utterly
unexpected
and
not
led
up
to
by
anything
.
Gaiety
and
grief
and
despair
and
tenderness
and
triumph
followed
one
another
without
any
connection
,
like
the
emotions
of
a
madman
.
And
those
emotions
,
like
a
madman
’
s
,
sprang
up
quite
unexpectedly
.
During
the
whole
of
the
performance
Levin
felt
like
a
deaf
man
watching
people
dancing
,
and
was
in
a
state
of
complete
bewilderment
when
the
fantasia
was
over
,
and
felt
a
great
weariness
from
the
fruitless
strain
on
his
attention
.
Loud
applause
resounded
on
all
sides
.
Everyone
got
up
,
moved
about
,
and
began
talking
.
Anxious
to
throw
some
light
on
his
own
perplexity
from
the
impressions
of
others
,
Levin
began
to
walk
about
,
looking
for
connoisseurs
,
and
was
glad
to
see
a
well
-
known
musical
amateur
in
conversation
with
Pestsov
,
whom
he
knew
.
“
Marvelous
!
”
Pestsov
was
saying
in
his
mellow
bass
.
“
How
are
you
,
Konstantin
Dmitrievitch
?
Particularly
sculpturesque
and
plastic
,
so
to
say
,
and
richly
colored
is
that
passage
where
you
feel
Cordelia
’
s
approach
,
where
woman
,
das
ewig
Weibliche
,
enters
into
conflict
with
fate
.
Isn
’
t
it
?
”
“
You
mean
.
.
.
what
has
Cordelia
to
do
with
it
?
”
Levin
asked
timidly
,
forgetting
that
the
fantasia
was
supposed
to
represent
King
Lear
.
“
Cordelia
comes
in
.
.
.
see
here
!
”
said
Pestsov
,
tapping
his
finger
on
the
satiny
surface
of
the
program
he
held
in
his
hand
and
passing
it
to
Levin
.
Only
then
Levin
recollected
the
title
of
the
fantasia
,
and
made
haste
to
read
in
the
Russian
translation
the
lines
from
Shakespeare
that
were
printed
on
the
back
of
the
program
.
“
You
can
’
t
follow
it
without
that
,
”
said
Pestsov
,
addressing
Levin
,
as
the
person
he
had
been
speaking
to
had
gone
away
,
and
he
had
no
one
to
talk
to
.
In
the
entr
’
acte
Levin
and
Pestsov
fell
into
an
argument
upon
the
merits
and
defects
of
music
of
the
Wagner
school
