Chapter Summaries: Dole: The various groups. The Viscount Montemart. Discussion of the murder of the Duc d'Enghien. Ellen the beautiful. The story of the duke meeting Napoleon at Mlle. George's.
Briggs: Andrey Bolkonsky arrives to rejoin his pregnant wife, Lise.
Translation:
III.
Anna Pavlovna’s evening was starting up. The spindles from different parties were evenly noisy. Besides Aunty, about whom sat only a lone elderly lady with a weeping, thin face, alien in this brilliant society, society broke into three circles. In one, the more male, the center was the abbot; in another, the young, beautiful Princess Elen, the daughter of Prince Vasiliy, and pretty, ruddy, too complete in their youth, the small Princess Bolkonskaya. In the third was Mortemar and Anna Pavlovna.
The viscount was pretty, with soft features and tricks, a young person, obviously considering himself significant, but, by good manners, modestly left himself to be used by the society in which he found himself. Anna Pavlovna, obviously, treated him to her guests. As a good master of the house serves as something supernaturally beautiful a piece of beef, which will not be wanted if seen in a dirty kitchen, so in the current evening Anna Pavlovna served her guests first the viscount, then the abbot, as something supernaturally sophisticated. The circle of Mortemar began talking immediately about the killing of the Duke of Engien. The viscount said that the Duke of Engien perished from his generosity, and that had been the special cause of the bitterness of Bonaparte.
— Ah, yes! Tell us this, viscount,44 — said Anna Pavlovna, with a joyous feeling, as a reminder of Louis XV45 responding to this phrase, — Tell us this, viscount.
The viscount bowed in a sign of submissiveness and courteously smiled. Anna Pavlovna made a circle about the viscount and invited all to listen to his story.
—The viscount was personally familiar with the duke, 46 — whispered Anna Pavlovna to one. — The viscount is an astonishing master of storytelling,47 — she spoke to another. — And now he is visible to people of good society,48 — she said to a third; and the viscount had presented to society the most graceful and profitable of the world, as a roast beef in a hot dish, sprinkled with greens.
The viscount wanted to now start his story and thinly smiled.
— Come over here, pretty Elen,49 — said Anna Pavlovna to the beautiful princess, who sat at a distance, forming the center of another circle.
Princess Elen smiled; she went up with that same unchanging smile of a quite beautiful woman, with which she entered the living room. A little noisy with her white ball robe, decorated by ivy and moss, and glistening white shoulders, glossy hair and diamonds, she passed between the parted men and not looking at them, yet smiling to all, kindly leaving each the right to admire the beauty of full shoulders, extremely open, then the fashion, as was her breast and back, as if she brought the shining of the ball, came up to Anna Pavlovna. Elen was so good that not only was her shadowy coquetry not noticeable, but, the opposite, as if she was ashamed for her undoubted, and too strong, victorious beauty. Even if she wanted, she could not belittle the action of her beauty.
— What a beauty!50 spoke everyone who saw her. So as if stricken by something extraordinary, the viscount shook his shoulders and lowered his eyes while she sat behind him and illuminated him and all with that same invariable smile.
— I, rightly, fear for my skill before such a public,51 — he said, tilting, with a smile, his head.
The princess’s elbow with her completely open hand rested on the table and she didn’t find anything fit to say. She was smilingly waiting. In all the time of the story she sat, looking occasionally at her completely beautiful hand, easily lying on the table, on a still more beautiful chest, where she straightened the diamond necklace; corrected a few folds in her dress and, when the story produced an impression, looked around at Anna Pavlovna and again immediately accepted that usual expression, which was on the face of the maid of honor, and then again calmed down in a beaming smile. Following behind Elen, the small princess went over from the tea desk.
— Hold on, I will take my work,52 — she said. — What are you doing? — she turned to Prince Ippolit: What are you thinking? — bring my reticule.53
The princess, smiling and speaking to all, suddenly made a rearrangement and, sitting down, funnily recovered.
— I’m okay, — she claimed and, asking for him to begin, began her work.
Prince Ippolit carried her reticule, moving behind her, pushing close to her chair, and sat down beside her.
“Dear Ippolit”54 had an unusual resemblance with his beautiful sister and despite the similarity, he was amazingly foolish himself. The features of his face were the same as his sister’s, in that everything was illuminated by a cheerful, complacent, young, unchanging smile and an extraordinary, antiquely beautiful body; but in the brother, the opposite, that same face was fogged by idiocy and invariably expressed self-confident obtrusiveness, but his body was lean and weak. His eye, nose, mouth — everything compressed as if in one vague and boring grimace, and his hands and legs always took an unnatural position.
— This is not a story about ghosts?55 — he said, sitting down beside the princesses and hastily attaching to his eyes his lorgnette, as if without this instrument he could not start speaking.
— Quite not,56 — shrugging his shoulders, said the surprised narrator.
— The thing is, I cannot stand stories about ghosts,57 — said Prince Ippolit in a tone that it was seen that he said these words, but then already forgot what they meant.
From behind this self-confidence with which he spoke, he could understand nothing, whether it was very clever or very stupid what he had said. He was in a dark green tailcoat, in trousers the colors of the body of a scared nymph,58 as he himself spoke, and stockings and shoes.
The viscount59 told, very nicely, about a then anecdote, how the Duke Engien secretly drove to Paris for a date with the actress George,60 and that there she met with Bonaparte, used to the graces of the nobility of actresses, and that there met with the duke. Napoleon accidently fell into fainting, to which he was subject to, and found in the authority of the duke, which the duke didn’t take advantage, but that Bonaparte afterwards avenged this generosity with the death of the duke.
The story was extremely dear and interesting, especially at this place where the rivals suddenly recognize each other, and the ladies, it seemed, were in agitation.
— Lovely,61 — said Anna Pavlovna, looking back interrogatively at the little princess.
— Lovely,62 — whispered the small princess, sticking a needle in her work, as if in a sign of understanding, the interest and beauty of the story hindering her continuance of her work.
The viscount appreciated this silent praise and, smiling gratefully, continued; but at this time Anna Pavlovna, glancing at her scary young person, noticed that he was too hot and speaking loudly about something with the abbot, and hastened on to help this dangerous place. Really, Pierre succeeded to start a conversation with the abbot about political balance, and the abbot, apparently interested in the ingenuous fervor of the young person, developed before him his favorite idea. Both were too lively and naturally listening and speaking, and this was not liked by Anna Pavlovna.
— The means of European equilibrium and the right of the people,63 — spoke the abbot. — is one powerful state, Russia, glorified for barbarism, becoming selflessly the head of an alliance, having the purpose of the equilibrium of Europe, — it will save the world!
— How can you find such equilibrium? — started Pierre; but at this time Anna Pavlovna came up and, strictly looking at Pierre, asked the Italian about how he tolerates the local climate. The face of the Italian suddenly changed and accepted the offensively mocking, sweet expression, which, apparently, was habitual for him in conversation with women.
— I am so fascinated by the charms of mind and education in society, in the peculiarities of the female, at which I have been adopted in happiness that I have not had the time to think about the climate, — he said.
Not releasing the abbot and Pierre now, Anna Pavlovna for the facility of security attached to their general circle.
At this time in the living room entered a new face. The new face was young Prince Andrey Bolkonsky, the husband of the little princess. Prince Bolkonsky was short statured; a quite nice young person with certain and dry features. Everything in his figure, began from a tired, bored sight to a quiet measured step, presenting a very sharp opposite from his little, lively wife. He, apparently, was familiar with everyone in the living room, but they really bothered him so that to look at them and listen to them was very boring. From all the persons who had already bored him, the face of his pretty wife seemed to tire him most of all. From grimacing, spoiling his beautiful face, he turned away from her. He kissed the hand of Anna Pavlovna and, squinting, looked around all of the society.
— You are going to the war, prince?64 — said Anna Pavlovna.
— General Kutuzov, — said Bolkonsky, hitting on the last syllable zoff, as the French, — wanted me as an adjutant...65
— And Liza, your wife?66
— She’ll go to the village.
— How are you not sinning to deprive us of your lovely wife?
— Andrey,67 — said his wife, turning to her husband with that same flirty tone that she turned to outsiders, — the viscount was telling us about M-llе George and Bonaparte!
Prince Andrey squinted and turned away. Pierre, from the time of the entry of Prince Andrey in the living room didn’t let his joyful, friendly eye from him, and then came up to him and took his hand. Prince Andrey, not looking, wrinkled his face in a grimace, expressing annoyance at who touched his hand, but, seeing the smiling face of Pierre, suddenly smiling a good and nice smile.
— So you’re here!.. You in the big world! — he said to Pierre.
— I knew that you would be, — responded Pierre. — I will come to your supper, — he added quietly, so to not interfere with the viscount, who continued his story. — Can I?
— No, you can’t, — said Prince Andrey laughing, shaking Pierre’s hand to let him know that he didn’t need to ask. He wanted to say something more, but at this time rose Prince Vasiliy with his daughter, and the men got up, so to give them the road.
— I am sorry, my sweet viscount, — said Prince Vasiliy to the Frenchman, affectionately reaching behind his sleeve downwards to the chair, so he would not get up. — this unhappy celebration at the messenger’s robs me the pleasure and interrupts you. It is extremely sad for me to leave your delightful evening, — he said to Anna Pavlovna.
His daughter, Princess Elen, holding the little pleats of the dress, went between the chairs, and her smile still shone lightly on her beautiful face. Pierre watched with almost scared, enthusiastic eyes at this beauty when she passed by him.
— Very good, — said Prince Andrey.
— Extremely, — said Pierre.
Passing by, Prince Vasiliy grabbed Pierre by the arm and turned to Anna Pavlovna.
— Educate this bear for me, — he said. — he has lived here with me for a month, and for the first time I am seeing him in the world. Nothing is as needed for a young person as the society of smart women.
44. — Ah! voyons. Contez-nous cela, vicomte, (Ah! let's see. Recount it, viscount,)
45. à la Louis XV (in the style of Louis XV)
46. Le vicomte a été personnellement connu de monseigneur, (The viscount was personally known to Monsignor,)
47. Le vicomte est un parfait conteur, (The viscount is a perfect storyteller,)
48. Сomme on voit l’homme de la bonne compagnie, (As we see the man of good company,)
49. chère Hélène, (dear Hélène,)
50. Quelle belle personne! (What a beautiful person!)
51. Madame, je crains pour mes moyens devant un pareil auditoire, (Madam, I fear for my means in front of such an audience,)
52. Attendez moi, je vais prendre mon ouvrage, (Wait for me, I'll take my work,)
53. Voyons, à quoi pensez-vous? — apportez-moi mon ridicule. (Let's see, what are you thinking? - bring me my reticule.)
54. Le charmant Hippolyte (The charming Hippolyte)
55. Ce n’est pas une histoire de revenants? (This is not a ghost story?)
56. Mais non, mon cher, (No, my dear,)
57. C’est que je déteste les histoires de revenants, (I hate ghost stories,)
58. cuisse de nymphe effrayée, (thigh of a frightened nymph,)
59. Vicomte (Viscount)
60. m-llе George, (Miss George)
61. Charmant, (Charming)
62. Charmant, (Charming)
63. droit des gens, (the rights of peoples)
64. Vous vous enrôlez pour la guerre, mon prince? (Are you enrolling in the war, my prince?)
65. Le général Koutouzoff a bien voulu de moi pour aide-de-camp… (General Koutouzoff kindly wanted me as an aide-de-camp ...)
66. Et Lise, votre femme? (And Lise, your wife?)
67. André, (Andre)
Time: Not explicitly said, but still July 1805.
Locations: Anna Pavlovna's soiree (in St. Petersburg)
Mentioned: Paris, Europe, Russia, Italy (mentioned in the sense that the abbe is Italian), the war is again mentioned as a place, the fete of the English ambassador
Pevear and Volokhonsky Notes:
Briggs: Andrey Bolkonsky arrives to rejoin his pregnant wife, Lise.
Translation:
III.
Anna Pavlovna’s evening was starting up. The spindles from different parties were evenly noisy. Besides Aunty, about whom sat only a lone elderly lady with a weeping, thin face, alien in this brilliant society, society broke into three circles. In one, the more male, the center was the abbot; in another, the young, beautiful Princess Elen, the daughter of Prince Vasiliy, and pretty, ruddy, too complete in their youth, the small Princess Bolkonskaya. In the third was Mortemar and Anna Pavlovna.
The viscount was pretty, with soft features and tricks, a young person, obviously considering himself significant, but, by good manners, modestly left himself to be used by the society in which he found himself. Anna Pavlovna, obviously, treated him to her guests. As a good master of the house serves as something supernaturally beautiful a piece of beef, which will not be wanted if seen in a dirty kitchen, so in the current evening Anna Pavlovna served her guests first the viscount, then the abbot, as something supernaturally sophisticated. The circle of Mortemar began talking immediately about the killing of the Duke of Engien. The viscount said that the Duke of Engien perished from his generosity, and that had been the special cause of the bitterness of Bonaparte.
— Ah, yes! Tell us this, viscount,44 — said Anna Pavlovna, with a joyous feeling, as a reminder of Louis XV45 responding to this phrase, — Tell us this, viscount.
The viscount bowed in a sign of submissiveness and courteously smiled. Anna Pavlovna made a circle about the viscount and invited all to listen to his story.
—The viscount was personally familiar with the duke, 46 — whispered Anna Pavlovna to one. — The viscount is an astonishing master of storytelling,47 — she spoke to another. — And now he is visible to people of good society,48 — she said to a third; and the viscount had presented to society the most graceful and profitable of the world, as a roast beef in a hot dish, sprinkled with greens.
The viscount wanted to now start his story and thinly smiled.
— Come over here, pretty Elen,49 — said Anna Pavlovna to the beautiful princess, who sat at a distance, forming the center of another circle.
Princess Elen smiled; she went up with that same unchanging smile of a quite beautiful woman, with which she entered the living room. A little noisy with her white ball robe, decorated by ivy and moss, and glistening white shoulders, glossy hair and diamonds, she passed between the parted men and not looking at them, yet smiling to all, kindly leaving each the right to admire the beauty of full shoulders, extremely open, then the fashion, as was her breast and back, as if she brought the shining of the ball, came up to Anna Pavlovna. Elen was so good that not only was her shadowy coquetry not noticeable, but, the opposite, as if she was ashamed for her undoubted, and too strong, victorious beauty. Even if she wanted, she could not belittle the action of her beauty.
— What a beauty!50 spoke everyone who saw her. So as if stricken by something extraordinary, the viscount shook his shoulders and lowered his eyes while she sat behind him and illuminated him and all with that same invariable smile.
— I, rightly, fear for my skill before such a public,51 — he said, tilting, with a smile, his head.
The princess’s elbow with her completely open hand rested on the table and she didn’t find anything fit to say. She was smilingly waiting. In all the time of the story she sat, looking occasionally at her completely beautiful hand, easily lying on the table, on a still more beautiful chest, where she straightened the diamond necklace; corrected a few folds in her dress and, when the story produced an impression, looked around at Anna Pavlovna and again immediately accepted that usual expression, which was on the face of the maid of honor, and then again calmed down in a beaming smile. Following behind Elen, the small princess went over from the tea desk.
— Hold on, I will take my work,52 — she said. — What are you doing? — she turned to Prince Ippolit: What are you thinking? — bring my reticule.53
The princess, smiling and speaking to all, suddenly made a rearrangement and, sitting down, funnily recovered.
— I’m okay, — she claimed and, asking for him to begin, began her work.
Prince Ippolit carried her reticule, moving behind her, pushing close to her chair, and sat down beside her.
“Dear Ippolit”54 had an unusual resemblance with his beautiful sister and despite the similarity, he was amazingly foolish himself. The features of his face were the same as his sister’s, in that everything was illuminated by a cheerful, complacent, young, unchanging smile and an extraordinary, antiquely beautiful body; but in the brother, the opposite, that same face was fogged by idiocy and invariably expressed self-confident obtrusiveness, but his body was lean and weak. His eye, nose, mouth — everything compressed as if in one vague and boring grimace, and his hands and legs always took an unnatural position.
— This is not a story about ghosts?55 — he said, sitting down beside the princesses and hastily attaching to his eyes his lorgnette, as if without this instrument he could not start speaking.
— Quite not,56 — shrugging his shoulders, said the surprised narrator.
— The thing is, I cannot stand stories about ghosts,57 — said Prince Ippolit in a tone that it was seen that he said these words, but then already forgot what they meant.
From behind this self-confidence with which he spoke, he could understand nothing, whether it was very clever or very stupid what he had said. He was in a dark green tailcoat, in trousers the colors of the body of a scared nymph,58 as he himself spoke, and stockings and shoes.
The viscount59 told, very nicely, about a then anecdote, how the Duke Engien secretly drove to Paris for a date with the actress George,60 and that there she met with Bonaparte, used to the graces of the nobility of actresses, and that there met with the duke. Napoleon accidently fell into fainting, to which he was subject to, and found in the authority of the duke, which the duke didn’t take advantage, but that Bonaparte afterwards avenged this generosity with the death of the duke.
The story was extremely dear and interesting, especially at this place where the rivals suddenly recognize each other, and the ladies, it seemed, were in agitation.
— Lovely,61 — said Anna Pavlovna, looking back interrogatively at the little princess.
— Lovely,62 — whispered the small princess, sticking a needle in her work, as if in a sign of understanding, the interest and beauty of the story hindering her continuance of her work.
The viscount appreciated this silent praise and, smiling gratefully, continued; but at this time Anna Pavlovna, glancing at her scary young person, noticed that he was too hot and speaking loudly about something with the abbot, and hastened on to help this dangerous place. Really, Pierre succeeded to start a conversation with the abbot about political balance, and the abbot, apparently interested in the ingenuous fervor of the young person, developed before him his favorite idea. Both were too lively and naturally listening and speaking, and this was not liked by Anna Pavlovna.
— The means of European equilibrium and the right of the people,63 — spoke the abbot. — is one powerful state, Russia, glorified for barbarism, becoming selflessly the head of an alliance, having the purpose of the equilibrium of Europe, — it will save the world!
— How can you find such equilibrium? — started Pierre; but at this time Anna Pavlovna came up and, strictly looking at Pierre, asked the Italian about how he tolerates the local climate. The face of the Italian suddenly changed and accepted the offensively mocking, sweet expression, which, apparently, was habitual for him in conversation with women.
— I am so fascinated by the charms of mind and education in society, in the peculiarities of the female, at which I have been adopted in happiness that I have not had the time to think about the climate, — he said.
Not releasing the abbot and Pierre now, Anna Pavlovna for the facility of security attached to their general circle.
At this time in the living room entered a new face. The new face was young Prince Andrey Bolkonsky, the husband of the little princess. Prince Bolkonsky was short statured; a quite nice young person with certain and dry features. Everything in his figure, began from a tired, bored sight to a quiet measured step, presenting a very sharp opposite from his little, lively wife. He, apparently, was familiar with everyone in the living room, but they really bothered him so that to look at them and listen to them was very boring. From all the persons who had already bored him, the face of his pretty wife seemed to tire him most of all. From grimacing, spoiling his beautiful face, he turned away from her. He kissed the hand of Anna Pavlovna and, squinting, looked around all of the society.
— You are going to the war, prince?64 — said Anna Pavlovna.
— General Kutuzov, — said Bolkonsky, hitting on the last syllable zoff, as the French, — wanted me as an adjutant...65
— And Liza, your wife?66
— She’ll go to the village.
— How are you not sinning to deprive us of your lovely wife?
— Andrey,67 — said his wife, turning to her husband with that same flirty tone that she turned to outsiders, — the viscount was telling us about M-llе George and Bonaparte!
Prince Andrey squinted and turned away. Pierre, from the time of the entry of Prince Andrey in the living room didn’t let his joyful, friendly eye from him, and then came up to him and took his hand. Prince Andrey, not looking, wrinkled his face in a grimace, expressing annoyance at who touched his hand, but, seeing the smiling face of Pierre, suddenly smiling a good and nice smile.
— So you’re here!.. You in the big world! — he said to Pierre.
— I knew that you would be, — responded Pierre. — I will come to your supper, — he added quietly, so to not interfere with the viscount, who continued his story. — Can I?
— No, you can’t, — said Prince Andrey laughing, shaking Pierre’s hand to let him know that he didn’t need to ask. He wanted to say something more, but at this time rose Prince Vasiliy with his daughter, and the men got up, so to give them the road.
— I am sorry, my sweet viscount, — said Prince Vasiliy to the Frenchman, affectionately reaching behind his sleeve downwards to the chair, so he would not get up. — this unhappy celebration at the messenger’s robs me the pleasure and interrupts you. It is extremely sad for me to leave your delightful evening, — he said to Anna Pavlovna.
His daughter, Princess Elen, holding the little pleats of the dress, went between the chairs, and her smile still shone lightly on her beautiful face. Pierre watched with almost scared, enthusiastic eyes at this beauty when she passed by him.
— Very good, — said Prince Andrey.
— Extremely, — said Pierre.
Passing by, Prince Vasiliy grabbed Pierre by the arm and turned to Anna Pavlovna.
— Educate this bear for me, — he said. — he has lived here with me for a month, and for the first time I am seeing him in the world. Nothing is as needed for a young person as the society of smart women.
44. — Ah! voyons. Contez-nous cela, vicomte, (Ah! let's see. Recount it, viscount,)
45. à la Louis XV (in the style of Louis XV)
46. Le vicomte a été personnellement connu de monseigneur, (The viscount was personally known to Monsignor,)
47. Le vicomte est un parfait conteur, (The viscount is a perfect storyteller,)
48. Сomme on voit l’homme de la bonne compagnie, (As we see the man of good company,)
49. chère Hélène, (dear Hélène,)
50. Quelle belle personne! (What a beautiful person!)
51. Madame, je crains pour mes moyens devant un pareil auditoire, (Madam, I fear for my means in front of such an audience,)
52. Attendez moi, je vais prendre mon ouvrage, (Wait for me, I'll take my work,)
53. Voyons, à quoi pensez-vous? — apportez-moi mon ridicule. (Let's see, what are you thinking? - bring me my reticule.)
54. Le charmant Hippolyte (The charming Hippolyte)
55. Ce n’est pas une histoire de revenants? (This is not a ghost story?)
56. Mais non, mon cher, (No, my dear,)
57. C’est que je déteste les histoires de revenants, (I hate ghost stories,)
58. cuisse de nymphe effrayée, (thigh of a frightened nymph,)
59. Vicomte (Viscount)
60. m-llе George, (Miss George)
61. Charmant, (Charming)
62. Charmant, (Charming)
63. droit des gens, (the rights of peoples)
64. Vous vous enrôlez pour la guerre, mon prince? (Are you enrolling in the war, my prince?)
65. Le général Koutouzoff a bien voulu de moi pour aide-de-camp… (General Koutouzoff kindly wanted me as an aide-de-camp ...)
66. Et Lise, votre femme? (And Lise, your wife?)
67. André, (Andre)
Locations: Anna Pavlovna's soiree (in St. Petersburg)
Mentioned: Paris, Europe, Russia, Italy (mentioned in the sense that the abbe is Italian), the war is again mentioned as a place, the fete of the English ambassador
Pevear and Volokhonsky Notes:
Spindles, machine-like language for the party. In this chapter we see some specifics as to how she keeps the machine going as mentioned at the end of the last chapter. However, “got going” seems a weak opening predicate.
There are three circles: the male with the abbe at the center, the feminine with Helene at the center (Bolkonsky “too plump for her age”, “too stout” in Dole, “figure too full for her young age” in Briggs, слишком полная
по своей молодости can be “too full of youth” with полная meaning total, complete, or full), the third, the heavily French with Mortemart and Pavlona.
Mortemart, described as a piece of beef, one that is presented as something good but isn’t, defends d’Enghien’s murder.
What is the significance of the Louis 15 quote?
Tolstoy’s odd description of her beauty, especially in the context of comparison and contrast with her brother Ippolit (or Hippolyte, as Pevear and Volokhonsky print both). The significance of the short d’Enghien story
seems escapable here, but the Bromfield version below shows what Tolstoy once had here, leaving only remnants of it in the latter version. The charming story is interrupted by the too loud story of Pierre and the Abbe.
They were too natural, which is what Pavlovna doesn’t like. Mortemont is clearly unnatural.
“Balance and the right of nations”
The Abbe is Italian and changes when he talks to women. Andrei is the opposite of his wife. Pierre is the only one that excites him, he hates and is bored of everyone, especially his wife.
Pierre is living with Vassily and is described as a bear, which obviously becomes prominent a little later on.
Pavlovna's false patriotism is on full display in these early chapters.
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 *):
are underlined. Final appearance denoted by *):
Anna Pavlovna
Anna Pavlovna’s Aunt
An Elderly Lady (“old lady” in Bell, “middle-aged lady” in Weiner, пожилая means “elderly” or “aged”)
Abbe Morio (not named in text, just “the Abbe”, but Dole inserts Morio as a reminder)
Helene
Princess Lisa Bolkonsky (the “little princess”)
Prince Vasily
Mortemart (the viscount)
Duc d’Enghien (as in Maude, Edmonds, Mandelker. “Duke…” in Dole, Bell, and Weiner. Russian word герцога for Duke used instead of French “Duc” Referenced in first chapter by Pavlovna, but not explicitly by name)
Napoleon Bonaparte (Bonaparte is used, contrasted with chapter 1)
Louis XV (Louis Quinze in Dunnigan, Garnett. Bell just cuts this line)
Prince Ippolit (in Dole, Weiner, Mandelker, etc as well we got both versions of his name, making those who, like Bell, spell it Hippolyte consistently, stand out less, whether or not it is right.)
Mademoiselle Georges (as in Edmonds, Maude, Mandelker “Mlle. George” in Weiner, Dole, Briggs. “Mlle. Georges” in Bell and Garnett.)
Prince Andrei Bolkonsky (as in Dole, Dunnigan, and Mandelker, “Andrey Bolkonski” in Weiner, “Andrey Bolkonsky” in Garnett and Briggs, also referred to as “Andre” in dialogue, which is how Bell translates his name, preferring
the “sky” rather than “ski”)
the “sky” rather than “ski”)
Kutuzov (referred to as General Kutuzov, the French dialogue has “Koutouzoff”, kept by Weiner and Mandelker, translated as "Koutouzow” by Bell, not changed by Dole, Edmonds, Maude)
Pierre
Abridged Versions: First, Maude makes the chapter break before Andrei’s entrance, ending with Pavlovna bringing Pierre and Abbe Morio into the larger circle. Despite being a revised version of the Maude translation, Mandelker does not
follow this break (nor does she follow any of Maude’s other eccentric breaks). No other translation puts a chapter break there.
End of chapter 3 is the end of the first chapter for Bell.
Gibian: Line break after "brought them into the larger circle". Another line break rather than a chapter break at the end.
follow this break (nor does she follow any of Maude’s other eccentric breaks). No other translation puts a chapter break there.
End of chapter 3 is the end of the first chapter for Bell.
Gibian: Line break after "brought them into the larger circle". Another line break rather than a chapter break at the end.
Fuller crops out the reference to the aunt and the old lady but preserves most of the beginning of the chapter and Pavlovna’s flattery of the viscount as she walks around the room. It cuts the Louis XV reference and removes Ippolit’s section.
The Pierre and Abbe Morio is not entirely removed but heavily reduced and the subject of their conversation is summarized rather than turned into dialogue. The ending of the chapter appears preserved in entirety.
The Pierre and Abbe Morio is not entirely removed but heavily reduced and the subject of their conversation is summarized rather than turned into dialogue. The ending of the chapter appears preserved in entirety.
Kropotkin (as well as removing the chapter 2 to chapter 3 chapter break) cuts the beginning of the chapter until Mortemart’s circle begins to discuss the murder of the Duke, removes Louis XV reference and a lot of Pavlovna’s flattery, and
cuts the Ippolit section as well as the Pierre and Abbe section, getting straight to Andrei. The Vassily reasoning for leaving is also cut, though the ending of the chapter is preserved and leads into Chapter 3 of the Kropotkin version.
cuts the Ippolit section as well as the Pierre and Abbe section, getting straight to Andrei. The Vassily reasoning for leaving is also cut, though the ending of the chapter is preserved and leads into Chapter 3 of the Kropotkin version.
Komroff removes the Louis XV reference. Prince Ippolit is mentioned but his intrusion into the narrative is cut. After the Pierre and Abbe Morio conversation, which is preserved, there is a line break usually reserved for chapter changes,
agreeing with Maude. The rest of the chapter is kept with a line break after it.
agreeing with Maude. The rest of the chapter is kept with a line break after it.
Bromfield: mention of Pierre early in chapter, who has been sitting silently, notice the difference at the end of the last chapter in Bromfield’s version the other versions. Emphasis again on how fat he is. “Very pregnant for her young age”
for Princess Bolkonsky makes a little more sense. Also more focus on “Hippolyte”, who sits next to “the little princess and speaks with her”. More explicitly lowers the viscount’s status with mention of people who are staying with him in
hotel opinion of him. No Louis XV reference. The Ippolit episode is kept and plays out the same. He gets a longer description of what he is doing while the story is told and his infatuation with Princess Bolkonskaya is made more explicit.
The viscount’s story is told in dialogue form instead of summary form. Bounaparte is used by the viscount. The house of Conde reference, some dialogue between Vasily and Hippolyte added. Princess Charlotte de Rohan Rochefort
reference. The whole story is fleshed out in Bromfield’s version more. Perhaps Tolstoy decided, unlike him in most sections of the novel, that this did not need the detail it had. The Duke Enghien was secretly married to Charlotte, but
visited the actress Georges, who Bonaparte was also seeing secretly. The elderly lady gets a slight reaction to this story. “Georges in the role of Clytemnestra.” The viscount “a relative of the Montmorencys through the Rohans.”
Bromfield breaks up chapter to make Andrei Bolkonsky’s entrance chapter 4 (with the wording at the end of chapter 3 of Bromfield, who has cut the Pierre and Abbe Morio conversation, it makes more sense than Maude’s break).
Bolkonsky’s hatred for Pavlovna, his wife, and “society” is made even clearer and more explicit. This also makes him come in and sit down while the viscount continues his story, making his wife’s dialogue more intelligible. The
conversation between Andrei and Pierre happens before the exit of the Vassilys, which ends the chapter, meaning there is no dialogue from Prince Vasily to Pavlovna about Pierre being a bear.
Simmons: A few details are shortened, such as the actual conversation Pierre and the abbe have. Line break after "brought them into the larger circle." Rest of chapter is preserved and this is the end of chapter 1. However, in italics, a summary of events to be cut out is put in italics: "As Prince Vasili is about to leave, he is detained by an old family friend, Princess Anna Mikhaylovna Drubetskaya, who persuades him to use his influence to get her son Boris transferred to the Guards. Pierre, in an argument with the vicomte, defends the greatness of Napoleon." for Princess Bolkonsky makes a little more sense. Also more focus on “Hippolyte”, who sits next to “the little princess and speaks with her”. More explicitly lowers the viscount’s status with mention of people who are staying with him in
hotel opinion of him. No Louis XV reference. The Ippolit episode is kept and plays out the same. He gets a longer description of what he is doing while the story is told and his infatuation with Princess Bolkonskaya is made more explicit.
The viscount’s story is told in dialogue form instead of summary form. Bounaparte is used by the viscount. The house of Conde reference, some dialogue between Vasily and Hippolyte added. Princess Charlotte de Rohan Rochefort
reference. The whole story is fleshed out in Bromfield’s version more. Perhaps Tolstoy decided, unlike him in most sections of the novel, that this did not need the detail it had. The Duke Enghien was secretly married to Charlotte, but
visited the actress Georges, who Bonaparte was also seeing secretly. The elderly lady gets a slight reaction to this story. “Georges in the role of Clytemnestra.” The viscount “a relative of the Montmorencys through the Rohans.”
Bromfield breaks up chapter to make Andrei Bolkonsky’s entrance chapter 4 (with the wording at the end of chapter 3 of Bromfield, who has cut the Pierre and Abbe Morio conversation, it makes more sense than Maude’s break).
Bolkonsky’s hatred for Pavlovna, his wife, and “society” is made even clearer and more explicit. This also makes him come in and sit down while the viscount continues his story, making his wife’s dialogue more intelligible. The
conversation between Andrei and Pierre happens before the exit of the Vassilys, which ends the chapter, meaning there is no dialogue from Prince Vasily to Pavlovna about Pierre being a bear.
Additional Notes: Mandelker: Mademoiselle appears later in the novel in Helene’s salon. Tragic actress, went to Petersburg in 1808.
Briggs: Louis XV: King of France from 1715-1774
Garnett: the execution of duke of Enghien (Louis-Antoine-Henri de Bourbon-Conde) put an end to all hope of reconciliation between the French royal family and Napoleon). Both France and Russia recalled their ambassadors.
Louis XV disastrous conflicts: Seven Years Wars, expulsion of the Jesuits, annexation of Lorraine and Corsica. His successor XVI was when the revolution came, Voltaire, Montesquieu, and Rousseau all renounced him.
Louis XV disastrous conflicts: Seven Years Wars, expulsion of the Jesuits, annexation of Lorraine and Corsica. His successor XVI was when the revolution came, Voltaire, Montesquieu, and Rousseau all renounced him.
Mlle. Georges: Marguerite-Josephine Weimar. She is in part 8 chapter 13. She was suspected of being a spy and trying to seduce Alexander.
Gibian: d’Enghien was living in German principality of Baden as an emigre.
There is something to seeing murder and execution as tantalizing from the safety of parties and aristocracy that needs to be explored further.
A note on chapter 4 with chapter 3 in mind: the chapter break seems slightly arbitrary as, as with Bolkonsky’s entrance, there is continuous action.
Pavlovna again at the center in the beginning.
Some helpful background from Fremont-Barnes: Page 34: "Napoleon, in June, to request that Alexander serve as a mediator between France and Britain. Alexander, keen to play a more active role in European affairs, accepted the offer;
but when he presented proposals in July, which satisfied neither party and led to talks collapsing the following month, Franco-Russian relations soured...Count Markov, whom the tsar...recalled to St Petersburg...The British government
financially supported...plotters as part of a larger network of royalist agents extending across the Continent, but particularly within France itself. Napoleon's spies managed to penetrate the movement, in so doing discovering that a Bourbon
French prince numbered (Page 35) amongst the conspirators, who planned to land an armed emigre force on the French coast. Police arrested Pichegru, Cadoudal and others working clandestinely in Paris, in February and March 1804.
When information gleaned from the suspects' papers indicated that the duc d'Enghien, a royalist emigre of the Conde line of the Bourbon family, lay behind a plan for a royalist landing, Napoleon dispatched troops to Ettenheim, just over
the French border in neutral Baden, to apprehend the prince and bring him to Paris. Cavalry surrounded the house on the night of 14/15 March and seized the prince at dawn, together with his papers, and conveyed him to the Chateau
de Vincennes. There, on 20 March, at a hastily convened court martial which denied the prisoner the benefit of a legal defence, the duke admitted an intention to command troops against the French republic and receiving funds from the
British government, but the prosecution failed to find proof of d'Enghien's involvement in Cadoudal's plot to kill the First Consul - the actual charge laid against the accused. The 'court' nevertheless convicted d'Enghien of treason and
executed him by firing squad the following day in the dry moat of the fortress...the news gave new impetus to Anglo-Russian accord and, with the return to government of William Pitt, sped the diplomatic efforts of the British government
to create a grand coalition involving Russia"
Roberts Page xli: One of Napoleon’s favourite mistresses, Mademoiselle George, also had her memoirs drawn up by a ghostwriter, but she found them so boring that she sexed them up with stories of Napoleon shoving wads of banknotes down her corset.”
Page 338: "D’Enghien had admitted to being in the pay of England and of bearing arms against France, both of which were capital offences for Frenchmen. If he hadn’t admitted it, the vast amount of money in his safe would anyway have condemned him.”
Johnson, Paul, Page 49: “Enghien was probably innocent and certainly harmless, and his killing was designed to inspire terror among more dangerous exiles.”
Rancour-Laferriere, Page 64: “As for Helene, she is almost never ‘Elena’, which would be the proper Russian name (the narrator does often speak of ‘Elen’, but this is just a Russian approximation of the French ‘Helene’, which the English ‘Ellen’ used by some translators and critics completed misses).”
Pavlovna again at the center in the beginning.
Some helpful background from Fremont-Barnes: Page 34: "Napoleon, in June, to request that Alexander serve as a mediator between France and Britain. Alexander, keen to play a more active role in European affairs, accepted the offer;
but when he presented proposals in July, which satisfied neither party and led to talks collapsing the following month, Franco-Russian relations soured...Count Markov, whom the tsar...recalled to St Petersburg...The British government
financially supported...plotters as part of a larger network of royalist agents extending across the Continent, but particularly within France itself. Napoleon's spies managed to penetrate the movement, in so doing discovering that a Bourbon
French prince numbered (Page 35) amongst the conspirators, who planned to land an armed emigre force on the French coast. Police arrested Pichegru, Cadoudal and others working clandestinely in Paris, in February and March 1804.
When information gleaned from the suspects' papers indicated that the duc d'Enghien, a royalist emigre of the Conde line of the Bourbon family, lay behind a plan for a royalist landing, Napoleon dispatched troops to Ettenheim, just over
the French border in neutral Baden, to apprehend the prince and bring him to Paris. Cavalry surrounded the house on the night of 14/15 March and seized the prince at dawn, together with his papers, and conveyed him to the Chateau
de Vincennes. There, on 20 March, at a hastily convened court martial which denied the prisoner the benefit of a legal defence, the duke admitted an intention to command troops against the French republic and receiving funds from the
British government, but the prosecution failed to find proof of d'Enghien's involvement in Cadoudal's plot to kill the First Consul - the actual charge laid against the accused. The 'court' nevertheless convicted d'Enghien of treason and
executed him by firing squad the following day in the dry moat of the fortress...the news gave new impetus to Anglo-Russian accord and, with the return to government of William Pitt, sped the diplomatic efforts of the British government
to create a grand coalition involving Russia"
Roberts Page xli: One of Napoleon’s favourite mistresses, Mademoiselle George, also had her memoirs drawn up by a ghostwriter, but she found them so boring that she sexed them up with stories of Napoleon shoving wads of banknotes down her corset.”
Page 338: "D’Enghien had admitted to being in the pay of England and of bearing arms against France, both of which were capital offences for Frenchmen. If he hadn’t admitted it, the vast amount of money in his safe would anyway have condemned him.”
Johnson, Paul, Page 49: “Enghien was probably innocent and certainly harmless, and his killing was designed to inspire terror among more dangerous exiles.”
Rancour-Laferriere, Page 64: “As for Helene, she is almost never ‘Elena’, which would be the proper Russian name (the narrator does often speak of ‘Elen’, but this is just a Russian approximation of the French ‘Helene’, which the English ‘Ellen’ used by some translators and critics completed misses).”
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