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Anna Karenina 268


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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 whats going on," Vronsky said to Golenishtchev as he came to see him one morning. "Have you seen Mihailovs 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. "Ive seen it," answered Golenishtchev. "Of course, hes not without talent, but its all in a wrong direction. Its 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 cant 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. Hes a remarkable portrait-painter. Have you ever seen his portrait of Madame Vassiltchikova? But I believe he doesnt care about painting any more portraits, and so very likely he is in want. I maintain that..." "Couldnt we ask him to paint a portrait of Anna Arkadyevna?" said Vronsky. "Why mine?" said Anna. "After yours I dont 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 Annas 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 Annas eyes, and, turning at once to Golenishtchev, he said: "Do you know this Mihailov?" "I have met him. But hes a queer fish, and quite without breeding. You know, one of those uncouth new people ones so often coming across nowadays, one of those free-thinkers you know, who are reared _demblee_ 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, hes of that class. Hes 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 hes 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

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