Chapter Summaries: Dole: Iogel's ball. The girls transfirgued. Denisof's enthusiasm. Natasha presuades Denisof to dance with her. Denisof's wonderful dancing.
Briggs: Iogel's ball. Denisov's impressive mazurka.
Maude: Iogel's ball. Denisov's mazurka
Translation:
XII. At Iogel’s were the most fun balls in Moscow. This was said by mothers, looking at their teenagers412 producing only the steps that they learned; this was said by the adolescents and teenagers413 themselves, dancing until falling; this was said by grown up girls and young people, coming to these balls and descending to them and finding in them the very best fun. At this same year at these balls were made two marriages. Two pretty princesses of Gorchakov found grooms and went out to get married, and by that still more led to the glory of these balls. In particular to these balls was not that who was the owner and mistress: but was how, down flying, by the rules of open art, good natured Iogel, who took tickets for lessons from all his guests; and was that how in these balls still rode only those who wanted to dance and have fun, as want these 13 and 14 year old girls for the first time donning long dresses. All, with rare exceptions, were or seemed pretty: so enthusiastically they all smiled and so flared up their eyes. Sometimes they even danced the dance with a shawl414 and the best students, of which the best was Natasha, were distinguished by their grace; but in that last ball danced only the ecossaise, the English and only the then incoming into fashion mazurka. The hall was taken by Iogel in the house of Bezuhov, and the ball was very successful, as said by all. There were many pretty girls, and the Rostovs’ young ladies were of the best. They both were especially happy and fun. On this evening Sonya, proud of the proposal of Dolohov, the refusal of him and the explanation with Nikolay, spun still at home, not giving the girl her braids to comb, and now glowed through impulsive joy. Natasha, not less proud by that she for the first time was in a long dress at the present ball, and was still happier. They were in white, muslin dresses with pink ribbons. Natasha did fall in love from the very minute as she entered into the ball. She did not fall in love with anyone in particular, but fell in love with all. In those at whom she watched in that moment, as she watched, in those she fell in love. — Ah, how good! — she said to all, running up to Sonya. Nikolay with Denisov went by the halls, affectionately and patronizingly looking around the dancing. — How she is a sweetheart and will be a beauty, — said Denisov. — Who? — Countess Natasha, — was the response of Denisov. — And how she is dancing, how graceful! — keeping silent a little, again he said. — Yes about whom do you speak? — About your sister, — angrily shouted Denisov. Rostov grinned. — Kind count, you are one of my best students. You must dance.— said little Iogel, coming up to Nikolay. — Look, how many pretty girls!415 — he with that same request turned to Denisov, also his former student. — No, my dear, I better sit for kind.416 — said Denisov. — Don't you remember how badly I employed your lessons?... — Oh no! — hastily consoling him, said Iogel. — You were only inattentive, but you had abilities, yes, you had abilities. Started playing again the introduced mazurka. Nikolay could not refuse Iogel and invited Sonya. Denisov hooked to the old women and leaned on his saber, stamping the tact, said something funny and gave the women a laugh, glancing at the dancing young people. Iogel at the first couple was dancing with Natasha, his pride and best student. Softly, tenderly sorting out his own legs into slippers, Iogel first flew by the hall with timidity, but carefully produced the step of Natasha. Denisov did not lower from her eyes and tapped his saber tact, with such a look which clearly spoke that he himself was not dancing only from that he did not want to, but not from that he may not. At the mid figures he called upon himself to walk past Rostov. — This is not really that, — he said. — Isn’t this the Polish mazurka? But fine dancing. Knowing that Denisov in even Poland was famous for his mastery of the dance of the Polish mazurka, Nikolay ran up to Natasha: — Go, choose Denisov. Here he is dancing! A miracle! — he said. When came again the turn of Natasha, she got up and quickly sorting out her own bowed slippers, shyly, ran alone through the hall to the corner where sat Denisov. She saw that all were watching her and waiting. Nikolay saw how Denisov and Natasha smilingly argued, and how Denisov refused, but happily smiled. He ran up. — Please, Vasiliy Dmitrich, — said Natasha, — Let's go, please. — Yes, what’s to dismiss, countess, — spoke Denisov. — Well, fully, Vasya, — said Nikolay. — Exactly as a cat Vaski is persuaded, — jokingly said Denisov. — For a whole night I will sing to you, — said Natasha. — For the enchantress I will do all! — said Denisov and unfastened his saber. He got out from behind the chairs, hardly taking for the arm his lady, raising his head and setting aside his leg, expecting the tact. Only on the horse and in the mazurka was the small stature of Denisov not seen, and he presented by that very well how he himself felt. After waiting the tact, he from the side, triumphantly and playfully, looked at his lady, suddenly knocked one foot and, as a ball, resiliently bounced off from the floor and flew along in a circle, enthralling for himself and the lady. He did not hear the flying of half of the hall on one leg, and, it seemed, did not see the standing before him chairs and carried all of them; but suddenly, snapping his spurs and spreading apart his legs, stopped on his heels, stood so for a second, with a clatter of spurs pounded in the same location his feet, quickly spun around and, his left foot snapping right, again flew in a circle. Natasha guessed that he had found himself, and, herself not knowing how, watched behind him — giving it back to him. Then he spun her, then in the right, then in the left hand, then falling on his knee, circling her around herself, and again jumped up and started up forward with such swiftness, as if he found himself, not transferring his spirit, running across through all of the room; then suddenly again stopped and did again a new and unexpected knee. When he smartly spun the lady before her place, clicked his spur, bowing before her, Natasha did not even sit down. She with disbelief tiredly at his eye smiled, as if not recognizing him. — What such is this? — she spoke. Despite how Iogel did not recognize this present mazurka, all were admiring the mastery of Denisov, incessantly began to choose him, and the elderly, smiling, began to speak about Poland and about the good old times. Denisov, flushed from the mazurkas and tearing away his handkerchief, hooked to Natasha and all through the ball did not walk away from her. 412. Adolescentes, (Teenagers,) 413. Adolescents, (Teenagers,) 414. pas de châle (step of the shawl) 415. Mon cher comte; vous êtes l’un de mes meilleurs écoliers, il faut que vous dansiez, Voyez combien de jolies demoiselles. (My dear count; you are one of my best schoolchildren, you have to dance, you see how many pretty young ladies.) 416. Non, mon cher, je ferai tapisserie, (No, my dear, I will do the tapestry,)
Briggs: Iogel's ball. Denisov's impressive mazurka.
Maude: Iogel's ball. Denisov's mazurka
Translation:
XII. At Iogel’s were the most fun balls in Moscow. This was said by mothers, looking at their teenagers412 producing only the steps that they learned; this was said by the adolescents and teenagers413 themselves, dancing until falling; this was said by grown up girls and young people, coming to these balls and descending to them and finding in them the very best fun. At this same year at these balls were made two marriages. Two pretty princesses of Gorchakov found grooms and went out to get married, and by that still more led to the glory of these balls. In particular to these balls was not that who was the owner and mistress: but was how, down flying, by the rules of open art, good natured Iogel, who took tickets for lessons from all his guests; and was that how in these balls still rode only those who wanted to dance and have fun, as want these 13 and 14 year old girls for the first time donning long dresses. All, with rare exceptions, were or seemed pretty: so enthusiastically they all smiled and so flared up their eyes. Sometimes they even danced the dance with a shawl414 and the best students, of which the best was Natasha, were distinguished by their grace; but in that last ball danced only the ecossaise, the English and only the then incoming into fashion mazurka. The hall was taken by Iogel in the house of Bezuhov, and the ball was very successful, as said by all. There were many pretty girls, and the Rostovs’ young ladies were of the best. They both were especially happy and fun. On this evening Sonya, proud of the proposal of Dolohov, the refusal of him and the explanation with Nikolay, spun still at home, not giving the girl her braids to comb, and now glowed through impulsive joy. Natasha, not less proud by that she for the first time was in a long dress at the present ball, and was still happier. They were in white, muslin dresses with pink ribbons. Natasha did fall in love from the very minute as she entered into the ball. She did not fall in love with anyone in particular, but fell in love with all. In those at whom she watched in that moment, as she watched, in those she fell in love. — Ah, how good! — she said to all, running up to Sonya. Nikolay with Denisov went by the halls, affectionately and patronizingly looking around the dancing. — How she is a sweetheart and will be a beauty, — said Denisov. — Who? — Countess Natasha, — was the response of Denisov. — And how she is dancing, how graceful! — keeping silent a little, again he said. — Yes about whom do you speak? — About your sister, — angrily shouted Denisov. Rostov grinned. — Kind count, you are one of my best students. You must dance.— said little Iogel, coming up to Nikolay. — Look, how many pretty girls!415 — he with that same request turned to Denisov, also his former student. — No, my dear, I better sit for kind.416 — said Denisov. — Don't you remember how badly I employed your lessons?... — Oh no! — hastily consoling him, said Iogel. — You were only inattentive, but you had abilities, yes, you had abilities. Started playing again the introduced mazurka. Nikolay could not refuse Iogel and invited Sonya. Denisov hooked to the old women and leaned on his saber, stamping the tact, said something funny and gave the women a laugh, glancing at the dancing young people. Iogel at the first couple was dancing with Natasha, his pride and best student. Softly, tenderly sorting out his own legs into slippers, Iogel first flew by the hall with timidity, but carefully produced the step of Natasha. Denisov did not lower from her eyes and tapped his saber tact, with such a look which clearly spoke that he himself was not dancing only from that he did not want to, but not from that he may not. At the mid figures he called upon himself to walk past Rostov. — This is not really that, — he said. — Isn’t this the Polish mazurka? But fine dancing. Knowing that Denisov in even Poland was famous for his mastery of the dance of the Polish mazurka, Nikolay ran up to Natasha: — Go, choose Denisov. Here he is dancing! A miracle! — he said. When came again the turn of Natasha, she got up and quickly sorting out her own bowed slippers, shyly, ran alone through the hall to the corner where sat Denisov. She saw that all were watching her and waiting. Nikolay saw how Denisov and Natasha smilingly argued, and how Denisov refused, but happily smiled. He ran up. — Please, Vasiliy Dmitrich, — said Natasha, — Let's go, please. — Yes, what’s to dismiss, countess, — spoke Denisov. — Well, fully, Vasya, — said Nikolay. — Exactly as a cat Vaski is persuaded, — jokingly said Denisov. — For a whole night I will sing to you, — said Natasha. — For the enchantress I will do all! — said Denisov and unfastened his saber. He got out from behind the chairs, hardly taking for the arm his lady, raising his head and setting aside his leg, expecting the tact. Only on the horse and in the mazurka was the small stature of Denisov not seen, and he presented by that very well how he himself felt. After waiting the tact, he from the side, triumphantly and playfully, looked at his lady, suddenly knocked one foot and, as a ball, resiliently bounced off from the floor and flew along in a circle, enthralling for himself and the lady. He did not hear the flying of half of the hall on one leg, and, it seemed, did not see the standing before him chairs and carried all of them; but suddenly, snapping his spurs and spreading apart his legs, stopped on his heels, stood so for a second, with a clatter of spurs pounded in the same location his feet, quickly spun around and, his left foot snapping right, again flew in a circle. Natasha guessed that he had found himself, and, herself not knowing how, watched behind him — giving it back to him. Then he spun her, then in the right, then in the left hand, then falling on his knee, circling her around herself, and again jumped up and started up forward with such swiftness, as if he found himself, not transferring his spirit, running across through all of the room; then suddenly again stopped and did again a new and unexpected knee. When he smartly spun the lady before her place, clicked his spur, bowing before her, Natasha did not even sit down. She with disbelief tiredly at his eye smiled, as if not recognizing him. — What such is this? — she spoke. Despite how Iogel did not recognize this present mazurka, all were admiring the mastery of Denisov, incessantly began to choose him, and the elderly, smiling, began to speak about Poland and about the good old times. Denisov, flushed from the mazurkas and tearing away his handkerchief, hooked to Natasha and all through the ball did not walk away from her. 412. Adolescentes, (Teenagers,) 413. Adolescents, (Teenagers,) 414. pas de châle (step of the shawl) 415. Mon cher comte; vous êtes l’un de mes meilleurs écoliers, il faut que vous dansiez, Voyez combien de jolies demoiselles. (My dear count; you are one of my best schoolchildren, you have to dance, you see how many pretty young ladies.) 416. Non, mon cher, je ferai tapisserie, (No, my dear, I will do the tapestry,)
Time: unspecified (see previous chapter)
Location: Bezhuki's house in Moscow
Mentioned: English (anglaise in Briggs, Pevear and Volkhonsky, and Maude.), the Rostovs' home), Poland (and Polish)
Pevear and Volkhonsky: We get the difference between men and women (the men pretend not to like the balls but really do) and the way the balls set up matches.
Location: Bezhuki's house in Moscow
Mentioned: English (anglaise in Briggs, Pevear and Volkhonsky, and Maude.), the Rostovs' home), Poland (and Polish)
Pevear and Volkhonsky: We get the difference between men and women (the men pretend not to like the balls but really do) and the way the balls set up matches.
The girls: “All of them, with rare exceptions, were or seemed pretty: so rapturously they smiled, so lit-up were their eyes...the best of them was Natasha..”
Connection in that it is rented at the Bezukhov house.
“Natasha fell in love from the moment she entered the ballroom. She was not in love with anyone in particular, but with everyone.”
Denisov tries to separate as someone older, as someone who doesn’t like dancing, but it doesn’t take, because he is a dancer. The unfolding and complications of Denisov’s rather pleasant character continues.
“He looked like the fine fellow he felt himself to be.”
Tolstoy gives us a long description of his dancing.
“The old men, smiling, began to talk about Poland and the good old days”.
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 *):
Iogel
Natasha (also “The Countess Natasha”, again by Denisof)
Pierre (only “Bezukhof” and only in reference to the house)
Sonya
Dolokhof
Nikolai
Vasili Dmitritch Denisof (and also “Vasya” and “Vaska”)
(“mammas” and girls and boys in general are referenced and are imagined to be present at the ball, but undifferentiated. Undifferentiated old ladies and old men are also there. The Gorchakova family name, at least in reference to two
princesses, is mentioned for a first time. Maude, Mandelker, and Wiener use Gorchakov. Bell uses “Gortchakow”)
princesses, is mentioned for a first time. Maude, Mandelker, and Wiener use Gorchakov. Bell uses “Gortchakow”)
Abridged Versions: End of Chapter 15 in Bell.
Gibian: Chapter 12.
Gibian: Chapter 12.
Fuller: entire chapter is cut.
Komroff: entire chapter is cut.
Kropotkin: entire chapter is cut.
Bromfield: There is no corresponding chapter or episode.
Simmons: Chapter 12: cut and replaced with "Nicholas dances with Sonya at Iogel's ball, and Denisov amazes all by his original interpretation of a mazurka with Natasha."
Simmons: Chapter 12: cut and replaced with "Nicholas dances with Sonya at Iogel's ball, and Denisov amazes all by his original interpretation of a mazurka with Natasha."
Additional Notes:
Montefiore Page 243: “Catherine tried to amuse them and herself with constant parties: “we’re constantly doing nothing,” said Elizabeth, “we spend all week dancing.”...Zubov was indeed in love with Elizabeth…”
Nabokov: Page 198: "From this account of the structure of Tolstoy's novel it will be seen that the transitions are far less supple, far less elaborate, than the transitions from group to group in Madame Bovary within chapters. The brief abrupt chapter in Tolstoy replaces the flowing paragraph in Flaubert. But it will be also noted that Tolstoy has more lives on his hands than had Flaubert. With Flaubert a ride on horseback, a walk, a dance, a coach drive between village and town, and innumerable little actions, little movements, make those transitions from scene to scene within the chapters. In Tolstoy's novel great, clanging, and steaming trains are used to transport and kill the characters--and any old kind of transition is used from chapter to chapter, for instance beginning the next part or next chapter with the simple statement that so much time has passed and now this or that set of people are doing this or that in this or that place. There is more melody in Flaubert's poem, one of the most poetical novels ever composed; there is more might in Tolstoy's great book."
Massie: Page 832: "Most ladies in St. Petersburg society, once exposed to Peter's mixed assemblies, rushed to embrace the change. Instead of remaining in the reclusive world of their own households, they now stepped forward into a new, more exciting life. Young, unmarried girls now had a place to meet a wide range of young, unmarried men. It was delicious to be able to dress, to dance, to display their charms in public. Extravagant new dresses, glorious in color and style, appeared"
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