Anna Karenina — Part 5, Chapter 13

By Leo Tolstoy (1877)

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Untitled Anarchism Anna Karenina Part 5, Chapter 13

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(1828 - 1910)

Father of Christian Anarchism

: In 1861, during the second of his European tours, Tolstoy met with Proudhon, with whom he exchanged ideas. Inspired by the encounter, Tolstoy returned to Yasnaya Polyana to found thirteen schools that were the first attempt to implement a practical model of libertarian education. (From: Anarchy Archives.)
• "...for no social system can be durable or stable, under which the majority does not enjoy equal rights but is kept in a servile position, and is bound by exceptional laws. Only when the laboring majority have the same rights as other citizens, and are freed from shameful disabilities, is a firm order of society possible." (From: "To the Czar and His Assistants," by Leo Tolstoy, ....)
• "It is necessary that men should understand things as they are, should call them by their right names, and should know that an army is an instrument for killing, and that the enrollment and management of an army -- the very things which Kings, Emperors, and Presidents occupy themselves with so self-confidently -- is a preparation for murder." (From: "'Thou Shalt Not Kill'," by Leo Tolstoy, August 8,....)
• "The Government and all those of the upper classes near the Government who live by other people's work, need some means of dominating the workers, and find this means in the control of the army. Defense against foreign enemies is only an excuse. The German Government frightens its subjects about the Russians and the French; the French Government, frightens its people about the Germans; the Russian Government frightens its people about the French and the Germans; and that is the way with all Governments. But neither Germans nor Russians nor Frenchmen desire to fight their neighbors or other people; but, living in peace, they dread war more than anything else in the world." (From: "Letter to a Non-Commissioned Officer," by Leo Tol....)


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Part 5, Chapter 13

Mihailov sold Vronsky his picture, and agreed to paint a portrait of Anna. On the day fixed he came and began the work.

From the fifth sitting the portrait impressed everyone, especially Vronsky, not only by its resemblance, but by its characteristic beauty. It was strange how Mihailov could have discovered just her characteristic beauty. "One needs to know and love her as I have loved her to discover the very sweetest expression of her soul," Vronsky thought, though it was only from this portrait that he had himself learned this sweetest expression of her soul. But the expression was so true that he, and others too, fancied they had long known it.

"I have been struggling on for ever so long without doing anything," he said of his own portrait of her, "and he just looked and painted it. That’s where technique comes in."

"That will come," was the consoling reassurance given him by Golenishtchev, in whose view Vronsky had both talent, and what was most important, culture, giving him a wider outlook on art. Golenishtchev’s faith in Vronsky’s talent was propped up by his own need of Vronsky’s sympathy and approval for his own articles and ideas, and he felt that the praise and support must be mutual.

In another man’s house, and especially in Vronsky’s palazzo, Mihailov was quite a different man from what he was in his studio. He behaved with hostile courtesy, as though he were afraid of coming closer to people he did not 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.

From : Gutenberg.org

(1828 - 1910)

Father of Christian Anarchism

: In 1861, during the second of his European tours, Tolstoy met with Proudhon, with whom he exchanged ideas. Inspired by the encounter, Tolstoy returned to Yasnaya Polyana to found thirteen schools that were the first attempt to implement a practical model of libertarian education. (From: Anarchy Archives.)
• "People who take part in Government, or work under its direction, may deceive themselves or their sympathizers by making a show of struggling; but those against whom they struggle (the Government) know quite well, by the strength of the resistance experienced, that these people are not really pulling, but are only pretending to." (From: "A Letter to Russian Liberals," by Leo Tolstoy, Au....)
• "You are surprised that soldiers are taught that it is right to kill people in certain cases and in war, while in the books admitted to be holy by those who so teach, there is nothing like such a permission..." (From: "Letter to a Non-Commissioned Officer," by Leo Tol....)
• "It is necessary that men should understand things as they are, should call them by their right names, and should know that an army is an instrument for killing, and that the enrollment and management of an army -- the very things which Kings, Emperors, and Presidents occupy themselves with so self-confidently -- is a preparation for murder." (From: "'Thou Shalt Not Kill'," by Leo Tolstoy, August 8,....)

(1861 - 1946)

Constance Clara Garnett (née Black; 19 December 1861 – 17 December 1946) was an English translator of nineteenth-century Russian literature. She was the first English translator to render numerous volumes of Anton Chekhov's work into English and the first to translate almost all of Fyodor Dostoevsky's fiction into English. She also rendered works by Ivan Turgenev, Leo Tolstoy, Nikolai Gogol, Ivan Goncharov, Alexander Ostrovsky, and Alexander Herzen into English. Altogether, she translated 71 volumes of Russian literature, many of which are still in print today. Garnett was born in Brighton, England, the sixth of the eight children of the solicitor David Black (1817–1892), afterwards town clerk and coroner, and his wife, Clara Maria Patten (1825–1875), daughter of painter George Patten. Her brother was the mathematician Arthur Black, and her sister was the labor organizer and novelist Clementina Black. Her father became paralyzed in 1873, and two ye... (From: Wikipedia.org.)

Chronology

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1877
Part 5, Chapter 13 — Publication.

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February 14, 2017; 7:27:39 PM (UTC)
Added to http://revoltlib.com.

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January 13, 2022; 6:07:25 PM (UTC)
Updated on http://revoltlib.com.

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