respect. He called Vronsky 'your excellency,' and notwithstanding Anna's and Vronsky's invitations, he would never stay to dinner, nor come except for the sittings. Anna was even more friendly to him than to other people, and was very grateful for her portrait. Vronsky was more than cordial with him, and was obviously interested to know the artist's opinion of his picture. Golenishtchev never let slip an opportunity of instilling sound ideas about art into Mihailov. But Mihailov remained equally chilly to all of them. Anna was aware from his eyes that he liked looking at her, but he avoided conversation with her. Vronsky's talk about his painting he met with stubborn silence, and he was as stubbornly silent when he was shown Vronsky's picture. He was unmistakably bored by Golenishtchev's conversation, and he did not attempt to oppose
him.
Altogether Mihailov, with his reserved and disagreeable, as it were, hostile attitude, was quite disliked by them as they got to know him better; and they were glad when the sittings were over, and they were left with a magnificent portrait in their possession, and he gave up coming. Golenishtchev was the first to give expression to an idea that had occurred to all of them, which was that Mihailov was simply jealous of Vronsky.
'Not envious, let us say, since he has talent; but it annoys him that a wealthy man of the highest society, and a count, too (you know they all detest a title), can, without any particular trouble, do as well, if not better, than he who has devoted all his life to it. And more than all, it's a question of culture, which he is without.'
Vronsky defended Mihailov, but at the bottom of his heart he believed it, because in his view a man of a different, lower world would be sure to be envious.
Anna's portrait--the same subject painted from nature both by him and by Mihailov--ought to have shown Vronsky the difference between him and Mihailov; but he did not see it. Only after Mihailov's portrait was painted he left off painting his portrait of Anna, deciding that it was now not needed. His picture of medieval life he went on with. And he himself, and Golenishtchev, and still more Anna, thought it very good, because it was far more like the celebrated pictures they knew than Mihailov's picture.
Mihailov meanwhile, although Anna's portrait greatly fascinated him, was even more glad than they were when the sittings were over, and he had no longer to listen to Golenishtchev's disquisitions upon art, and could forget about Vronsky's painting. He knew that Vronsky could not be prevented from amusing himself with painting; he knew that he and all dilettanti had a perfect right to paint what they liked, but it was distasteful to him. A man could not be prevented from making himself a big wax doll, and kissing it. But if the man were to come with the doll and sit before a man in love, and begin caressing his doll as the lover caressed the woman he loved, it would be distasteful to the lover. Just such a distasteful sensation was what Mihailov felt at the sight of Vronsky's painting: he felt it both ludicrous and irritating, both pitiable and offensive.
Vronsky's interest in painting and the Middle Ages did not last long. He had enough taste for painting to be unable to finish his picture. The picture came to a standstill. He was vaguely aware that its defects, inconspicuous at first, would be glaring if he were to go on with it. The same experience befell him as Golenishtchev, who felt that he had nothing to say, and continually deceived himself with the theory that his idea was not yet mature, that he was working it out and collecting materials. This exasperated and tortured Golenishtchev, but Vronsky was incapable of deceiving and torturing himself, and even more incapable of exasperation. With his characteristic decision, without explanation or apology, he simply ceased working at painting.
But without this occupation, the life of Vronsky and of Anna, who wondered at his loss of interest in it, struck them as intolerably tedious in an Italian town. The palazzo suddenly seemed so obtrusively old and dirty, the spots on the curtains, the cracks in the floors, the broken plaster on the cornices became so disagreeably obvious, and the everlasting sameness of Golenishtchev, and the Italian professor and the German traveler became so wearisome, that they had to make some change. They resolved to go to Russia, to the country. In Petersburg Vronsky intended to arrange a partition of the land with his brother, while Anna meant to see her son. The summer they intended to spend on Vronsky's great family estate.
Chapter 14
Levin had been married three months. He was happy, but not at all in the way he had expected to be. At every step he found his former dreams disappointed, and new, unexpected surprises of happiness. He was happy; but on entering upon family life he saw at every step that it was utterly different from what he had imagined. At every step he experienced what a man would experience who, after admiring the smooth, happy course of a little boat on a lake, should get himself into that little boat. He saw that it was not all sitting still, floating smoothly; that one had to think too, not for an instant to forget where one was floating; and that there was water under one, and that one must row; and that his unaccustomed hands would be sore; and that it was only to look at it that was easy; but that doing it, though very delightful, was very difficult.
As a bachelor, when he had watched other people's married life, seen the petty cares, the squabbles, the jealousy, he had only smiled contemptuously in his heart. In his future married life there could be, he was convinced, nothing of that sort; even the external forms, indeed, he fancied, must be utterly unlike the life of others in everything. And all of a sudden, instead of his life with his wife being made on an individual pattern, it was, on the contrary, entirely made up of the pettiest details, which he had so despised before, but which now, by no will of his own, had gained an extraordinary importance that it was useless to contend against. And Levin saw that the organization of all these details was by no means so easy as he had fancied before. Although Levin believed himself to have the most exact conceptions of domestic life, unconsciously, like all men, he pictured domestic life as the happiest enjoyment of love, with nothing to hinder and no petty cares to distract. He ought, as he conceived the position, to do his work, and to find repose from it in the happiness of love. She ought to be beloved, and nothing more. But, like all men, he forgot that she too would want work. And he was surprised that she, his poetic, exquisite Kitty, could, not merely in the first weeks, but even in the first days of their married life, think, remember, and busy herself about tablecloths, and furniture, about mattresses for visitors, about a tray, about the cook, and the dinner, and so on. While they were still engaged, he had been struck by the definiteness with which she had declined the tour abroad and decided to go into the country, as though she knew of something she wanted, and could still think of something outside her love. This had jarred upon him then, and now her trivial cares and anxieties jarred upon him several times. But he saw that this was essential for her. And, loving her as he did, though he did not understand the reason of them, and jeered at these domestic pursuits, he could not help admiring them. He jeered at the way in which she arranged the furniture they had brought from Moscow; rearranged their room; hung up curtains; prepared rooms for visitors; a room for Dolly; saw after an abode for her new maid; ordered dinner of the old cook; came into collision with Agafea Mihalovna, taking from her the charge of the stores. He saw how the old cook smiled, admiring her, and listening to her inexperienced, impossible orders, how mournfully and tenderly Agafea Mihalovna shook her head over the young mistress's new arrangements. He saw that Kitty was extraordinarily sweet when, laughing and crying, she came to tell him that her maid, Masha, was used to looking upon her as her young lady, and so no one obeyed her. It seemed to him sweet, but strange, and he thought it would have been better without this.
He did not know how great a sense of change she was experiencing; she, who at home had sometimes wanted some favorite dish, or sweets, without the possibility of getting either, now could order what she liked, buy pounds of sweets, spend as much money as she liked, and order any puddings she pleased.
She was dreaming with delight now of Dolly's coming to them with her children, especially because she would order for the children their favorite puddings and Dolly would appreciate all her new housekeeping. She did not know herself why and wherefore, but the arranging of her house had an irresistible attraction for her. Istinctively
