Chapter Summaries: Dole: Glimpse of Count Kirill Bezukhoi. Description of the bedroom. The ceremony of extreme unction. Prince Vasili's strange action. Pierre kisses his father's hand. The count's last look.
Briggs (chapter 20): The count does not recognize anyone. Pierre's discomfort.
Translation:
XX.
Pierre knew well this big, with divided pillars and archways, room, all upholstered in Persian rugs. The part of the room behind the pillars where one party stood was a high red wood bed, under silk curtains, but on the other — was a huge iron case with images, red and brightly illuminated, as are lighted churches in the time of an evening service. Under the lighted robes and iron case stood a long Voltarian chair, and in the armchair, were placed snowy white, not crumpled, apparently only just alternated pillows, sheltered to the belt with a bright green blanket, lied the familiar to Pierre majestic figure of his father, Count Bezuhov, with that same gray mane of hair, reminding one of a lion, surrounded by the forehead with those same characteristic noble large wrinkles in his beautiful red yellow face. He lied below the images; both of his thick, large hands were sticking out from under the blankets that lied on him. In his right hand, lying palm down, between his big and forefingers was inserted a wax candle, which, bending down from behind the chair, held onto by an old servant. Above the armchair were standing spiritual faces in their majestically brilliant clothes, with outstretchingly long hair, with lit candles in hand, slowly and solemnly serving. A little behind them were standing the two younger princesses, with a handkerchief in their hands and eyes, and ahead their older, Katish, with a vicious and decisive look, and in that moment not lowering her eyes from the icons, as if to say to all that she was not responsible for herself if she looked back. Anna Mihaylovna, with a meek sadness and forgiveness on her face, and the unknown lady were standing at the door. Prince Vasiliy stood with the other parties at the door, close to the armchair, behind a carved velvet chair, which he turned the back to himself, and, with the candle in his left hand, crossed with the right, every time raising his eyes up when he put his fingers to his forehead. His face expressed calm devotion and loyalty to the will of God. “If you do not understand these feelings, that is the worse for you,” it seemed his face said.
Behind him stood the adjutant, doctor and male maidservant; as would be in church, men and women divided. All kept silent, crossing, all that was heard was the church reading, restrained, thick bass singing and in the minutes of silence was the transposition feet and sighs. Anna Mihaylovna with that significant look, which showed that she knew what to do, went over across the room to Pierre and gave him a candle. He lit it and, entertained by the observation of his surroundings, began crossing with that same hand in which was the candle.
The younger, ruddy and mocking princess Sophie, with the birthmark, watched him. She smiled, hid her face in her handkerchief and for a while did not open it; but, looking at Pierre, again laughed. She, apparently, felt in herself not the forces to look at him without laughter, but could not hold on, so that to not look at him, and to avoid temptations quietly went over behind the column. In the middle of the service the voice of the clergy suddenly fell silent; the spiritual faces whispered something to each other; the old servant, holding the hand of the count, rose and turned to the lady. Anna Mihaylovna came forward and, bending over above the sick, from behind the back with a finger beckoned to herself Lorren. The French doctor, — standing without lit candles, leaning to the column in that respectful pose of a foreigner, which showed that, despite the difference of faith, he understood all of the importance of the ongoing rite and even approved, — the inaudible steps of a person through the strength of age came up to sick, taking their own white thin fingers of his free hand with the green blankets and, turning away, felt the pulse and thought. He gave the sick a drink, stirred about him, then again parted the place, and worship resumed. In the time of this break Pierre saw that Prince Vasiliy got out from behind the back of the chair and, with that same look that showed that he knew what to do, and that it is worse for the others if they do not understand him, not coming up to the sick, but, having passed by him, joined the older princess and with her together directed toward the deep bedroom, to the high bed under the silk curtains. From the bed the prince and princess both hid at the back door, but before the end of the service both returned to their places. Pierre turned to this circumstance no more attention than all the others, having decided by this time forever in his mind that all that was committed before him in the current night was necessary and needed.
The sounds of the church singing ceased, and was heard the voice of a spiritual face which respectfully congratulated the sick for the acceptance of the sacrament. The sick lied all the same, lifelessly and still. Around him all stirred, and was heard steps and whispers, from which the whisper of Anna Mihaylovna came out sharper than all.
Pierre heard, as she said:
— It is indispensable to bring him to bed, here is no way to be...
Surrounding the sick was the doctor, princesses and servants that Pierre no longer saw that red yellow head with the gray hair, which, despite this, he saw other faces in that moment not entering into him during all the time of service. Pierre guessed by the careful movement of people surrounding the chair that the dying was being raised and carried across.
— Behind my arm hold, it’s dropped so, — he heard a scared whisper from one of the servants, — from below... one more, — said the voice, and heavy breathing and the crossings of the feet of people became hasty as if the heaviness of which they carried, was at the excess of their forces.
In the bearing number was Anna Mihaylovna, equal with a young person, and he in the moment from behind the back and the nape of the people saw the high, oily, open chest, fat shoulders of the sick, raised up by the people, holding him from under the mouse gray curly hair, of the lion head. This head, unusually surrounding his forehead and cheekbones, with its beautiful sensual mouth and majestic cold look, was not disfigured by the proximity of death. It was the same that Pierre knew three months back, when the count let him go in Petersburg. Yet this head helplessly swayed from the uneven steps of the bearing, and the cold, indifferent look not knowing where to stay.
Passed a few minutes of bustle about the high bed; the people carrying the sick dispersed. Anna Mihaylovna touched the hand of Pierre and told him: “let's go.”196 Pierre together with her came up to the bed, to whom in that festive pose, apparently, having the attitude to that one perfect mystery, was laying the sick. He lied, leaning his head highly on the pillows. His hands were symmetrically laid out on the green silk blanket with palms downwards. When Pierre came up, the count saw him, yet saw by that look meanings and matters that cannot be understood by a person. This smooth look spoke nothing, as only that as long as there are eyes, they need to look somewhere, or they speak too much. Pierre stopped, and not knowing what to do, interrogatively turned back to his supervisor Anna Mihaylovna. Anna Mihaylovna made a hasty gesture to his eyes, pointing to the hand of the sick and with her lips sent an air kiss. Pierre, carefully stretching his neck, so that he would not hook on behind the blanket, carried out her advice and kissed the broad boned and fleshy hand. The hand nor one muscle on the face count trembled. Pierre again interrogatively looked at Anna Mihaylovna, asking now what to do. Anna Mihaylovna's eyes pointed him to the chair, standing beside the bed. Pierre dutifully sat down in the chair, his eyes asking if he did what was needed. Anna Mihaylovna approvingly nodded her head. Pierre accepted again the symmetrically naive position of an Egyptian statue, apparently, condolencing about how his awkward and thick body occupied such a great space, and using all the forces of his soul to seem smaller. He watched the count. The count watched the place where he found out the face of Pierre at that time as he stood. Anna Mihaylovna showed in his expression the consciousness of the touching importance of these last minutes between the father and son. This went on for two minutes which seemed for Pierre to be an hour. Suddenly the large muscles and wrinkles of the face of the count appeared to shudder. The shudder intensified, his nice mouth twisted (only here Pierre got to what extent his father was close to death), and from the twisted mouth was heard an obscure hoarse sound. Anna Mihaylovna diligently watched the eye of the sick and, trying to guess what was needed, pointed out to Pierre that it was a drink whispering interrogatively to call Prince Vasiliy, pointing to the blanket. The eye and face of the sick showed impatience. He made an effort, taking a look at the servant, which without waste stood at the headboard of the bed.
— He wants to barrel roll over to another side, — whispered the servant and rose to flip over to face the wall the heavy body of the count.
Pierre got up so if to help the servant.
At that time as the count turned over, his hand helplessly collapsed backwards, and he made a vain effort as if to drag it. Seeing the count with that look of horror, with which Pierre watched that lifeless arm, or how another idea flashed in his dying head at that moment, yet he looked at the disobedient arm and at the expression of horror in the face of Pierre, again at the arm, and in his face appeared the features of his weak, suffering smile, expressing mockery at his own impotence. Suddenly, in seeing this smile, Pierre felt a shudder in his breast, tweaking his nose, and tears clouded over his vision. The sick turned upside down to the side of the wall. He sighed.
— He’s forgotten,197— said Anna Mihaylovna, noticing the coming of the shift of the princess. — Go.198
Pierre left.
Briggs (chapter 20): The count does not recognize anyone. Pierre's discomfort.
Translation:
XX.
Pierre knew well this big, with divided pillars and archways, room, all upholstered in Persian rugs. The part of the room behind the pillars where one party stood was a high red wood bed, under silk curtains, but on the other — was a huge iron case with images, red and brightly illuminated, as are lighted churches in the time of an evening service. Under the lighted robes and iron case stood a long Voltarian chair, and in the armchair, were placed snowy white, not crumpled, apparently only just alternated pillows, sheltered to the belt with a bright green blanket, lied the familiar to Pierre majestic figure of his father, Count Bezuhov, with that same gray mane of hair, reminding one of a lion, surrounded by the forehead with those same characteristic noble large wrinkles in his beautiful red yellow face. He lied below the images; both of his thick, large hands were sticking out from under the blankets that lied on him. In his right hand, lying palm down, between his big and forefingers was inserted a wax candle, which, bending down from behind the chair, held onto by an old servant. Above the armchair were standing spiritual faces in their majestically brilliant clothes, with outstretchingly long hair, with lit candles in hand, slowly and solemnly serving. A little behind them were standing the two younger princesses, with a handkerchief in their hands and eyes, and ahead their older, Katish, with a vicious and decisive look, and in that moment not lowering her eyes from the icons, as if to say to all that she was not responsible for herself if she looked back. Anna Mihaylovna, with a meek sadness and forgiveness on her face, and the unknown lady were standing at the door. Prince Vasiliy stood with the other parties at the door, close to the armchair, behind a carved velvet chair, which he turned the back to himself, and, with the candle in his left hand, crossed with the right, every time raising his eyes up when he put his fingers to his forehead. His face expressed calm devotion and loyalty to the will of God. “If you do not understand these feelings, that is the worse for you,” it seemed his face said.
Behind him stood the adjutant, doctor and male maidservant; as would be in church, men and women divided. All kept silent, crossing, all that was heard was the church reading, restrained, thick bass singing and in the minutes of silence was the transposition feet and sighs. Anna Mihaylovna with that significant look, which showed that she knew what to do, went over across the room to Pierre and gave him a candle. He lit it and, entertained by the observation of his surroundings, began crossing with that same hand in which was the candle.
The younger, ruddy and mocking princess Sophie, with the birthmark, watched him. She smiled, hid her face in her handkerchief and for a while did not open it; but, looking at Pierre, again laughed. She, apparently, felt in herself not the forces to look at him without laughter, but could not hold on, so that to not look at him, and to avoid temptations quietly went over behind the column. In the middle of the service the voice of the clergy suddenly fell silent; the spiritual faces whispered something to each other; the old servant, holding the hand of the count, rose and turned to the lady. Anna Mihaylovna came forward and, bending over above the sick, from behind the back with a finger beckoned to herself Lorren. The French doctor, — standing without lit candles, leaning to the column in that respectful pose of a foreigner, which showed that, despite the difference of faith, he understood all of the importance of the ongoing rite and even approved, — the inaudible steps of a person through the strength of age came up to sick, taking their own white thin fingers of his free hand with the green blankets and, turning away, felt the pulse and thought. He gave the sick a drink, stirred about him, then again parted the place, and worship resumed. In the time of this break Pierre saw that Prince Vasiliy got out from behind the back of the chair and, with that same look that showed that he knew what to do, and that it is worse for the others if they do not understand him, not coming up to the sick, but, having passed by him, joined the older princess and with her together directed toward the deep bedroom, to the high bed under the silk curtains. From the bed the prince and princess both hid at the back door, but before the end of the service both returned to their places. Pierre turned to this circumstance no more attention than all the others, having decided by this time forever in his mind that all that was committed before him in the current night was necessary and needed.
The sounds of the church singing ceased, and was heard the voice of a spiritual face which respectfully congratulated the sick for the acceptance of the sacrament. The sick lied all the same, lifelessly and still. Around him all stirred, and was heard steps and whispers, from which the whisper of Anna Mihaylovna came out sharper than all.
Pierre heard, as she said:
— It is indispensable to bring him to bed, here is no way to be...
Surrounding the sick was the doctor, princesses and servants that Pierre no longer saw that red yellow head with the gray hair, which, despite this, he saw other faces in that moment not entering into him during all the time of service. Pierre guessed by the careful movement of people surrounding the chair that the dying was being raised and carried across.
— Behind my arm hold, it’s dropped so, — he heard a scared whisper from one of the servants, — from below... one more, — said the voice, and heavy breathing and the crossings of the feet of people became hasty as if the heaviness of which they carried, was at the excess of their forces.
In the bearing number was Anna Mihaylovna, equal with a young person, and he in the moment from behind the back and the nape of the people saw the high, oily, open chest, fat shoulders of the sick, raised up by the people, holding him from under the mouse gray curly hair, of the lion head. This head, unusually surrounding his forehead and cheekbones, with its beautiful sensual mouth and majestic cold look, was not disfigured by the proximity of death. It was the same that Pierre knew three months back, when the count let him go in Petersburg. Yet this head helplessly swayed from the uneven steps of the bearing, and the cold, indifferent look not knowing where to stay.
Passed a few minutes of bustle about the high bed; the people carrying the sick dispersed. Anna Mihaylovna touched the hand of Pierre and told him: “let's go.”196 Pierre together with her came up to the bed, to whom in that festive pose, apparently, having the attitude to that one perfect mystery, was laying the sick. He lied, leaning his head highly on the pillows. His hands were symmetrically laid out on the green silk blanket with palms downwards. When Pierre came up, the count saw him, yet saw by that look meanings and matters that cannot be understood by a person. This smooth look spoke nothing, as only that as long as there are eyes, they need to look somewhere, or they speak too much. Pierre stopped, and not knowing what to do, interrogatively turned back to his supervisor Anna Mihaylovna. Anna Mihaylovna made a hasty gesture to his eyes, pointing to the hand of the sick and with her lips sent an air kiss. Pierre, carefully stretching his neck, so that he would not hook on behind the blanket, carried out her advice and kissed the broad boned and fleshy hand. The hand nor one muscle on the face count trembled. Pierre again interrogatively looked at Anna Mihaylovna, asking now what to do. Anna Mihaylovna's eyes pointed him to the chair, standing beside the bed. Pierre dutifully sat down in the chair, his eyes asking if he did what was needed. Anna Mihaylovna approvingly nodded her head. Pierre accepted again the symmetrically naive position of an Egyptian statue, apparently, condolencing about how his awkward and thick body occupied such a great space, and using all the forces of his soul to seem smaller. He watched the count. The count watched the place where he found out the face of Pierre at that time as he stood. Anna Mihaylovna showed in his expression the consciousness of the touching importance of these last minutes between the father and son. This went on for two minutes which seemed for Pierre to be an hour. Suddenly the large muscles and wrinkles of the face of the count appeared to shudder. The shudder intensified, his nice mouth twisted (only here Pierre got to what extent his father was close to death), and from the twisted mouth was heard an obscure hoarse sound. Anna Mihaylovna diligently watched the eye of the sick and, trying to guess what was needed, pointed out to Pierre that it was a drink whispering interrogatively to call Prince Vasiliy, pointing to the blanket. The eye and face of the sick showed impatience. He made an effort, taking a look at the servant, which without waste stood at the headboard of the bed.
— He wants to barrel roll over to another side, — whispered the servant and rose to flip over to face the wall the heavy body of the count.
Pierre got up so if to help the servant.
At that time as the count turned over, his hand helplessly collapsed backwards, and he made a vain effort as if to drag it. Seeing the count with that look of horror, with which Pierre watched that lifeless arm, or how another idea flashed in his dying head at that moment, yet he looked at the disobedient arm and at the expression of horror in the face of Pierre, again at the arm, and in his face appeared the features of his weak, suffering smile, expressing mockery at his own impotence. Suddenly, in seeing this smile, Pierre felt a shudder in his breast, tweaking his nose, and tears clouded over his vision. The sick turned upside down to the side of the wall. He sighed.
— He’s forgotten,197— said Anna Mihaylovna, noticing the coming of the shift of the princess. — Go.198
Pierre left.
196. “Venez” (Come)
197. Il est assoupi, (He is drowsy,)
198. Allons. (Come on.)
Time: Same as last chapter.
Mentioned: three months before
Locations: Same as last chapter, though we go into Count Bezukhi's room.
Mentioned: Persian, French, St. Petersburg, Egyptian
Pevear and Volkhonsky notes: Count Bezukhov as a lion in a place described like an elegant church. Lots of church language.
197. Il est assoupi, (He is drowsy,)
198. Allons. (Come on.)
Mentioned: three months before
Locations: Same as last chapter, though we go into Count Bezukhi's room.
Mentioned: Persian, French, St. Petersburg, Egyptian
Pevear and Volkhonsky notes: Count Bezukhov as a lion in a place described like an elegant church. Lots of church language.
Vassily “His face expressed calm piety and submission to the will of God. “If you don’t understand these feelings, the worse for you,” his face seemed to say.
Again the laughing princess.
“The French doctor--who stood without a lighted candle...in the respectful pose of a foreigner...despite difference in belief, he understood all the importance of the rite being performed and even approved of it”
“Pierre...decided...that everything taking place before him that evening had necessarily to be so.”
“That head...was not disfigured by the proximity of death.”
Anna Mikhailovna telling Pierre exactly what to do, he following her blindly.
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
Count Kirill Vladimirovitch Bezukhov (just “Count Bezukhov”)
An Old Servant (that holds the candle, implied he has been in the room the whole time, so can’t be one of the servants from the previous chapter. Probably also the one who flips the count towards the wall)
Katerina Semyonovna Mamontof (only “Katish”)
Olga (by process of elimination, the younger sister without the mole, not referenced in the chapter directly, just in reference to the two younger princesses being behind “Katish”)
Sophie (the laughing young princess with the mole)
Anna Mikhailovna
The lady (“strange”)
Prince Vasili
The adjutant
Doctor Lorraine (also “The French doctor” for emphasis)
(the “clergy”, as in Dole and Edmonds, “clergymen” in Dunnigan, “churchmen” in Briggs, “priests” in Mandelker and Wiener (Dole also later uses priests and clergy in the chapter, though it is unclear if they are supposed to be two
different people or sets of people. For example, in the sentence where “...the clergy suddenly ceased, the priests whispered…”, the Russian uses духовенства (as in clergy, clergymen, priesthood, that is, plural) and духовные
лица (as in clerics, religious authorities, and ministers, with лица serving as “people.” They are different, but obviously from spelling, quite similar words, so slightly different words may make sense. Briggs just uses “priests” there
and “they” for the second mention. Mandelker does the same), “priests and deacons” in Bell, in general is referenced, which we should understand as being the religious authority characters mentioned in the last two scenes, but
they aren’t differentiated and it isn’t clear in the chapter how many of them there are, and thus I’m not listing them as characters)
different people or sets of people. For example, in the sentence where “...the clergy suddenly ceased, the priests whispered…”, the Russian uses духовенства (as in clergy, clergymen, priesthood, that is, plural) and духовные
лица (as in clerics, religious authorities, and ministers, with лица serving as “people.” They are different, but obviously from spelling, quite similar words, so slightly different words may make sense. Briggs just uses “priests” there
and “they” for the second mention. Mandelker does the same), “priests and deacons” in Bell, in general is referenced, which we should understand as being the religious authority characters mentioned in the last two scenes, but
they aren’t differentiated and it isn’t clear in the chapter how many of them there are, and thus I’m not listing them as characters)
(some additional servants standing are referenced, some likely to be ones mentioned in the previous chapter but as usual, they are not differentiated and without any action to accompany them, I’m not listing them as characters)
(doctors plural are referenced and thus must include the German doctor, but only Lorraine is differentiated in the chapter)
Abridged Versions: No chapter or line break for Bell
Gibian: End of chapter 12.
Gibian: End of chapter 12.
Fuller: Strange lady reference removed, Pierre crossing himself with the candlehand, as well as the Sophie digression, and the drink given to Count Bezukhov are removed, moving from Pierre getting a candle from Anna
Mikhailovna to Pierre noticing Prince Vassily. This removes the comic elements of the scene. The moving of Count Bezukhov is also removed. Pierre looking at his sick father is shortened quite a bit, though Bezukhov is still moved
onto his side. No chapter or line break.
Mikhailovna to Pierre noticing Prince Vassily. This removes the comic elements of the scene. The moving of Count Bezukhov is also removed. Pierre looking at his sick father is shortened quite a bit, though Bezukhov is still moved
onto his side. No chapter or line break.
Komroff: Mostly just removed sentences of descriptions, but the Pierre and Bezukhov “confrontation” if you want to call it that, is much briefer and Pierre doesn’t quite seem to have the same revelation he does in the fuller version.
Line break.
Line break.
Kropotkin: Some snippets of description are removed, cut from “restless movement of feet and deep sighs” to “With the noiseless steps of a man…(referring to Lorraine).” This cuts Pierre getting the candle, Sophie, and the clergy
ceasing to sing. The idea that Pierre sees everything that is happening as “essential” is also removed. Chapter break.
ceasing to sing. The idea that Pierre sees everything that is happening as “essential” is also removed. Chapter break.
Bromfield: Chapter 30: really the same. Chapter break.
Simmons: See previous chapter.
Simmons: See previous chapter.
Additional notes:
While the monetary and societal considerations around death play an important role as a backdrop (as with "Three Deaths"), whether for comedic or dramatic (as is here, though as always, I encourage searching for comedy and satirical readings in Tolstoy, even in scenes that are, on a surface-level, are serious) purposes, the all-encompassing consuming alienating nature of death is what Tolstoy's fixation on death is all about.
This is important to really emphasize when thinking about this chapter or the entirety of the section around Count Bezukhov's death, as unlike Andrei's death late in the novel, which is treated completely seriously, the death early in the novel is mostly written in a way to demonstrate the artificiality of the feelings of those around Pierre and the confusion of Pierre. Unlike most movie/TV adaptations of the novel (including the Soviet one, which keeps a strong serious tone rather than emphasizing the humor throughout) which play the scene as extremely serious and sad, Tolstoy just makes it awkward and with a long of hand-wringing and acting, which also makes it more realistic.
While the monetary and societal considerations around death play an important role as a backdrop (as with "Three Deaths"), whether for comedic or dramatic (as is here, though as always, I encourage searching for comedy and satirical readings in Tolstoy, even in scenes that are, on a surface-level, are serious) purposes, the all-encompassing consuming alienating nature of death is what Tolstoy's fixation on death is all about.
This is important to really emphasize when thinking about this chapter or the entirety of the section around Count Bezukhov's death, as unlike Andrei's death late in the novel, which is treated completely seriously, the death early in the novel is mostly written in a way to demonstrate the artificiality of the feelings of those around Pierre and the confusion of Pierre. Unlike most movie/TV adaptations of the novel (including the Soviet one, which keeps a strong serious tone rather than emphasizing the humor throughout) which play the scene as extremely serious and sad, Tolstoy just makes it awkward and with a long of hand-wringing and acting, which also makes it more realistic.
(Victor) Shklovsky...His book about War and Peace is one of his most important works.
Victor Shklovsky
Details in War and Peace
“The discovery of this new method consisted in the device of “making strange,” that is taking a thing out of normal perception; in order thus to remove a thing from normal perception, we can change its appearance and we can change the method of its rendering…"
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