Chapter Summaries: Dole: The countess and Anna Mikhailovna have a confidential talk. The princess acknowledges her want of money. Determines to call upon Count Bezukhoi.
Briggs (chapter 11): Natasha and Boris. Boris's mother, Anna Mikhaylovna.
Translation:
XI. The countess was so tired from all the visits that she ordered to take in no one else, and the doorman was ordered to only tell all who still came with congratulations, to come eat. The countess wanted an eye-to-eye talk with her friend from childhood, Princess Anna Mihaylovna, whom she had not seen in this way since her arrival from Petersburg. Anna Mihaylovna, with her weeping but enjoyable face, moved nearer to the armchair of the Countess. — With you I will be completely frank, — said Anna Mihaylovna. — there is really little of us left, old friends! From this I so cherish your friendship. Anna Mihaylovna looked at Vera and stopped. The countess shook the arm of her friend. — Vera, — said the countess, turning to her older daughter, obviously unlovingly. — how are there no ideas in you? Don't you feel that you are superfluous here? Go to your sister, or... The beautiful Vera contemptuously smiled, apparently not feeling the slightest insult. — If you would have told me a long time ago, Mama, I would have immediately left, — she said, and went into her room. Yet, passing by the sofa, she noticed that in her two symmetrical windows were sitting two couples. She stopped and contemptuously smiled. Sonya sat close beside Nikolay, who rewrote her poems, the first time he’d composed them. Boris with Natasha was sitting in another window and fell silent when Vera entered. Sonya and Natasha with guilty and happy faces took a look at Vera. Funny and touching was the look on these loving girls, but viewing them, obviously, did not excite in Vera a nice feeling. — How many times have I requested you, — she said, — not to take my things in your own room. She took the inkwell from Nikolay. — Now, now, — he said, wetting the pen. — You all know that that was not the time, — said Vera. — to come running into the living room, so that all are made ashamed for you. Despite that, or because what was said by her was completely fair, none of them responded to her, and all four only looked at each other between themselves. She hesitated in the room with the inkwell in hand. — And what may be, at your year, the secrets between Natasha and Boris and between you two, — all nonsense! — Well, what is it your business, Vera? — in a low voice, intercessionally spoke Natasha. She, apparently, was all the more, more than always, on this day good and affectionate. — Very stupid, — said Vera, — I’m ashamed for you. What are secrets for?.. — In each are their secrets. We don’t touch you and Berg, — said Natasha inflamed. — I think that you don’t touch, — said Vera, — because in my acts there is nothing that may be evil. But here I’ll say to mommy that you are going around with Boris. — Natalya Ilinishna is very good around me, — said Boris. — I cannot complain, — he said. — Leave, Boris, you’re such a diplomat (the word diplomat was big in the children in that special meaning that they gave this word); even boring, — said Natasha in an offended, trembling voice. — for what does she stick to me? You will never understand, — she said, turning to Vera, — because you have never loved anyone; in your heart no, you are only a madam de Genlis!131 (this was a nickname, considered very offensive, that was given to Vera by Nikolay), and your first pleasure — do trouble to others. You coquet with Berg as much as you want, — she said soon after. — Yes really I’m right to not run before guests for a young man... — Well, she got hers, — intervened Nikolay, — spoke trouble to all, upsetting all. Let’s go to the children’s room. All four, as a frightened flock of birds, rose and went from the room. — You have spoken trouble to me, but I have said nothing to anyone, — said Vera. — Madame de Genlis! Madame de Genlis! — spoke the laughing voices from behind the door. Beautiful Vera, producing to all such an annoying, unpleasant action, smiled and was apparently not affected by that what was said to her, came up to the mirror and straightened her scarf and hairstyle: looking at her beautiful face, she had become, apparently, still colder and calmer. ———— In the living room went on the conversation. — Аh! chère (pretty), — said the countess, — and in my life not everything is roses. Don't I see that in the style of our life,132 our state will not last a long time! And all these clubs, and his kindness. In the village we live, how isn't we don’t rest? Theaters, hunting and God knows what. Yes, what about me is there to say! Well, how again did you get all this arranged? I often am surprised at you, Annette, how this is you, in your years, jumping in the wagon alone, to Moscow, to Petersburg, to all ministers, to nobility throughout, knowing how to get along with all of them, I wonder! Well, how again was this settled down? Here I can do nothing. — Ah, my soul! — answered Princess Anna Mihaylovna. — praise God you don’t know how heavy it is to be a widow without support and with a son, whom I love to adoration. You will learn, — she continued with some pride. — what my process taught me. If I need to see someone out of these aces, I write the note: «princess such and such133 wished to see such and such» and go myself with a cab driver two, three times, or even four, until those asked, while not wanting this, get me what I need. I all care what they would think about me. — Well, all the same, to whom did you request about Borenka? — asked the countess. — because here he’s already an officer guard, but Nikolushka is going to be a cadet. No one to bother. To whom did you request? — Prince Vasiliy. He was very dear. Now in everything he agreed, and reported to the sovereign, — said Princess Anna Mihaylovna with delight, completely forgetting all the humiliation which she went through to achieve her goals. — Has he aged, Prince Vasiliy? — asked the countess. — I have not seen him since our theaters at Rumyantsev’s. And I think he has forgotten about me. He dragged behind me,134 — remembered the countess with a smile. — All the same, — answered Anna Mihaylovna, — kindness pouring out. Honors have not changed him.135 ‘I regret that too little can be done for you, pretty princess, — he said to me, — it’s a command.’ No, he is a nice person and natively beautiful. Yet you know, Nathalie, my love for my son. I do not know what I would not do for his happiness. But my circumstances are this bad, — continued Anna Mihaylovna with sadness and a lower voice — are this bad that I now am in the most terrible position. My unhappy process eats up all that I have, and is not moving. There is no one to represent me, sometimes136 not a dime of money, and I do not know in what to outfit Boris. — she took out a handkerchief and cried. — I need five hundred rubles, but I have only a twenty-five-ruble note. I am in such a position...my lone hopes are now in Count Kirill Vladimirovich Bezuhov. Should he not want to support his godson, — because he baptized Boris, — and to appoint him something to his content, then all my chores disappear: I will not have anything to outfit him. The countess shed a tear and silently thought something. — I often think, and maybe this is a sin, — said the princess, — but I often think: here Count Kirill Vladimirovich Bezuhov lives alone...in his huge estate... and for what does he live? His life is a burden, but Borya has only begun to live. — He, rightly, will leave something for Boris, — said the countess. — God knows, my friend!137 These rich and nobles are such egoists. Yet I all the same will ride to him now with Boris and say all of this business. Let him think about me what he wants to, I, rightly, care above all for the fate of my son which depends on this. — the princess got up. — It’s now two, but at four is your dinner. I have time to go. And with the tricks of a Petersburg business lady, able to use time, Anna Mihaylovna sent for her son and together with him exited into the hall. — Goodbye, my soul, — she told the countess, who saw her off to the door, — wish me success, — she added with a whisper from her son. — Are you going to Count Kirill Vladimirovich, ma chère (my pretty)? — said the count from the dining room, exiting too into the hall. — If he is better, call Pierre to my dinner. Because he has been with us and danced with the children. The call is indispensable, ma chère (my pretty). Well, we'll see what distinguishes Taras. He says that in Count Orlov’s such a lunch has not happened that we will have. 131. madame de Genlis 132. tout n’est pas rose. — du train, que nous allons, (All is not rosy. — of the pace, that we are going,) 133. princesse une telle (such a princess) 134. Il me faisait la cour, (He was courting me) 135. Les grandeurs ne lui ont pas tourné la tête du tout. (The grandeurs have not turned his head at all.)
Briggs (chapter 11): Natasha and Boris. Boris's mother, Anna Mikhaylovna.
Translation:
XI. The countess was so tired from all the visits that she ordered to take in no one else, and the doorman was ordered to only tell all who still came with congratulations, to come eat. The countess wanted an eye-to-eye talk with her friend from childhood, Princess Anna Mihaylovna, whom she had not seen in this way since her arrival from Petersburg. Anna Mihaylovna, with her weeping but enjoyable face, moved nearer to the armchair of the Countess. — With you I will be completely frank, — said Anna Mihaylovna. — there is really little of us left, old friends! From this I so cherish your friendship. Anna Mihaylovna looked at Vera and stopped. The countess shook the arm of her friend. — Vera, — said the countess, turning to her older daughter, obviously unlovingly. — how are there no ideas in you? Don't you feel that you are superfluous here? Go to your sister, or... The beautiful Vera contemptuously smiled, apparently not feeling the slightest insult. — If you would have told me a long time ago, Mama, I would have immediately left, — she said, and went into her room. Yet, passing by the sofa, she noticed that in her two symmetrical windows were sitting two couples. She stopped and contemptuously smiled. Sonya sat close beside Nikolay, who rewrote her poems, the first time he’d composed them. Boris with Natasha was sitting in another window and fell silent when Vera entered. Sonya and Natasha with guilty and happy faces took a look at Vera. Funny and touching was the look on these loving girls, but viewing them, obviously, did not excite in Vera a nice feeling. — How many times have I requested you, — she said, — not to take my things in your own room. She took the inkwell from Nikolay. — Now, now, — he said, wetting the pen. — You all know that that was not the time, — said Vera. — to come running into the living room, so that all are made ashamed for you. Despite that, or because what was said by her was completely fair, none of them responded to her, and all four only looked at each other between themselves. She hesitated in the room with the inkwell in hand. — And what may be, at your year, the secrets between Natasha and Boris and between you two, — all nonsense! — Well, what is it your business, Vera? — in a low voice, intercessionally spoke Natasha. She, apparently, was all the more, more than always, on this day good and affectionate. — Very stupid, — said Vera, — I’m ashamed for you. What are secrets for?.. — In each are their secrets. We don’t touch you and Berg, — said Natasha inflamed. — I think that you don’t touch, — said Vera, — because in my acts there is nothing that may be evil. But here I’ll say to mommy that you are going around with Boris. — Natalya Ilinishna is very good around me, — said Boris. — I cannot complain, — he said. — Leave, Boris, you’re such a diplomat (the word diplomat was big in the children in that special meaning that they gave this word); even boring, — said Natasha in an offended, trembling voice. — for what does she stick to me? You will never understand, — she said, turning to Vera, — because you have never loved anyone; in your heart no, you are only a madam de Genlis!131 (this was a nickname, considered very offensive, that was given to Vera by Nikolay), and your first pleasure — do trouble to others. You coquet with Berg as much as you want, — she said soon after. — Yes really I’m right to not run before guests for a young man... — Well, she got hers, — intervened Nikolay, — spoke trouble to all, upsetting all. Let’s go to the children’s room. All four, as a frightened flock of birds, rose and went from the room. — You have spoken trouble to me, but I have said nothing to anyone, — said Vera. — Madame de Genlis! Madame de Genlis! — spoke the laughing voices from behind the door. Beautiful Vera, producing to all such an annoying, unpleasant action, smiled and was apparently not affected by that what was said to her, came up to the mirror and straightened her scarf and hairstyle: looking at her beautiful face, she had become, apparently, still colder and calmer. ———— In the living room went on the conversation. — Аh! chère (pretty), — said the countess, — and in my life not everything is roses. Don't I see that in the style of our life,132 our state will not last a long time! And all these clubs, and his kindness. In the village we live, how isn't we don’t rest? Theaters, hunting and God knows what. Yes, what about me is there to say! Well, how again did you get all this arranged? I often am surprised at you, Annette, how this is you, in your years, jumping in the wagon alone, to Moscow, to Petersburg, to all ministers, to nobility throughout, knowing how to get along with all of them, I wonder! Well, how again was this settled down? Here I can do nothing. — Ah, my soul! — answered Princess Anna Mihaylovna. — praise God you don’t know how heavy it is to be a widow without support and with a son, whom I love to adoration. You will learn, — she continued with some pride. — what my process taught me. If I need to see someone out of these aces, I write the note: «princess such and such133 wished to see such and such» and go myself with a cab driver two, three times, or even four, until those asked, while not wanting this, get me what I need. I all care what they would think about me. — Well, all the same, to whom did you request about Borenka? — asked the countess. — because here he’s already an officer guard, but Nikolushka is going to be a cadet. No one to bother. To whom did you request? — Prince Vasiliy. He was very dear. Now in everything he agreed, and reported to the sovereign, — said Princess Anna Mihaylovna with delight, completely forgetting all the humiliation which she went through to achieve her goals. — Has he aged, Prince Vasiliy? — asked the countess. — I have not seen him since our theaters at Rumyantsev’s. And I think he has forgotten about me. He dragged behind me,134 — remembered the countess with a smile. — All the same, — answered Anna Mihaylovna, — kindness pouring out. Honors have not changed him.135 ‘I regret that too little can be done for you, pretty princess, — he said to me, — it’s a command.’ No, he is a nice person and natively beautiful. Yet you know, Nathalie, my love for my son. I do not know what I would not do for his happiness. But my circumstances are this bad, — continued Anna Mihaylovna with sadness and a lower voice — are this bad that I now am in the most terrible position. My unhappy process eats up all that I have, and is not moving. There is no one to represent me, sometimes136 not a dime of money, and I do not know in what to outfit Boris. — she took out a handkerchief and cried. — I need five hundred rubles, but I have only a twenty-five-ruble note. I am in such a position...my lone hopes are now in Count Kirill Vladimirovich Bezuhov. Should he not want to support his godson, — because he baptized Boris, — and to appoint him something to his content, then all my chores disappear: I will not have anything to outfit him. The countess shed a tear and silently thought something. — I often think, and maybe this is a sin, — said the princess, — but I often think: here Count Kirill Vladimirovich Bezuhov lives alone...in his huge estate... and for what does he live? His life is a burden, but Borya has only begun to live. — He, rightly, will leave something for Boris, — said the countess. — God knows, my friend!137 These rich and nobles are such egoists. Yet I all the same will ride to him now with Boris and say all of this business. Let him think about me what he wants to, I, rightly, care above all for the fate of my son which depends on this. — the princess got up. — It’s now two, but at four is your dinner. I have time to go. And with the tricks of a Petersburg business lady, able to use time, Anna Mihaylovna sent for her son and together with him exited into the hall. — Goodbye, my soul, — she told the countess, who saw her off to the door, — wish me success, — she added with a whisper from her son. — Are you going to Count Kirill Vladimirovich, ma chère (my pretty)? — said the count from the dining room, exiting too into the hall. — If he is better, call Pierre to my dinner. Because he has been with us and danced with the children. The call is indispensable, ma chère (my pretty). Well, we'll see what distinguishes Taras. He says that in Count Orlov’s such a lunch has not happened that we will have. 131. madame de Genlis 132. tout n’est pas rose. — du train, que nous allons, (All is not rosy. — of the pace, that we are going,) 133. princesse une telle (such a princess) 134. Il me faisait la cour, (He was courting me) 135. Les grandeurs ne lui ont pas tourné la tête du tout. (The grandeurs have not turned his head at all.)
136. à la lettre (to the letter)
137. chère amie! (dear friend)
Time: See previous chapter. At 2 o'clock. 4 o'clock is mentioned as dinner.
Location: The Rostovs' drawing-room and sofa-room (divan-room in Dole and Garnett. Just next room in Bell. sitting room in Dunnigan, Maude, and Mandelker (the latter two use a hyphen). There is also a children's room (nursery in Briggs, Dole, and Pevear and Volkhonsky) and Viera and Nikolai's own rooms are mentioned. Also the antechamber (ante-room in Mandelker and Maude. hall in Dunnigan, Garnett, and Briggs. front hall in Pevear and Volkhonsky. entry in Dole. Not mentioned in Bell.) and dining-room (as in Wiener and Briggs. Dunnigan and Peavear and Volkhonsky don't use a hyphen. dining-hall in Maude and Mandelker.)
Mentioned: St. Petersburg, Moscow, and Count Bezukhov's.
Pevear and Volkhonsky Notes: Vera, obviously not the countess’ favorite child, does not understand it, does not understand that she isn’t quite valued as an adult, does not fit in with the children, cannot please anyone, but maybe not quite realizing that she doesn't please anyone either. The narrator feels that the sight of them is amusing while Vera does not find it amusing, putting Vera at odds, even, with the narrator (Tolstoy's antipathy with his own creation in Vera continues throughout the novel).
Location: The Rostovs' drawing-room and sofa-room (divan-room in Dole and Garnett. Just next room in Bell. sitting room in Dunnigan, Maude, and Mandelker (the latter two use a hyphen). There is also a children's room (nursery in Briggs, Dole, and Pevear and Volkhonsky) and Viera and Nikolai's own rooms are mentioned. Also the antechamber (ante-room in Mandelker and Maude. hall in Dunnigan, Garnett, and Briggs. front hall in Pevear and Volkhonsky. entry in Dole. Not mentioned in Bell.) and dining-room (as in Wiener and Briggs. Dunnigan and Peavear and Volkhonsky don't use a hyphen. dining-hall in Maude and Mandelker.)
Mentioned: St. Petersburg, Moscow, and Count Bezukhov's.
Pevear and Volkhonsky Notes: Vera, obviously not the countess’ favorite child, does not understand it, does not understand that she isn’t quite valued as an adult, does not fit in with the children, cannot please anyone, but maybe not quite realizing that she doesn't please anyone either. The narrator feels that the sight of them is amusing while Vera does not find it amusing, putting Vera at odds, even, with the narrator (Tolstoy's antipathy with his own creation in Vera continues throughout the novel).
Natasha was being kinder to everyone that day than any other day.
“The word diplomat was much in vogue among children in that special sense they endowed it with”
Vera upsets everyone.
Compare her looking in the mirror to how Boris looks at himself in the mirror in the previous chapter. She becomes colder and calmer. Her beauty contrasted with how she is unfeeling or she does not seem to affect
everyone around her positively or feel affected by them.
Pevear and Volkhonsky puts line break before “In the drawing room the conversation was still going on.”
Junker, a German term for cadet, going in without commission.
Absurdly positive discussion about Vassily
Princess Mikhailovna wishes Count Bezukhov was dead because of her lawsuit, because she has no money, because she hopes he will leave money to his godson Boris.
Characters (characters who do not appear, but are mentioned are placed in italics. First appearances are in Bold. First mentions are underlined. Final appearance denoted by *):
Countess Natalia Rostova (also called “Nathalie”, as in Dole and Mandelker, “Natalie” in Weiner, Briggs, and Bell, in dialogue)
The Swiss (probably not the different servants and Dmitri from earlier? “The servant” in Bell, “the porter” in Mandelker, Briggs, and Maude “hall-porter” in Edmonds, “hall porter” in Dunnigan)
Princess Anna Mikhailovna (called “Annette” in dialogue)
Countess Vera Rostova (just “Vera” in the chapter)
Sonya (only first name)
Nikolai (only first name, called “Nikolushka”, as in Dole, Dunnigan, and Mandelker, “Nikolinka” in Garnett, “Nikolay” in Weiner and Briggs, “Nicolas” in Bell, “Nikolai” in Edmonds, in dialogue)
Boris (only first name, called “Borenka” in dialogue)
Natasha (called “Natalya Ilyinishna”, as in Dole and Garnett, Edmonds using the same last name but “Natalia” for the first name,
“...Ilynichna” in Mandelker,“...Ilyinichna” in Maude, Bell using the same last name but “Natalie” as the first name, “...Ilishna” in Weiner, Briggs just uses “Natalya”, by Boris. Rostova is not used in the chapter)
“...Ilynichna” in Mandelker,“...Ilyinichna” in Maude, Bell using the same last name but “Natalie” as the first name, “...Ilishna” in Weiner, Briggs just uses “Natalya”, by Boris. Rostova is not used in the chapter)
Berg
Madame de Genlis (“this was a nickname considered very insulting”)
Prince Vasili
Rumyantsof (more of just a family name as in at a party in this chapter)
Kirill Vladimirovitch Bezukhoi
Pierre
Taras (“Tarass” in Bell, probably to be understood as the cook and a serf, later shown to be bought for a 1000 rubles)
Count Orlof (as in Dole, “...Orlov” in Weiner, Mandelker, and Briggs, “Orlow” in Bell)
Abridged Versions: Bell Ends Chapter 6 at end of chapter
Gibian: Line break after "she seemed to become still colder and calmer". End of Chapter 5.
Gibian: Line break after "she seemed to become still colder and calmer". End of Chapter 5.
Fuller: The entirety of the Vera section of the chapter is cut, instead of opening device of the countess and Anna,
moving to Vera moving from the conversation and not fitting in with the kids before going back to the countess
and Anna section, the middle Vera section is removed, creating a smooth movement of the conversation.
He also removes the bits about the countess showing distress about the maintenance of their estate, the information
about the lawsuit, and the discussion about Vasili. The Taras and Count Orlof references are also removed.
moving to Vera moving from the conversation and not fitting in with the kids before going back to the countess
and Anna section, the middle Vera section is removed, creating a smooth movement of the conversation.
He also removes the bits about the countess showing distress about the maintenance of their estate, the information
about the lawsuit, and the discussion about Vasili. The Taras and Count Orlof references are also removed.
Komroff: The information about her being tired, sending visitors away via the porter, is removed. The diplomat
reference is removed, as is the Madame de Genlis reference. The lawsuit, Taras, and Count Orlof references
are also removed.
reference is removed, as is the Madame de Genlis reference. The lawsuit, Taras, and Count Orlof references
are also removed.
Kropotkin: Other than the Taras and Count Orlof references, the chapter appears to be completely preserved.
Bromfield: Other than the second reference (the taunting) of Madame de Genlis, the first part of the chapter is the same.
Where most versions put a line break, Bromfield heads into chapter 18 with the conversation between the countess and
Anna Mikhailovna. This plays out just like the other versions, and the chapter ends just as the other versions end.
Simmons: Everything before the countess speaking to Mikhaylovna about her money problems is cut with the summary
"Vera joins Boris and Sonya, Nicholas and Natasha in the sitting room and spitefully scolds them. Meanwhile,
Countess Rostova and Anna Mikhaylovna converse in the drawing room." The count mentioning Taras and Count Orlov
is removed. End of chapter 5.
Where most versions put a line break, Bromfield heads into chapter 18 with the conversation between the countess and
Anna Mikhailovna. This plays out just like the other versions, and the chapter ends just as the other versions end.
Simmons: Everything before the countess speaking to Mikhaylovna about her money problems is cut with the summary
"Vera joins Boris and Sonya, Nicholas and Natasha in the sitting room and spitefully scolds them. Meanwhile,
Countess Rostova and Anna Mikhaylovna converse in the drawing room." The count mentioning Taras and Count Orlov
is removed. End of chapter 5.
Additional notes:
Tolstoy uses the children/teenagers here to establish a lot of the themes we see in the book and his thinking in general, including but not limited to, the negative view of diplomats and the formality of drawing rooms. Just like Pierre
speaks his mind, and though is wrong and childlike in his devotion to Napoleon, is at the very least honest and his breaking of the social code (and the machine of the soiree) is treated as humorous (especially by Andrei later on),
the children's playfulness and interruption of the adults is treated as technically wrong, but is more acceptable in Tolstoy's eyes than the rudeness (and apparent vanity) of Vera. Rostov's famous dismissal of diplomats at Tilsit is
anticipated here (as well as his fracture with Boris at this point), as well as previously when he is discussing his career with his father. The idea that a person inspecting themselves in the mirror is less pretty than a person living
unconsciously of their looks is also a Tolstoyan idea.
Tolstoy uses the children/teenagers here to establish a lot of the themes we see in the book and his thinking in general, including but not limited to, the negative view of diplomats and the formality of drawing rooms. Just like Pierre
speaks his mind, and though is wrong and childlike in his devotion to Napoleon, is at the very least honest and his breaking of the social code (and the machine of the soiree) is treated as humorous (especially by Andrei later on),
the children's playfulness and interruption of the adults is treated as technically wrong, but is more acceptable in Tolstoy's eyes than the rudeness (and apparent vanity) of Vera. Rostov's famous dismissal of diplomats at Tilsit is
anticipated here (as well as his fracture with Boris at this point), as well as previously when he is discussing his career with his father. The idea that a person inspecting themselves in the mirror is less pretty than a person living
unconsciously of their looks is also a Tolstoyan idea.
Maude note: Madame de Genlis: “A French writer of that period, authoress of educational works and novels. Later on Kutuzov is described as reading a novel of hers on the eve of Borodino. They were stories of good society,
refined and correct, but the young Rostovs evidently found them dull, and aptly enough nicknamed Vera “Madame de Genlis” when annoyed by her insistence of the proprieties."
Count Alexey Orlov: He and his brother Gregory played leading roles in the palace revolution in 1762, which lead to the death of Peter III and to Catherine’s securing the throne. After distinguishing himself in the Turkish war of 1774,
Alexey Orlov retired and lived in his Neskuchni palace near Moscow, giving luxurious balls and dinners, and amazing everybody by his openhanded hospitality. In the early years of the nineteenth century he was the most popular
man in Moscow.
Alexey Orlov retired and lived in his Neskuchni palace near Moscow, giving luxurious balls and dinners, and amazing everybody by his openhanded hospitality. In the early years of the nineteenth century he was the most popular
man in Moscow.
Garnett notes: Madame de Genlis: Stephanie-Felicite du Crest de Saint-Aubin, the countess de Genlis, Marchioness de Sillery (1746-1830), writer of pedagogical novels, was readmitted to France after the Revolution and
was appointed by Napoleon to serve as inspector of elementary schools.”
Count Orlov: Count Aleksey Grigoryevitch Orlov (1737-1808)
(Roberts) Page 472: “On long journeys in their carriage, Josephine read novels to him (Napoleon), chosen from the precis of newly published ones that he had the historical novelist the Comtesse de Genlis draw up for him
(Roberts) Page 472: “On long journeys in their carriage, Josephine read novels to him (Napoleon), chosen from the precis of newly published ones that he had the historical novelist the Comtesse de Genlis draw up for him
every week.”
(Davis) Page 652: When Paul insisted on exhuming the body of his murdered father, Peter III, and on reburying his parents in the cathedral of Peter and Paul, the aged Count Orlov was obliged to carry the imperial crown behind the coffin of the victim, whom he had killed 35 years before. This grisly act of reconciliation well symbolizes the fraud, fear, and violence which surrounded the court of St Petersburg and all its works.”
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