Chapter Summaries: Dole: Anna Mikhailovna takes Pierre to his dying father. She promises to look out for his interests. They discover Prince Vasili and the Princess Katish in consultation. Scene in the anteroom.
Briggs (chapter 19): Anna Mikhaylovna takes Pierre to see his dying father.
Maude (chapters 22-23): Anna Mikhaylovna and Pierre at Count Bezukhov's
Translation:
XIX.
At that time as such conversations occurred in the reception and in the Princess’s rooms, the coach with Pierre (for whom was sent) and Anna Mihaylovna (who found it fit to go with him) entered into the yard of Count Bezuhov. When the wheels of the carriage softly rolled on the straw set under the windows, Anna Mihaylovna turned to her traveler with comforting words, to make sure that, as he was sleeping in the corner of the carriage, he woke up. Waking up, Pierre behind Anna Mihaylovna got out from the carriage and here only thought about that appointment with his dying father which awaited him. He saw that they pulled up not to the front, but to the back entrance. At that time as he went down from the step, two men in vulgar clothes hastily ran back from the entrance into the shadow of the walls. Pausing, Pierre discerned in the shadows of the home from both directions still a few more of these same people. Yet Anna Mihaylovna, nor the lackey, nor the coachman, who could not see these people, turned attention to them. That this was needed, Pierre decided with himself and passed behind Anna Mihaylovna. Anna Mihaylovna’s hasty steps went up the weakly lighted narrow stone stairs, calling for the lagging behind Pierre, whom, although not understanding at all for what he needed to go to the count, and still less, for what he needed to go by the back stairs, yet, judging by the confidence and haste of Anna Mihaylovna, decided with himself that this was necessary and needed. Halfway up the stairs they were almost shot down from their feet by people with buckets, who, banging boots, ran towards them. These people snuggled up to the wall, so that to let Pierre with Anna Mihaylovna pass, and showed not the slightest wonder at seeing them.
— Here is the half of the princess? — Anna Mihaylovna asked one of them.
— Here, — was the response of the bold lackey, in a loud voice, as if now everything was now possible, — the left door, mother.
— Maybe, the count has not called me, — said Pierre at that time, as he got out onto the grounds, — I will go to be by myself.
Anna Mihaylovna stopped, so to be equal with Pierre.
—Ah, my friend, — she said with that same gesture, as in the morning with her son, touching his hand: —believe, I suffer not less than you, but be a man.187
— Right, I will go? — asked Pierre, affectionately through glasses looking at Anna Mihaylovna.
—Forget, my friend, what was wrong against you, think that this is your father...maybe at death.— she sighed. — I immediately fell in love with you, as a son. Trust me, Pierre. I will not forget your interests.188
Pierre understood nothing; again his still stronger sense that all of this must be, and he dutifully followed behind Anna Mihaylovna, who now opened the door.
The door entered into the hall of the rear passage. In the corner sat an old man servant of the princess knitting a stocking. Pierre was never in this half and even did not assume the existence of these chambers. Anna Mihaylovna asked by overtaking a girl, with a decanter on a tray, (calling her nice and darling) about the health of the princess and entailed Pierre farther down the stone corridor. From the corridor the first door on the left led into the residential room of the princess. The maid with the decanter, in a hurry (as everything was done in a hurry in this moment in this house) not shutting the door, and Pierre with Anna Mihaylovna, passing by, unwittingly dropped into that room, where talking and sitting close to each other was the older princess with Prince Vasiliy. Seeing them pass, Prince Vasiliy did an impatient move and leaned backwards; the princess jumped up and in a desperate gesture forcibly slammed the door, shutting them down.
This gesture was not like the look in the everlasting calm of the princess, and the fear expressed in the face of Prince Vasiliy was so unusual in his importance that Pierre stopped and interrogatively, through his glasses, looked at his supervisor. Anna Mihaylovna did not express wonder, she only smiled a little and sighed, as if showing that only this she awaited.
— Be a man, my friend, and I really will watch for your interests.189 — she said in answer to his look and still went through the corridor.
Pierre did not understand this business, and still less what was meant by watching his interests,190 but he understood that all of this must be so. From the corridor they came out in a semi-lit hall, adjoining to the reception of count. This was alone out of those cold and luxurious rooms that Pierre knew from the front porch. Yet in this room, in the middle stood an empty bath and spilled water on the carpet. Towards them came out on tiptoe, not turning attention to them, a servant and a clerk with a censer. They entered into a familiar for Pierre reception room with two Italian windows, entering into a winter garden, with a big bust and heightened portrait of Catherine. All of those same people, almost in the same positions, were sitting and whispering in the reception. All, shutting up, looked around at the entering of Anna Mihaylovna, with her weeping, pale face, and at the thick, large Pierre, who, lowering his head, dutifully following behind her.
In the face of Anna Mihaylovna expressed the consciousness that the decisive minute had come; she, with the tricks of a Petersburg business lady, entered into the room, not letting go of Pierre, more boldly than the morning. She felt that as she led behind herself who desired to see the dying, that the reception was provided for her. Quickly looking around at all in the room, and noticing the count’s confessor, she, not as if bending over, suddenly was less in height, shallowly and amblely swam up to the confessor and respectfully accepted benediction to one and then another spiritual face.
— Thank God that we’re in time, — she said to the face of the confessor, — we all are relatives so we're afraid. Here this young person— is the son of the count, — she added in a hush. — Terrible time!
Having spoken these words, she came up to the doctor.
— Kind doctor,— she said to him, — This young person — is the son of the count... are there hopes?191
The doctor silently, in a quick movement erected his eyes and shoulders. Anna Mihaylovna in exactly the same movement erected her shoulders and eyes, almost closing them, sighed and walked away from the doctor to Pierre. She especially respectfully, sadly, and tenderly turned to to Pierre.
— Trust his mercy.192 — she said to him and indicating to him the sofa, so to sit to wait for her, himself unable to hear what was directed to the door, at which all looked, and following behind a barely audible sound this door hid her.
Pierre, having decided to in everything obey his supervisor, directed to the sofa which she had pointed out to him. As alone Anna Mihaylovna hid, he saw the looks of all in the room, more than with curiosity and with participation turned to him. He saw that all were whispering, pointing at his eyes, as if with fear and even with servility. He manifested respect, which he had before never manifested: an unknown to him lady, who spoke with the spiritual faces, got up from her place and proposed to him to sit, an adjutant raised Pierre’s dropped glove and gave it to him; the doctor respectfully fell silent, and when he passed by him, stepped aside, so to give him a place. Pierre wanted to first sit in another place, so that to not constrain the lady, wanted to himself to raise the glove and to walk around the doctor, who was not quite standing in the way; yet he suddenly felt that this would be indecent, he felt that he on the current night was a face that must commit something terrible and await service, and that he therefore should take from all of the services. He accepted silently the glove from the adjutant, sat down in the place of the lady, placed his large hand on his symmetrically exposed knees, in the naive pose of a Egyptian statue, and decided to himself that all of this is so and must be and that he in this current night so that to not get lost and not to do stupid things, should not act by his considerations, but needed to leave his free will to those that led him.
Not two minutes passed by, as Prince Vasiliy, in his caftan with three stars, majestically, highly carrying his head, entered into the room. He seemed to have lost weight from the morning; his eyes were now more ordinary when he looked around the room and saw Pierre. He came up to him, taking his hand (what he had never done before) and pulled it down, as if he wanted to test whether it would hold.
— Do not lose heart, don’t lose heart, my friend. He ordered to call you. This is good.193 — and he wanted to go.
Yet Pierre honored it fit to ask:
— How is the health of... — he hesitated, not knowing, if it was decent to call the dying count; and to call him father he was ashamed.
— There was another stroke half an hour back. Another stroke. Do not lose heart, my friend...194
Pierre was in such a condition of ambiguity of thought, that at the word “stroke” he presented it as a stroke on the body. He, perplexed, looked at Prince Vasiliy and then realized that the blow was called a disease. Prince Vasiliy went to say a few words to Lorren and passed through the door on a tiptoe. He was not able to walk on tiptoe and awkwardly bounced to everybody. Following behind him passed the older princess, then having passed the spiritual faces and accountants, a person (a maidservant) too passed through the door. Behind this door movement was heard, and finally, with that same pale, yet solid in performance long face, ran out Anna Mihaylovna and, touching the hand of Pierre, said:
— The mercy of God is inexhaustible. Unction will now begin. Let's go.195
Pierre passed through the door, stepping on the soft carpet, and seeing that the adjutant, and the unfamiliar lady, and more out of the maidservants — all passed behind him, as if now it really was not needed to ask for approval to enter into this room.
187. Ah, mon ami! croyez, que je souffre, autant, que vous, mais soyez homme (Ah, my friend! believe, that I suffer, as much as you, but be a man)
188. Ah, mon ami, oubliez les torts qu’on a pu avoir envers vous, pensez que c’est votre père... peut-être à l’agonie. Je vous ai tout de suite aimé comme mon fils. Fiez vous à moi, Pierre. Je n’oublierai pas vos intérêts. (Ah my friend, forget the wrongs that may have been done to you, think that it is your father...perhaps in agony. I loved you right away like my son. Depend on me, Pierre. I will not forget your interests.)
189. Soyez homme, mon ami, c’est moi qui veillerai à vos intérèts, (Be a man, my friend, it is I who will look after your interests,)
190. veiller à vos intérêts, (look after your interests,)
191. Cher docteur, ce jeune homme est le fils du comte... y a-t-il de l’espoir? (Dear doctor, this young man is the son of the count ... is there any hope?)
192. Ayez confiance en Sa miséricorde! (Have confidence in His mercy!)
193. Courage, courage, mon ami. Il a demandé à vous voir. C’est bien… (Courage, courage, my friend. He asked to see you. This is good...)
194. Il a eu encore un coup, il y a une demi-heure. Courage, mon ami…(He had another stroke half an hour ago. Courage, my friend...)
195. La bonté divine est inépuisable. C’est la cérémonie de l’extrême onction qui va commencer. Venez. (Divine goodness is inexhaustible. The ceremony of the extreme unction is about to begin. Come.)
Time: Same as last chapter.
Mentioned: the morning.
Locations: the reception-room (Bell drops the specific reference), apartments of the princess, the yard of Count Bezukhi (Bell gives Hotel Besoukhow)
Mentioned: St. Petersburg, Egyptian and Italian
Pevear and Volkhonsky Notes: unlike in Bromfield, Anna Mikhailovna finds it necessary to go with Pierre and was not sent for. This accentuates the worming alluded to in the previous chapter by Katerina. Driven to the back. “So that is how it has to be, Pierre decided to himself.” Pierre is sort of dragged along by Anna, not understanding why, by deciding it must be necessary. Pierre is told to be a man when he doesn’t want to go in. The encouraging of Anna Mikhailovna is manipulation. Everything done in a haste. Katerina and Vassily’s actions are unlike their characters. Repeat: “be a man”, “interests”, “Pierre did not understand”, “it had to be so”
Briggs (chapter 19): Anna Mikhaylovna takes Pierre to see his dying father.
Maude (chapters 22-23): Anna Mikhaylovna and Pierre at Count Bezukhov's
Translation:
XIX.
At that time as such conversations occurred in the reception and in the Princess’s rooms, the coach with Pierre (for whom was sent) and Anna Mihaylovna (who found it fit to go with him) entered into the yard of Count Bezuhov. When the wheels of the carriage softly rolled on the straw set under the windows, Anna Mihaylovna turned to her traveler with comforting words, to make sure that, as he was sleeping in the corner of the carriage, he woke up. Waking up, Pierre behind Anna Mihaylovna got out from the carriage and here only thought about that appointment with his dying father which awaited him. He saw that they pulled up not to the front, but to the back entrance. At that time as he went down from the step, two men in vulgar clothes hastily ran back from the entrance into the shadow of the walls. Pausing, Pierre discerned in the shadows of the home from both directions still a few more of these same people. Yet Anna Mihaylovna, nor the lackey, nor the coachman, who could not see these people, turned attention to them. That this was needed, Pierre decided with himself and passed behind Anna Mihaylovna. Anna Mihaylovna’s hasty steps went up the weakly lighted narrow stone stairs, calling for the lagging behind Pierre, whom, although not understanding at all for what he needed to go to the count, and still less, for what he needed to go by the back stairs, yet, judging by the confidence and haste of Anna Mihaylovna, decided with himself that this was necessary and needed. Halfway up the stairs they were almost shot down from their feet by people with buckets, who, banging boots, ran towards them. These people snuggled up to the wall, so that to let Pierre with Anna Mihaylovna pass, and showed not the slightest wonder at seeing them.
— Here is the half of the princess? — Anna Mihaylovna asked one of them.
— Here, — was the response of the bold lackey, in a loud voice, as if now everything was now possible, — the left door, mother.
— Maybe, the count has not called me, — said Pierre at that time, as he got out onto the grounds, — I will go to be by myself.
Anna Mihaylovna stopped, so to be equal with Pierre.
—Ah, my friend, — she said with that same gesture, as in the morning with her son, touching his hand: —believe, I suffer not less than you, but be a man.187
— Right, I will go? — asked Pierre, affectionately through glasses looking at Anna Mihaylovna.
—Forget, my friend, what was wrong against you, think that this is your father...maybe at death.— she sighed. — I immediately fell in love with you, as a son. Trust me, Pierre. I will not forget your interests.188
Pierre understood nothing; again his still stronger sense that all of this must be, and he dutifully followed behind Anna Mihaylovna, who now opened the door.
The door entered into the hall of the rear passage. In the corner sat an old man servant of the princess knitting a stocking. Pierre was never in this half and even did not assume the existence of these chambers. Anna Mihaylovna asked by overtaking a girl, with a decanter on a tray, (calling her nice and darling) about the health of the princess and entailed Pierre farther down the stone corridor. From the corridor the first door on the left led into the residential room of the princess. The maid with the decanter, in a hurry (as everything was done in a hurry in this moment in this house) not shutting the door, and Pierre with Anna Mihaylovna, passing by, unwittingly dropped into that room, where talking and sitting close to each other was the older princess with Prince Vasiliy. Seeing them pass, Prince Vasiliy did an impatient move and leaned backwards; the princess jumped up and in a desperate gesture forcibly slammed the door, shutting them down.
This gesture was not like the look in the everlasting calm of the princess, and the fear expressed in the face of Prince Vasiliy was so unusual in his importance that Pierre stopped and interrogatively, through his glasses, looked at his supervisor. Anna Mihaylovna did not express wonder, she only smiled a little and sighed, as if showing that only this she awaited.
— Be a man, my friend, and I really will watch for your interests.189 — she said in answer to his look and still went through the corridor.
Pierre did not understand this business, and still less what was meant by watching his interests,190 but he understood that all of this must be so. From the corridor they came out in a semi-lit hall, adjoining to the reception of count. This was alone out of those cold and luxurious rooms that Pierre knew from the front porch. Yet in this room, in the middle stood an empty bath and spilled water on the carpet. Towards them came out on tiptoe, not turning attention to them, a servant and a clerk with a censer. They entered into a familiar for Pierre reception room with two Italian windows, entering into a winter garden, with a big bust and heightened portrait of Catherine. All of those same people, almost in the same positions, were sitting and whispering in the reception. All, shutting up, looked around at the entering of Anna Mihaylovna, with her weeping, pale face, and at the thick, large Pierre, who, lowering his head, dutifully following behind her.
In the face of Anna Mihaylovna expressed the consciousness that the decisive minute had come; she, with the tricks of a Petersburg business lady, entered into the room, not letting go of Pierre, more boldly than the morning. She felt that as she led behind herself who desired to see the dying, that the reception was provided for her. Quickly looking around at all in the room, and noticing the count’s confessor, she, not as if bending over, suddenly was less in height, shallowly and amblely swam up to the confessor and respectfully accepted benediction to one and then another spiritual face.
— Thank God that we’re in time, — she said to the face of the confessor, — we all are relatives so we're afraid. Here this young person— is the son of the count, — she added in a hush. — Terrible time!
Having spoken these words, she came up to the doctor.
— Kind doctor,— she said to him, — This young person — is the son of the count... are there hopes?191
The doctor silently, in a quick movement erected his eyes and shoulders. Anna Mihaylovna in exactly the same movement erected her shoulders and eyes, almost closing them, sighed and walked away from the doctor to Pierre. She especially respectfully, sadly, and tenderly turned to to Pierre.
— Trust his mercy.192 — she said to him and indicating to him the sofa, so to sit to wait for her, himself unable to hear what was directed to the door, at which all looked, and following behind a barely audible sound this door hid her.
Pierre, having decided to in everything obey his supervisor, directed to the sofa which she had pointed out to him. As alone Anna Mihaylovna hid, he saw the looks of all in the room, more than with curiosity and with participation turned to him. He saw that all were whispering, pointing at his eyes, as if with fear and even with servility. He manifested respect, which he had before never manifested: an unknown to him lady, who spoke with the spiritual faces, got up from her place and proposed to him to sit, an adjutant raised Pierre’s dropped glove and gave it to him; the doctor respectfully fell silent, and when he passed by him, stepped aside, so to give him a place. Pierre wanted to first sit in another place, so that to not constrain the lady, wanted to himself to raise the glove and to walk around the doctor, who was not quite standing in the way; yet he suddenly felt that this would be indecent, he felt that he on the current night was a face that must commit something terrible and await service, and that he therefore should take from all of the services. He accepted silently the glove from the adjutant, sat down in the place of the lady, placed his large hand on his symmetrically exposed knees, in the naive pose of a Egyptian statue, and decided to himself that all of this is so and must be and that he in this current night so that to not get lost and not to do stupid things, should not act by his considerations, but needed to leave his free will to those that led him.
Not two minutes passed by, as Prince Vasiliy, in his caftan with three stars, majestically, highly carrying his head, entered into the room. He seemed to have lost weight from the morning; his eyes were now more ordinary when he looked around the room and saw Pierre. He came up to him, taking his hand (what he had never done before) and pulled it down, as if he wanted to test whether it would hold.
— Do not lose heart, don’t lose heart, my friend. He ordered to call you. This is good.193 — and he wanted to go.
Yet Pierre honored it fit to ask:
— How is the health of... — he hesitated, not knowing, if it was decent to call the dying count; and to call him father he was ashamed.
— There was another stroke half an hour back. Another stroke. Do not lose heart, my friend...194
Pierre was in such a condition of ambiguity of thought, that at the word “stroke” he presented it as a stroke on the body. He, perplexed, looked at Prince Vasiliy and then realized that the blow was called a disease. Prince Vasiliy went to say a few words to Lorren and passed through the door on a tiptoe. He was not able to walk on tiptoe and awkwardly bounced to everybody. Following behind him passed the older princess, then having passed the spiritual faces and accountants, a person (a maidservant) too passed through the door. Behind this door movement was heard, and finally, with that same pale, yet solid in performance long face, ran out Anna Mihaylovna and, touching the hand of Pierre, said:
— The mercy of God is inexhaustible. Unction will now begin. Let's go.195
Pierre passed through the door, stepping on the soft carpet, and seeing that the adjutant, and the unfamiliar lady, and more out of the maidservants — all passed behind him, as if now it really was not needed to ask for approval to enter into this room.
187. Ah, mon ami! croyez, que je souffre, autant, que vous, mais soyez homme (Ah, my friend! believe, that I suffer, as much as you, but be a man)
188. Ah, mon ami, oubliez les torts qu’on a pu avoir envers vous, pensez que c’est votre père... peut-être à l’agonie. Je vous ai tout de suite aimé comme mon fils. Fiez vous à moi, Pierre. Je n’oublierai pas vos intérêts. (Ah my friend, forget the wrongs that may have been done to you, think that it is your father...perhaps in agony. I loved you right away like my son. Depend on me, Pierre. I will not forget your interests.)
189. Soyez homme, mon ami, c’est moi qui veillerai à vos intérèts, (Be a man, my friend, it is I who will look after your interests,)
190. veiller à vos intérêts, (look after your interests,)
191. Cher docteur, ce jeune homme est le fils du comte... y a-t-il de l’espoir? (Dear doctor, this young man is the son of the count ... is there any hope?)
192. Ayez confiance en Sa miséricorde! (Have confidence in His mercy!)
193. Courage, courage, mon ami. Il a demandé à vous voir. C’est bien… (Courage, courage, my friend. He asked to see you. This is good...)
194. Il a eu encore un coup, il y a une demi-heure. Courage, mon ami…(He had another stroke half an hour ago. Courage, my friend...)
195. La bonté divine est inépuisable. C’est la cérémonie de l’extrême onction qui va commencer. Venez. (Divine goodness is inexhaustible. The ceremony of the extreme unction is about to begin. Come.)
Mentioned: the morning.
Locations: the reception-room (Bell drops the specific reference), apartments of the princess, the yard of Count Bezukhi (Bell gives Hotel Besoukhow)
Mentioned: St. Petersburg, Egyptian and Italian
Pevear and Volkhonsky Notes: unlike in Bromfield, Anna Mikhailovna finds it necessary to go with Pierre and was not sent for. This accentuates the worming alluded to in the previous chapter by Katerina. Driven to the back. “So that is how it has to be, Pierre decided to himself.” Pierre is sort of dragged along by Anna, not understanding why, by deciding it must be necessary. Pierre is told to be a man when he doesn’t want to go in. The encouraging of Anna Mikhailovna is manipulation. Everything done in a haste. Katerina and Vassily’s actions are unlike their characters. Repeat: “be a man”, “interests”, “Pierre did not understand”, “it had to be so”
“he ought not to act according to his own reasoning, but give himself up entirely to the will of those who were guiding him.”
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 *):
Pierre
Anna Mikhailovna (called “matushka”, as in Dole, by the lackey with the bucket, “ma’am” in Edmonds, Garnett, and Mandelker, “madam” in Briggs)
Count Kirill Vladimirovitch Bezukhov
The lackey (this is where things get confusing, as even though there are several servants in this chapter, a few of them are differentiated. Whether or not these servants have been mentioned before is unclear because Tolstoy has
decided not to give them names or differentiate them. There is also the problem, since this “lackey” or “footman”, as in Maude, comes with the carriage as it is, of whose carriage it is. This is not specified. Dunnigan has “a carriage”,
Edmonds has “the carriage” (see earlier chapters for Russian’s absence of articles). As below, according to Bell, this is Vasili’s carriage, which makes some sense if Pierre and Anna Mikhailovna were “sent for.” However, earlier on
(chapter 13), Anna Mikhailovna uses Countess Rostova’s carriage. The way the lackey and coachmen act, not paying any attention to the men, might suggest it is Vasili’s because they are used to it, but this isn’t necessarily the case.
This makes keeping track of who’s who in the servant world as the book progresses difficult.)
decided not to give them names or differentiate them. There is also the problem, since this “lackey” or “footman”, as in Maude, comes with the carriage as it is, of whose carriage it is. This is not specified. Dunnigan has “a carriage”,
Edmonds has “the carriage” (see earlier chapters for Russian’s absence of articles). As below, according to Bell, this is Vasili’s carriage, which makes some sense if Pierre and Anna Mikhailovna were “sent for.” However, earlier on
(chapter 13), Anna Mikhailovna uses Countess Rostova’s carriage. The way the lackey and coachmen act, not paying any attention to the men, might suggest it is Vasili’s because they are used to it, but this isn’t necessarily the case.
This makes keeping track of who’s who in the servant world as the book progresses difficult.)
The coachman
Lackey (tells Mikhailovna where the princesses’ apartments are, is “loud, insolent”)
Old man servant of the princesses (as in Dole, Edmonds and Dunnigan (though Dunnigan does not space “man” and “servant” and capitalizes “princesses”. Edmonds also combines “manservant” but does not capitalize “princesses”),
“old servant of the princesses” in Wiener, “old man-servant attending on the princesses” in Bell, “old man, a servant of the princesses” in Maude, “knitting a stocking”)
“old servant of the princesses” in Wiener, “old man-servant attending on the princesses” in Bell, “old man, a servant of the princesses” in Maude, “knitting a stocking”)
A maid (carrying “a carafe on a tray”, as in Dole. Garnett has “maid-servant carrying a tray with a decanter.” Briggs has her carrying the same, but just uses “maid”, as does Mandelker and Maude. Wiener has her carrying the same,
but just calls her “girl.” Bell calls her a “maid”, but has her carrying “a bottle of water on a tray.” Dole calls her a “chambermaid” in the next paragraph, while Dunnigan and Edmonds call her “maid” both times.)
but just calls her “girl.” Bell calls her a “maid”, but has her carrying “a bottle of water on a tray.” Dole calls her a “chambermaid” in the next paragraph, while Dunnigan and Edmonds call her “maid” both times.)
Katerina Semyonovna Mamontof (only referenced as oldest niece or oldest princess in the chapter. The three princesses are mentioned in general)
Prince Vasili
A servant (the one with the clergyman)
Clergyman (“carrying a censer”, as in Dole. “church attendant with a censer” with footnote that says “portable incense burner” in Garnett. “deacon” in Briggs, Maude, and Mandelker. “sexton” in Wiener and “sacristan” in Bell.
Differentiating the clergymen and who was the one in the previous chapter becomes a little tough because of the perspective change. Though Tolstoy stays in his God narration, it is more through Pierre’s eyes than the Vasili/neutral
eyes of last chapter)
Differentiating the clergymen and who was the one in the previous chapter becomes a little tough because of the perspective change. Though Tolstoy stays in his God narration, it is more through Pierre’s eyes than the Vasili/neutral
eyes of last chapter)
Catherine the Great (“Empress Catherine.” Her portrait in the room)
The Count’s Priest (as in Dole. “Count’s spiritual adviser” in Dunnigan, Garnett, and Edmonds. Should be understood as the one that was in Count Bezukhov’s room last chapter, not the old clerical man that appears in last chapter,
also is a different person than the deacon with the censer. Also called “confessor” in Dole.)
also is a different person than the deacon with the censer. Also called “confessor” in Dole.)
A priest (“other priest” in Dole, Wiener, and Bell (Wiener specifies “the other priest who was present”). Identity is unclear to me, but I am making a bet it is the old man who talks to the lady in the previous chapter since the wording
suggests we should not be surprised he is in the chapter, unless Tolstoy is suggesting that there had been two priests in Count Bezukhov’s room, which is possible. Briggs refers to him here as one of the “two ecclesiastics”, Mandelker
has “another priest.”)
suggests we should not be surprised he is in the chapter, unless Tolstoy is suggesting that there had been two priests in Count Bezukhov’s room, which is possible. Briggs refers to him here as one of the “two ecclesiastics”, Mandelker
has “another priest.”)
Doctor Lorrain (probably also the doctor Anna Mikhailovna speaks with before his name is given, though that could be the German doctor, who is not specified in this chapter. There are references to multiple doctors in the chapter)
A lady (should be understood as the one from the previous chapter, as Dole: “the one who had been talking with the two priests”. Also called “strange.”)
The adjutant (the one from the previous chapter, perhaps not the military governor’s since the latter doesn’t seem to be there anymore?)
(there are men in “merchant garb”, as in Dole, “looked like trades people” in Maude, Mandelker, and Edmonds (with no space between “trades” and “people” in Edmonds or Mandelker), “in tradesman’s dress” in Dunnigan, “in the
dress of tradesmen” in Garnett, with a footnote that specifies that they are the undertakers mentioned last chapter, “dressed like tradesmen” in Briggs, outside the house.)
dress of tradesmen” in Garnett, with a footnote that specifies that they are the undertakers mentioned last chapter, “dressed like tradesmen” in Briggs, outside the house.)
(Bell makes some interesting decisions early on that should be noted. She mentions the “Rostows’” as where Pierre and “Princess Droubetzkoi” are coming from, specifies that it is “Basil’s” carriage they are arriving in, calls “Count
Bezukhoi’s courtyard”, as in Dole, “Hotel Besoukhow”, and cuts the lackey and coachmen, saying simply “No one took any notice of them (the “two men in black” as in Bell, or the people who “looked like tradespeople” in other
translations above).”)
Bezukhoi’s courtyard”, as in Dole, “Hotel Besoukhow”, and cuts the lackey and coachmen, saying simply “No one took any notice of them (the “two men in black” as in Bell, or the people who “looked like tradespeople” in other
translations above).”)
(there are some additional characters such as “men with buckets”, as in Dole and Wiener, “carrying pails” in Mandelker, Dunnigan and Maude, “servants...with pails of water” in Bell, one of which is the one who talks to Anna Mikhailovna
and the servants who walk in the room at the end who are undifferentiated)
and the servants who walk in the room at the end who are undifferentiated)
(as referenced in the note on the clergymen and the doctors, all the people from the previous chapter are in this one: “The room was filled with the same people in almost the same attitudes.” However if they aren’t mentioned outright,
they may be in the scene but shouldn’t be considered “in the chapter.”)
they may be in the scene but shouldn’t be considered “in the chapter.”)
Abridged Versions: No chapter break for Bell
Gibian: Start of chapter 12. Followed by a line break.
Gibian: Start of chapter 12. Followed by a line break.
Fuller: Chapter is preserved other than some minor details (see below). No line break after it.
Komroff: some of the minor characters at the end of the chapter are removed, the whole glove, lady calling for him to sit down is removed, as in Fuller. No line break
Kropotkin: Chapter 16: The details about the men hiding by the walls and the non-reactions to them are removed, the entrance into the house is severely shortened and the first bit of dialogue is “Perhaps the count did not call for me.”
The minor episode of the glove and the strange lady is also removed. As are the priests earlier in the chapter. No line or chapter break.
The minor episode of the glove and the strange lady is also removed. As are the priests earlier in the chapter. No line or chapter break.
Bromfield: Chapter 29: Also has Anna Mikhailovna “who had deemed it necessary to travel with him.” The chapter is the same and ends with chapter break.
Simmons: See last chapter.
Simmons: See last chapter.
Additional Notes:
Servants, lower-ranked people, and serfs acting "as if everything is permissible" is something that comes up a few time sin the novel and generally shows times of distress or is a symbol of abnormality. We see this appear earlier in the
novel where the servant is drinking at the Kuragins' party when people are not paying attention (also as Pierre enters), during the chaos of the campaign where the scribe shows disrespect to the superior as Andrei walks in, and of
course when the serfs try to prevent Marya from leaving before Nikolai arrives. Here, with the imminent death of the count, the servants no longer act in their usual submissive self, but show indifference and perhaps rudeness (this is
contrasted heavily with Tikhon's actions when Prince Nikolai Bolkonsky is near death). Why Tolstoy decides to show this stratified breakdown in times in distress is a little unclear. Those wanting to give Tolstoy credit and to read his later
works into War and Peace may argue that it is to show how precarious and artificial these stratifications actually are. Those less willing to give Tolstoy credit may argue that it demonstrates the classist-ness of War and Peace, especially
the first half (or maybe even the entirety of the pre-Platon part of the novel). So why Tolstoy uses this trope a few times in the novel can be read both conservatively and positively.
The other obvious thematic tendency of the entire novel and important characteristic of Pierre that shows up in this chapter is Pierre's feeling that what is happening is what must happen. Unlike his famous laughter at the idea that the
French are attempting to keep his moral soul in prison when the retreat from Moscow starts, Pierre offers no protestations when being lead by Anna Mikhailovna in order to serve her scheme. He feels that everything is as it should be,
falling into the idea (that extends beyond Tolstoy in Russian culture, which is somewhat ironic considering Pierre, especially at this point in the novel, is very much not Russian) of fatalism and the movement of people and political and
economic struggle being not the product of a single person (i.e. not Anna Mikhailovna, Pierre, or Napoleon), but the product of an unconscious movement of people for reasons that are only apparent after they happen.
Servants, lower-ranked people, and serfs acting "as if everything is permissible" is something that comes up a few time sin the novel and generally shows times of distress or is a symbol of abnormality. We see this appear earlier in the
novel where the servant is drinking at the Kuragins' party when people are not paying attention (also as Pierre enters), during the chaos of the campaign where the scribe shows disrespect to the superior as Andrei walks in, and of
course when the serfs try to prevent Marya from leaving before Nikolai arrives. Here, with the imminent death of the count, the servants no longer act in their usual submissive self, but show indifference and perhaps rudeness (this is
contrasted heavily with Tikhon's actions when Prince Nikolai Bolkonsky is near death). Why Tolstoy decides to show this stratified breakdown in times in distress is a little unclear. Those wanting to give Tolstoy credit and to read his later
works into War and Peace may argue that it is to show how precarious and artificial these stratifications actually are. Those less willing to give Tolstoy credit may argue that it demonstrates the classist-ness of War and Peace, especially
the first half (or maybe even the entirety of the pre-Platon part of the novel). So why Tolstoy uses this trope a few times in the novel can be read both conservatively and positively.
The other obvious thematic tendency of the entire novel and important characteristic of Pierre that shows up in this chapter is Pierre's feeling that what is happening is what must happen. Unlike his famous laughter at the idea that the
French are attempting to keep his moral soul in prison when the retreat from Moscow starts, Pierre offers no protestations when being lead by Anna Mikhailovna in order to serve her scheme. He feels that everything is as it should be,
falling into the idea (that extends beyond Tolstoy in Russian culture, which is somewhat ironic considering Pierre, especially at this point in the novel, is very much not Russian) of fatalism and the movement of people and political and
economic struggle being not the product of a single person (i.e. not Anna Mikhailovna, Pierre, or Napoleon), but the product of an unconscious movement of people for reasons that are only apparent after they happen.
No comments:
Post a Comment