Chapter Summaries: Dole: Sonya's sorrow. Natasha's sympathy. Sonya offers to sacrifice herself. The four young people sing "The Fountain." Natasha dance with Pierre. Count Rostof dances "Daniel Cooper" with Marya Dmitrievna.
Briggs (chapter 17): Sonya's distress. Natasha dances with Pierre. The 'Daniel Cooper' dance.
Maude (chapter 20): Sonya and Natasha. Nicholas sings. The 'Daniel Cooper'
Translation:
XVII.
Parted Boston tables, divided parties, and the visitors of the count settled down in the two living rooms, the sofa and the library.
The count, spreading the cards as a fan, with labor holding from the habits of afternoon sleep and laughed at all. The young people, incited by the countess, gathered about the clavichord and harp. Juli first, by the request of all, played on the harp a tune with variations and together with the other girls had asked Natasha and Nikolay, famous for his musicality, to sing something. Natasha, to whom was turned to as a big person, was, apparently, extremely proud of this, but together with it was shy.
— What will you sing? — she asked.
— “The Key,” — responded Nikolay.
— Well, let's go. Boris, come here, — said Natasha. — but where is Sonya?
She looked around and, seeing that her friend was not in the room, ran for her.
Running into Sonya’s room and not finding her friend there, Natasha ran into the children's room — and Sonya was not there. Natasha understood that Sonya was in the corridor at the chest. The chest in the corridor was the place of sorrows for the female young generation at the home of the Rostovs. Really, Sonya was in her airy pink dress, crumbling it, lying face down in the dirty striped feather bed of the nanny, on the chest and, closing her face with her fingers, sobbingly cried, trembling her bare shoulders. The face of Natasha, brisk for her whole day of her name-day, suddenly changed: her eyes stopped, then shuddered with her wide neck, and the angle of her lips lowered.
— Sonya! What’s with you?.. What, what’s with you? Oo-oo-oo!...
And Natasha, loosening her big mouth and making it completely bad, roaring as a child, not knowing the cause and only because Sonya cried. Sonya wanted to raise her head, wanted to respond, but could not stay hidden anymore. Natasha cried, sat down on the blue feather bed and embraced her friend. Gathering her forces, Sonya raised up, beginning to wipe her tears and speak.
— Nikolinka is going in a week, his... paper... has come... he himself to me said...Yes I would have not cried at all... (she showed a piece of paper, which she held in her hand: that were the poems written by Nikolay) I would have not cried at all, but you cannot... understand anything...in his soul.
And she again began to cry about how his soul was so good.
— You’re okay... I do not envy... I love you, and Boris too, — she said, gathered little from her forces, — He is sweet... and for you there are no obstacles. But Nikolay is my cousin... need...from the metropolitan himself... and that cannot be. And then, if mommy... (Sonya counted and called the countess her mother)... She will say that I will spoil the career of Nikolay, I have no heart, that I am ungrateful, but right... this by God... (she crossed herself) I so love her, and all of you, only Vera... for what? What did I do to her? I am so grateful for you, that I would happily donate everything, and for me nothing...
Sonya could not speak more and again hid her head in her hands and the feather bed. Natasha began to calm down, yet in her face it was seen that she understood all the importance of the grief of her friend.
— Sonya! —she said suddenly, as if guessing about the present reason of the grief of her cousin, — Right, Vera spoke to you after dinner? Yes?
— Yes, after the poems Nikolay himself wrote, I wrote still others; she found them on the table and said that she will show them to mommy, and still said that I was ungrateful and that Mama will never allow him to marry me, but he will marry Juli. You see how he has been with her the whole day... Natasha! For what?...
And again she cried with her former bitterness. Natasha raised her, hugged her, and smiling through tears, reassured her.
— Sonya, do not believe her, darling, do not believe. Remember, how all three of us spoke with Nikolinka on the sofa; remember, after dinner? Because we decided everything, as it will be. I now don’t remember how, but, I do remember how everything is okay and everything can be. Here Uncle Shinshin’s brother was already married to his cousin, but because they were second cousins. And Boris spoke about how this is very possible. You know, I told him everything. But he is so smart and so good, — said Natasha... — You, Sonya, do not cry, darling sweet, darling, Sonya. — And she kissed her, laughing. — Vera is evil, God with her! But everything will be okay and she will not tell mommy; Nikolinka himself will say that he has not thought about Juli.
And she kissed her on the head. Sonya raised up, and the kitten revived, her eyes shone, and she was ready, it seemed, here waving her tail, jumping on her soft paws and again playing with a ball, as if it was decent.
— You think? Is this right? By God? — she said, quickly straightening her dress and hairstyle.
— Right, by God! — answered Natasha, straightening her friend’s obliquely broken strand of hard hair.
And they both laughed.
— Well, let's go sing “The Key.”
— Let’s go.
— But do you know this thick Pierre that sat opposite of me, so funny! — suddenly said Natasha, stopping. — He is very funny to me!
And Natasha ran through the corridor.
Sonya, shaking off the fluff and hiding the poems behind her bosom, to the neck with protruding breast bones, with light, fun steps, and a flushed face, ran following behind Natasha through the corridor to the sofa. By the request of the guests the young people sang a quartet “The Key,” which all extremely liked; then Nikolay sang again a song they had learned:
On a pleasant night, in lunar light,
to represent myself happily,
that someone is still in the light
who thinks about you!
That she and her hand is beautiful,
by harp the golden wanderer,
its harmony of passion
calls to myself, calls to you!
Still a day — two, and paradise will come...
But ah! Your friend will not survive!
And he still had not finished the last words, when in the hall the young people prepared to dance, and in the choir feet pounded and the musicians coughed.
————
Pierre sat in the living room, where Shinshin, as with visitors from abroad, started with boring Pierre with political conversation, to which others joined. Now played music, and Natasha entered in the living room and, coming up to Pierre, laughing and blushing, said:
— Mama ordered me to ask you to dance.
— I am afraid to confuse the figures, — said Pierre, — but if you want to be my teacher...
And he gave his thick hand, lowering it to the thin girl.
While the couples settled and the musicians constructed, Pierre sat down with his little lady. Natasha was completely happy; she danced with the big man who came from abroad. She sat in her mind everything and talked with him as if she was big. In her hand was a fan, which was given to her to hold a little bit ago by a young lady. And, by accepting this very societal pose (God knows where and when she learned this) she fanned herself and smiled through the fan, speaking with the cavalier.
— What is it? What is it? See, see, — said the old countess, passing through the hall and pointing at Natasha.
Natasha blushed and laughed.
— Well, what is it to you, Mama? Well, what are you hunting for? What here is surprising?
In the middle of the third ecossaise stirred the chairs in the living room, where played the count and Marya Dmitrievna, and the bigger part of the honorary guests and old men, stretching after a long seat and laying in their pockets their wallets and purses, entered the hall door. Ahead went Marya Dmitrievna with the count — both with fun faces. The count with playful politeness, as in a ballet, gave his rounded hand to Marya Dmitrievna. He straightened up, and his face lit up especially well and donned a cunning smile, and as he had only danced the last figure of the ecossaise, he stroked his hands at the musicians and shouted at the choir, turning to first violin:
— Semen! Know the Danil Kooper?
This was the favorite dance of the count, they still danced it in their youth. (Danil Kooper was actually a single figure of an English dance.)
— Look at papa, — screamed Natasha to all in the hall (completely forgetting that she was dancing with the big man), crouching to her elbow her curly head and a bursting voiced laughter throughout the hall.
Really, all that were in the hall, with a smile of joy watched the fun old man, which nearby with his high ranking lady, Marya Dmitrievna, the former above him by height, round up his hands, shaking them, straightened out his shoulders, wrenched out his legs, stamping a little, and all the more and more a blooming smile on his round face brought spectators to what was coming. As all heard the funny, provocative sounds of the Danil Kooper, similar to a cheery racket, all the door halls suddenly became one party male, with another — the smiling women faces of the court, leaving a look at the having fun baron.
— That’s our father! The eagle! —spoke the loud nurse from one door.
The count was dancing well and knew this, but his lady was not quite able and did not want to dance well. Her huge body stood with her powerful hands all downwards (she had delivered the reticule to the countess); alone with a strict, but beautiful face she was dancing. What was expressed throughout the round figure of the count, in Marya Dmitrievna was expressed only in a more and more smiling face and jerking nose. Yet, at the count, the all more and more diverging, captivated spectators looked with surprise at the nimble twists and easy jumps of his soft feet, and Marya Dmitrievna with the slightest zeal in the movement of shoulders or rounding hands in the bends and stamping, producing not less of an impression by merit, which was appreciated in her obesity and everlasting severity. The dance quickened all more and more. The opposites could for a moment turn to themselves attention and did not even try to do this. All were occupied with the count and Marya Dmitrievna. Natasha jerked for the sleeves and dresses of all in her presence, and without letting her eyes from the dancing, demanded that all looked at her daddy. The count in the intervals of the dance heavily took a breath, waved and shouted at the musicians for them to play faster. Faster, faster and faster, lighter, lighter and lighter unfolded the count, on tiptoe, on heels, rushing around Marya Dmitrievna and, finally, turning to his lady at her place, did a latter step, holding up to his back a soft leg, bowing his sweaty head with a smiling face and roundly waving his right arm among the rumble of applause and laughter, especially at Natasha. Both dancers stopped, heavily taking breaths and wiping off with cambric handkerchiefs.
— Here is how in our time we danced, Mother,174 — said the count.
— Oh yes Danil Kooper! — heavily and continuously releasing breath and rolling up her sleeves, Marya Dmitrievna said.
174 ma chère, (my dear,)
Time: Same as last chapter, though now after dinner.
Mentioned: in a week.
Locations: Same as last chapter, including two drawing-rooms, the sofa-room (sitting-room in Maude, Dunnigan (who uses no hyphen), and Briggs. divan room in Garnett.), library, the children's room, the coffer in the corridor (the chest in the passage in Maude and Mandelker. the corridor on the great chest in Dole. bench in the corridor in Bell. the chest in the corridor in Pevear and Volkhonsky, Dunnigan, and Briggs.)
Pevear and Volkhonsky: Cards for the adults, music for the children (the orchestra?)
Briggs (chapter 17): Sonya's distress. Natasha dances with Pierre. The 'Daniel Cooper' dance.
Maude (chapter 20): Sonya and Natasha. Nicholas sings. The 'Daniel Cooper'
Translation:
XVII.
Parted Boston tables, divided parties, and the visitors of the count settled down in the two living rooms, the sofa and the library.
The count, spreading the cards as a fan, with labor holding from the habits of afternoon sleep and laughed at all. The young people, incited by the countess, gathered about the clavichord and harp. Juli first, by the request of all, played on the harp a tune with variations and together with the other girls had asked Natasha and Nikolay, famous for his musicality, to sing something. Natasha, to whom was turned to as a big person, was, apparently, extremely proud of this, but together with it was shy.
— What will you sing? — she asked.
— “The Key,” — responded Nikolay.
— Well, let's go. Boris, come here, — said Natasha. — but where is Sonya?
She looked around and, seeing that her friend was not in the room, ran for her.
Running into Sonya’s room and not finding her friend there, Natasha ran into the children's room — and Sonya was not there. Natasha understood that Sonya was in the corridor at the chest. The chest in the corridor was the place of sorrows for the female young generation at the home of the Rostovs. Really, Sonya was in her airy pink dress, crumbling it, lying face down in the dirty striped feather bed of the nanny, on the chest and, closing her face with her fingers, sobbingly cried, trembling her bare shoulders. The face of Natasha, brisk for her whole day of her name-day, suddenly changed: her eyes stopped, then shuddered with her wide neck, and the angle of her lips lowered.
— Sonya! What’s with you?.. What, what’s with you? Oo-oo-oo!...
And Natasha, loosening her big mouth and making it completely bad, roaring as a child, not knowing the cause and only because Sonya cried. Sonya wanted to raise her head, wanted to respond, but could not stay hidden anymore. Natasha cried, sat down on the blue feather bed and embraced her friend. Gathering her forces, Sonya raised up, beginning to wipe her tears and speak.
— Nikolinka is going in a week, his... paper... has come... he himself to me said...Yes I would have not cried at all... (she showed a piece of paper, which she held in her hand: that were the poems written by Nikolay) I would have not cried at all, but you cannot... understand anything...in his soul.
And she again began to cry about how his soul was so good.
— You’re okay... I do not envy... I love you, and Boris too, — she said, gathered little from her forces, — He is sweet... and for you there are no obstacles. But Nikolay is my cousin... need...from the metropolitan himself... and that cannot be. And then, if mommy... (Sonya counted and called the countess her mother)... She will say that I will spoil the career of Nikolay, I have no heart, that I am ungrateful, but right... this by God... (she crossed herself) I so love her, and all of you, only Vera... for what? What did I do to her? I am so grateful for you, that I would happily donate everything, and for me nothing...
Sonya could not speak more and again hid her head in her hands and the feather bed. Natasha began to calm down, yet in her face it was seen that she understood all the importance of the grief of her friend.
— Sonya! —she said suddenly, as if guessing about the present reason of the grief of her cousin, — Right, Vera spoke to you after dinner? Yes?
— Yes, after the poems Nikolay himself wrote, I wrote still others; she found them on the table and said that she will show them to mommy, and still said that I was ungrateful and that Mama will never allow him to marry me, but he will marry Juli. You see how he has been with her the whole day... Natasha! For what?...
And again she cried with her former bitterness. Natasha raised her, hugged her, and smiling through tears, reassured her.
— Sonya, do not believe her, darling, do not believe. Remember, how all three of us spoke with Nikolinka on the sofa; remember, after dinner? Because we decided everything, as it will be. I now don’t remember how, but, I do remember how everything is okay and everything can be. Here Uncle Shinshin’s brother was already married to his cousin, but because they were second cousins. And Boris spoke about how this is very possible. You know, I told him everything. But he is so smart and so good, — said Natasha... — You, Sonya, do not cry, darling sweet, darling, Sonya. — And she kissed her, laughing. — Vera is evil, God with her! But everything will be okay and she will not tell mommy; Nikolinka himself will say that he has not thought about Juli.
And she kissed her on the head. Sonya raised up, and the kitten revived, her eyes shone, and she was ready, it seemed, here waving her tail, jumping on her soft paws and again playing with a ball, as if it was decent.
— You think? Is this right? By God? — she said, quickly straightening her dress and hairstyle.
— Right, by God! — answered Natasha, straightening her friend’s obliquely broken strand of hard hair.
And they both laughed.
— Well, let's go sing “The Key.”
— Let’s go.
— But do you know this thick Pierre that sat opposite of me, so funny! — suddenly said Natasha, stopping. — He is very funny to me!
And Natasha ran through the corridor.
Sonya, shaking off the fluff and hiding the poems behind her bosom, to the neck with protruding breast bones, with light, fun steps, and a flushed face, ran following behind Natasha through the corridor to the sofa. By the request of the guests the young people sang a quartet “The Key,” which all extremely liked; then Nikolay sang again a song they had learned:
On a pleasant night, in lunar light,
to represent myself happily,
that someone is still in the light
who thinks about you!
That she and her hand is beautiful,
by harp the golden wanderer,
its harmony of passion
calls to myself, calls to you!
Still a day — two, and paradise will come...
But ah! Your friend will not survive!
And he still had not finished the last words, when in the hall the young people prepared to dance, and in the choir feet pounded and the musicians coughed.
————
Pierre sat in the living room, where Shinshin, as with visitors from abroad, started with boring Pierre with political conversation, to which others joined. Now played music, and Natasha entered in the living room and, coming up to Pierre, laughing and blushing, said:
— Mama ordered me to ask you to dance.
— I am afraid to confuse the figures, — said Pierre, — but if you want to be my teacher...
And he gave his thick hand, lowering it to the thin girl.
While the couples settled and the musicians constructed, Pierre sat down with his little lady. Natasha was completely happy; she danced with the big man who came from abroad. She sat in her mind everything and talked with him as if she was big. In her hand was a fan, which was given to her to hold a little bit ago by a young lady. And, by accepting this very societal pose (God knows where and when she learned this) she fanned herself and smiled through the fan, speaking with the cavalier.
— What is it? What is it? See, see, — said the old countess, passing through the hall and pointing at Natasha.
Natasha blushed and laughed.
— Well, what is it to you, Mama? Well, what are you hunting for? What here is surprising?
In the middle of the third ecossaise stirred the chairs in the living room, where played the count and Marya Dmitrievna, and the bigger part of the honorary guests and old men, stretching after a long seat and laying in their pockets their wallets and purses, entered the hall door. Ahead went Marya Dmitrievna with the count — both with fun faces. The count with playful politeness, as in a ballet, gave his rounded hand to Marya Dmitrievna. He straightened up, and his face lit up especially well and donned a cunning smile, and as he had only danced the last figure of the ecossaise, he stroked his hands at the musicians and shouted at the choir, turning to first violin:
— Semen! Know the Danil Kooper?
This was the favorite dance of the count, they still danced it in their youth. (Danil Kooper was actually a single figure of an English dance.)
— Look at papa, — screamed Natasha to all in the hall (completely forgetting that she was dancing with the big man), crouching to her elbow her curly head and a bursting voiced laughter throughout the hall.
Really, all that were in the hall, with a smile of joy watched the fun old man, which nearby with his high ranking lady, Marya Dmitrievna, the former above him by height, round up his hands, shaking them, straightened out his shoulders, wrenched out his legs, stamping a little, and all the more and more a blooming smile on his round face brought spectators to what was coming. As all heard the funny, provocative sounds of the Danil Kooper, similar to a cheery racket, all the door halls suddenly became one party male, with another — the smiling women faces of the court, leaving a look at the having fun baron.
— That’s our father! The eagle! —spoke the loud nurse from one door.
The count was dancing well and knew this, but his lady was not quite able and did not want to dance well. Her huge body stood with her powerful hands all downwards (she had delivered the reticule to the countess); alone with a strict, but beautiful face she was dancing. What was expressed throughout the round figure of the count, in Marya Dmitrievna was expressed only in a more and more smiling face and jerking nose. Yet, at the count, the all more and more diverging, captivated spectators looked with surprise at the nimble twists and easy jumps of his soft feet, and Marya Dmitrievna with the slightest zeal in the movement of shoulders or rounding hands in the bends and stamping, producing not less of an impression by merit, which was appreciated in her obesity and everlasting severity. The dance quickened all more and more. The opposites could for a moment turn to themselves attention and did not even try to do this. All were occupied with the count and Marya Dmitrievna. Natasha jerked for the sleeves and dresses of all in her presence, and without letting her eyes from the dancing, demanded that all looked at her daddy. The count in the intervals of the dance heavily took a breath, waved and shouted at the musicians for them to play faster. Faster, faster and faster, lighter, lighter and lighter unfolded the count, on tiptoe, on heels, rushing around Marya Dmitrievna and, finally, turning to his lady at her place, did a latter step, holding up to his back a soft leg, bowing his sweaty head with a smiling face and roundly waving his right arm among the rumble of applause and laughter, especially at Natasha. Both dancers stopped, heavily taking breaths and wiping off with cambric handkerchiefs.
— Here is how in our time we danced, Mother,174 — said the count.
— Oh yes Danil Kooper! — heavily and continuously releasing breath and rolling up her sleeves, Marya Dmitrievna said.
174 ma chère, (my dear,)
Time: Same as last chapter, though now after dinner.
Mentioned: in a week.
Locations: Same as last chapter, including two drawing-rooms, the sofa-room (sitting-room in Maude, Dunnigan (who uses no hyphen), and Briggs. divan room in Garnett.), library, the children's room, the coffer in the corridor (the chest in the passage in Maude and Mandelker. the corridor on the great chest in Dole. bench in the corridor in Bell. the chest in the corridor in Pevear and Volkhonsky, Dunnigan, and Briggs.)
Pevear and Volkhonsky: Cards for the adults, music for the children (the orchestra?)
““The Spring”: A vocal quartet in the Italian style sometimes attributed to Mozart. Tolstoy himself used to sing it with the pupils of the school at Yasnaya Polyana.” (“The Fountain” in Dole)
Sonya in “the chest in the corridor was the place of sorrows for the young female generation of the Rostov house.”
Natasha had been happy all day, but starts crying “ugly” and like a baby when she sees her friend crying.
Sonya upset at Nikolai leaving.
“And again she began to cry, because his soul was so good.”
“The metropolitan himself: Marriage between cousins was permitted by the Russian Orthodox Church only with special permission. A metropolitan is a bishop having jurisdiction over all the bishops of a given area.”
Sonya’s motivation, she know she can’t really marry Nikolai because of family circumstances. Vera causes the problems, stirs up the jealousy of Julie.
Natasha: “We decided how everything was going to be. I don’t remember how anymore, but remember how good and possible it all was?”
Sonya as the kitten.
Natasha, mention of Pierre: “I feel so merry!”
“A song he had just learned: The words of the song are by Dmitri Alexandrovich Kavelin (1778-1851), director of the Chief Pedagogical Institute and its Pension for Nobility, and of St. Petersburg University. Pushkin refers to him in a
letter as “doctor of theology Kavelin”...Tolstoy found the words in Zhikharev’s Diary of a Student.
letter as “doctor of theology Kavelin”...Tolstoy found the words in Zhikharev’s Diary of a Student.
The orchestra and everyone preparing for the dance followed by a line break.
Pierre a part of a boring political conversation with Shinshin, seems saved by it by Natasha wanting to dance.
Focus in the chapter on Natasha feeling like a grownup, wanting to be a grownup, identifying as such, the countess realizing it.
Line break after this.
Natasha forgets she is a grownup while watching her father. Even the servants want to watch the old count dancing. He dances well, Marya Dmitrievna does not, but she is smiling, she is happy. “The other couples could not draw
attention to themselves for a minute and did not even try to.”
attention to themselves for a minute and did not even try to.”
At the end of the chapter, the count ties together the dancing and happiness with nostalgia.
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 *):
(there are many servants and guests, as well as an orchestra, so I’m listing only characters that are differentiated from the mass of characters at the party in some way)
Count Ilya Rostov (just “the count”, “papa”, and “papenka” to Natasha)
Countess Rostova (just “the countess”, significantly called “mamenka”, as in Dole and Mandelker, the latter capitalizing it, “mamma” in Garnett, Edmonds, and Briggs, the latter two capitalizing it, by Sonya. Dole has Natasha calling
her “Mamma” later on. Interestingly, three different words for mother are used in these parts of the chapter. Sonya calls the countess маменьке which is “mammy”, “mummy”, “my mother”, or “mama.” The narrator’s explanation
about Sonya’s designation of the countess is матерью which is “mother”, “mom”, or “mum.” The word Natasha uses to Pierre when talking about the countess is “Мама” which is “mom”, “mother”, or “mama”. The first should be
understood as the most intimate, the second the most formal, and the third being a split between the two. Probably should be “mama”, “mother”, and “mom” in that order)
her “Mamma” later on. Interestingly, three different words for mother are used in these parts of the chapter. Sonya calls the countess маменьке which is “mammy”, “mummy”, “my mother”, or “mama.” The narrator’s explanation
about Sonya’s designation of the countess is матерью which is “mother”, “mom”, or “mum.” The word Natasha uses to Pierre when talking about the countess is “Мама” which is “mom”, “mother”, or “mama”. The first should be
understood as the most intimate, the second the most formal, and the third being a split between the two. Probably should be “mama”, “mother”, and “mom” in that order)
Julie
Natasha
Nikolai (Sonya and Natasha call him “Nikolenka”)
Boris
Sonya
Nurse (as in Dole, Wiener, and Bell. “Nanny” in Pevear and Volkhonsky, usually has the prefix “old” in front)
The Archbishop (as in Dole, “the Metropolitan” in Dunnigan, Maude, and Wiener, not capitalized in the latter)
Vera
Shinshin (referred to as “Uncle Shinshin” by Natasha)
Shinshin’s brother
Shinshin’s cousin
Pierre
Marya Dmitrievna
Semyon (one of the musicians. “Simien” in Maude. “Simeon” in Edmonds. The unfortunate “Semen” in Wiener)
(Daniel Cooper is a song and dance, and thus shouldn’t be understood as a character)
Abridged Versions: End of chapter 8 for Bell. Maude doesn’t put the second line break in the chapter. Neither does Mandelker or Dole.
Gibian: Chapter 10. Line break after "musicians were heard from the gallery."
Fuller: Chapter is cut.
Fuller: Chapter is cut.
Komroff: Nikolai’s song is cut and just referenced and the count and Marya Dmitrievna’s Daniel Cooper dance, the third part of the chapter, is cut completely, going from (after the line break) Natasha’s “Is there anything
strange about it?” to the sixth dance/sixth stroke contrast that begins the next chapter.
strange about it?” to the sixth dance/sixth stroke contrast that begins the next chapter.
Kropotkin: Chapter 14: The Sonya and Natasha portion of the chapter, the first part, is preserved, but the second and third parts are cut, moving straight from Natasha and Sonya going to go sing the song into Chapter
15, which is the sixth dance/sixth stroke contrast.
15, which is the sixth dance/sixth stroke contrast.
Bromfield: Chapter 25: an extra detail about the card game, Marya Dmitrievna scolding Shinshin, and Natasha is different in the chapter, not sure if she wants to play the music or not, then a conversation between
Natasha and Pierre about her singing, about how her voice is not as good at times. “Pierre, pleased to have seen how she spoke, went over to Boris, whom he liked almost as much today as Natasha.” More weird
emphasis on how she isn’t good looking. Get a heavy pedophile vibe in this version. This version also has more St. Petersburg versus Moscow language, but “After the boredom of isolation in his father’s big house,
Pierre found himself in that happy, young man’s state of loving everyone and seeing nothing but good in everyone.”
Natasha and Pierre about her singing, about how her voice is not as good at times. “Pierre, pleased to have seen how she spoke, went over to Boris, whom he liked almost as much today as Natasha.” More weird
emphasis on how she isn’t good looking. Get a heavy pedophile vibe in this version. This version also has more St. Petersburg versus Moscow language, but “After the boredom of isolation in his father’s big house,
Pierre found himself in that happy, young man’s state of loving everyone and seeing nothing but good in everyone.”
There is also more information about “The Spring”: “‘The Spring”, as it was known at the Rostovs, was an old four-part song which they had been taught by their music teacher, Dimmler.”
Another difference is that when Natasha goes after Sonya, we stay with Nikolai instead, who doesn’t want to sing and has to be prodded by Julie and his mother. He sings a similar but different song attributed to Kavelin.
“Nikolai sang with the sense of measure that he had so badly lacked in life and which in art cannot be acquired by any study...Only when he began to sing did he express himself not like the child he seemed to be in life,
but like a man in whom passions were already stirring.”
“Nikolai sang with the sense of measure that he had so badly lacked in life and which in art cannot be acquired by any study...Only when he began to sing did he express himself not like the child he seemed to be in life,
but like a man in whom passions were already stirring.”
Chapter 26: The Natasha/Sonya episode. When they enter the room with Nikolai singing, he sings better and only for her.
Chapter 27: Natasha tells Nikolai about Vera upsetting Sonya. Nikolai confronts Vera, who apologizes, but at the same time doesn’t think this is the time to discuss it. Nikolai, still agitated, has a rather terse conversation
with innocent Pierre. Boris jumps in on a conversation about rank and the merits of doing what Boris did, petitioning for a high spot, and what Nikolai did, entering in a low rank. Berg, on Vera’s prodding, reads one of
Nikolai’s poems to everyone, making him embarrassed and ashamed. Nikolai confronts Berg, making him very moody and confrontational in the chapter, which plays out later in the novel obviously, but Tolstoy may have
felt this was all happening too soon and he needed that development for later. The Pierre and Natasha dancing is shortened, almost completely removed, and the focus is not on her burgeoning maturity. The Daniel
Cooper plays out about the same and ends the chapter.
Simmons: Chapter 10: line break after "musicians were heard from the gallery". After the Natasha and Pierre section, the Daniel Cooper is cut, replaced with "Count Rostov does a special dance with Marya Dmitrievna,
and all the company applaud."
with innocent Pierre. Boris jumps in on a conversation about rank and the merits of doing what Boris did, petitioning for a high spot, and what Nikolai did, entering in a low rank. Berg, on Vera’s prodding, reads one of
Nikolai’s poems to everyone, making him embarrassed and ashamed. Nikolai confronts Berg, making him very moody and confrontational in the chapter, which plays out later in the novel obviously, but Tolstoy may have
felt this was all happening too soon and he needed that development for later. The Pierre and Natasha dancing is shortened, almost completely removed, and the focus is not on her burgeoning maturity. The Daniel
Cooper plays out about the same and ends the chapter.
Simmons: Chapter 10: line break after "musicians were heard from the gallery". After the Natasha and Pierre section, the Daniel Cooper is cut, replaced with "Count Rostov does a special dance with Marya Dmitrievna,
and all the company applaud."
Edmundson: Act One Scene Four: After Natasha comforts Sonya, Nikolai enters, discusses how he can't be a diplomat, and kisses her while Natasha watches her, somewhat combining three different episodes.
Additional Notes: Maude: “Tolstoy takes the text of the song, written by D. A. Kavelin, from S. Zhikharyova’s Notes of a Contemporary.
Briggs: a song (“The spring”) dubiously attributed to Mozart
“ecossaise...Daniel Cooper....anglaise: The ‘ecossaise’ is a lively country dance (not to be confused with the ‘schottische’ (German-both mean ‘Scottish’), which is a round dance akin to the polka) in which the performers
stand opposite each other, often in couples. ‘Anglaise’ is a vague term often applied in the eighteenth and nineteenth centuries to country dances of putative English character. It allowed for many variations, of which the
‘Daniel Cooper’ was one.”
stand opposite each other, often in couples. ‘Anglaise’ is a vague term often applied in the eighteenth and nineteenth centuries to country dances of putative English character. It allowed for many variations, of which the
‘Daniel Cooper’ was one.”
“‘Our eagle!’: Peasant language, and Russian folklore, often used birds-eagle, falcon, dove, etc. - as terms of endearment or pride in family members.”
Two Hussars (Maude/Furbank): Page 84: “After that they danced a mazurka and the count was quite wonderful: catching handkerchiefs, kneeling on one knee, striking his spurs together in a quite special Warsaw manner, so that all the
old people left their game of boston and flocked into the ball-room to see, and the cavalryman, their best dancer, confessed himself eclipsed. Then they had supper after which they danced the ‘Grandfather’. And the ball
began to break up.”
Gogol/Garnett/Meyers Page 171: “And already four couples were dancing the mazurka, heels were tapping on the floor, and an army captain was working hard with body and soul, and arms and legs, executing such steps as no one
had ever executed before in his wildest dreams.”
Troyat/Pinkham: Page 250: ‘“In ninety houses out of a hundred they play at cards,” wrote General Mikhailovsky-Danielevsky. “I have hardly greeted the hostess when I find myself with cards in my hand. Before going in to supper they sit down for a game of whist. And it is not only the elderly who do this, but the young people as well.”...Whether dancers, singers, or actresses were on stage, every spectator had his idol. The government approved of this sort of entertainment: Persons who are taking a keen interest in whirling tutus and vocal arabesques cannot at the same time concern themselves with politics.”
Two Hussars (Maude/Furbank): Page 84: “After that they danced a mazurka and the count was quite wonderful: catching handkerchiefs, kneeling on one knee, striking his spurs together in a quite special Warsaw manner, so that all the
old people left their game of boston and flocked into the ball-room to see, and the cavalryman, their best dancer, confessed himself eclipsed. Then they had supper after which they danced the ‘Grandfather’. And the ball
began to break up.”
Gogol/Garnett/Meyers Page 171: “And already four couples were dancing the mazurka, heels were tapping on the floor, and an army captain was working hard with body and soul, and arms and legs, executing such steps as no one
had ever executed before in his wildest dreams.”
Troyat/Pinkham: Page 250: ‘“In ninety houses out of a hundred they play at cards,” wrote General Mikhailovsky-Danielevsky. “I have hardly greeted the hostess when I find myself with cards in my hand. Before going in to supper they sit down for a game of whist. And it is not only the elderly who do this, but the young people as well.”...Whether dancers, singers, or actresses were on stage, every spectator had his idol. The government approved of this sort of entertainment: Persons who are taking a keen interest in whirling tutus and vocal arabesques cannot at the same time concern themselves with politics.”
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