Briggs: They trundle off in heavy traffic, with Andrey. An encounter with Pierre.
Translation:
XVII.
At the 2nd hour the pledged and laid four crews of the Rostovs were standing at the entrance. The carts with the wounded, one behind the other, moved out to the court.
The carriage, on which was carried Prince Andrey, driving past the porch, turned in itself the attention of Sonya, suited together from the girl seat for the countess in her great high carriage, standing at the entrance.
— This is whose carriage again? — asked Sonya, leaning out at the window of the carriage.
— But don’t you know, young lady? — answered the maid. — The prince is wounded: he spent the night with us and also rides with us.
— And who is this? As family?
— Our very former fiance. Prince Bolkonsky! — sighed in answer the maid. — They speak of death.
Sonya jumped out from the carriage and ran to the countess. The countess now dressed for the road, in a shawl and hat, tired, went by the living room, expecting that with the home to sit with closed doors and say a prayer before departure. Natasha was not in the room.
— Maman (mama), — said Sonya, — Prince Andrey is here, wounded to death. He rides with us.
The countess scaredly opened her eyes and, grabbing for the hand of Sonya, looked around.
— Natasha? — she spoke.
And for Sonya and for the countess this news had in the first moment only one matter. They knew their Natasha, and with horror about what will be with her in this news, muffled for them all the empathy to the person whom they both loved.
— Natasha still does not know; but he rides with us, — said Sonya.
— You speak of death?
Sonya nodded her head.
The countess hugged Sonya and cried.
"The ways of the Lord are inscrutable!" she thought, feeling that all that was done began to address the hiding from the sight of people omnipotent hand.
— Well, Mama, all is ready. What about you?.. — asked with a busy face Natasha, running in to the room.
— What about, — said the countess. — Ready, so ride. — and the countess bent over to her reticule, so that to hide her disturbed face. Sonya hugged Natasha and kissed her.
Natasha interrogatively looked at her.
— What is with you? What has happened?
— Nothing... No...
— Very evil for me?.. What such? — asked the sensitive Natasha.
Sonya sighed and did not answer. The count, Petya, m-me Schoss, Mavra Kuzminishna, and Vasilich entered in the living room and, shutting the door, all sat down and, silently, not looking at each other, sat a few seconds.
The count was the first to get up and, loudly sighing, beginning to cross in form. All did that same. Then the count began to hug Mavra Kuzminishna and Vasilicha, who stayed in Moscow, and, at that time as they caught his arm and kissed him on the shoulder, a little ruffled their back, saying something obscure, and affectionately sedative. The countess was left in the oratory, and Sonya found her there on her knees before the scattered by the wall remaining images. (The most dear by the family legends of lucky images were with herself.)
On the porch and in the courtyard were leaving people with daggers and sabres, which Petya armed them with, with tucked in pantaloons in boots and tight girdled belts and sashes, saying goodbye with those that stayed.
As always in departures, much was forgotten and not laid, and for quite long two outlaws were standing with both parties opening the doors and steps of the carriage, prepared to plant the countess, in that time as ran girls with pillows and bundles from home in the carriage, pram, and chaise, and back.
— Their century will all reboot! — said the countess. — Because you know that I cannot so sit. — and Dunyasha, squeezing her teeth and not answering, with an expression of reproach on her face, threw into the carriage to remodel the seat.
— Ah these people! — spoke the count, shaking his head.
The old coachman Efim, with whom only decided to ride the countess, sitting high on his box, did not even look around at that what was done behind him. His thirty years of experience knew that not soon more will to him it be said: "With the Lord"! and that when said, two more times he will be stopped and sent for forgotten things, and now after this more time of stopping, the countess herself sticks out to him at the window and asks him by Christ the Lord to go carefully downhill. He knew this and because of it more patiently than the horses (in particular the left ginger — Falcon, which beat its foot and, chewing, sorted through the bit) saw what will be. Finally all sat down; the stairs gathered and threw in the carriage, the door slammed, the casket was sent for, the countess leaned out and said what she must. Then Efim slowly stripped off his hat from his head and began to cross. The postilion and all people did that same.
— With the Lord! — said Efim, wearing a hat, — Pull out! — the postilion touched. The right drawbar fit in the clamp, crunching the high springs, and swung the bodywork. The lackey on the go jumped up in the box. The shaking carriage departed with the court on the shaking pavement, so the same shaking the other crews, and the train set off up by the street. In the coaches, carriage and chaise all crossed themselves at the church, which was the opposite. The remaining in Moscow people went by both sides of the crews, seeing them off.
Natasha seldom tested such a joyful feeling, as that which she tested now, sitting in the carriage beside the countess and looking at the slowly moving past her abandoned walls of worried Moscow. She occasionally leaned out at the window of the carriages and saw backwards and forward the long train of the wounded preceding them. Almost ahead of all was seen the closed top carriage of Prince Andrey. She did not know who was in it, and any time, thinking of the region of the wagon, looked for the eyes of this seat. She knew that it was ahead of all.
At Kurdin, from Nikitskaya, from Presny, from Podnovinsky came together a few of these same trains, as was the train of the Rostovs, and by Sadovaya now in two numbers rode crews and carts.
Going around Sukharev tower, Natasha, curiously and quickly examining the people riding and going, suddenly happily and with surprise cried out:
— Father! Mama, Sonya, look, this is him!
— Who? Who?
— See, by God, Bezuhov! — said Natasha, leaning out at the window of the carriage and looking at a high, thick man in a coachman caftan, obviously, a dressed up baron by gait and posture, who nearby with a yellow, beardless old man in frieze greatcoats came up under the arch of Suharev tower.
— By God, Bezuhov, in a caftan, with some old boy. By God, — said Natasha, — See, see!
— And no, this is not him. Whether it can be such nonsense!
— Mama, — shouted Natasha, — I to your head give a clipping that this is him. I assure you. Wait, wait, — she shouted to the coachman; but the coachman could not stay, because of how from Meshchanskaya left more carts and crews, and at the Rostovs shouted, for them to move off and not detain others.
Really, although now much farther than before, all the Rostovs had seen Pierre or a man unusually similar to Pierre, in a coachman’s caftan, walking by the street with a bent head and severe face, beside a small bearded old man, having the view of a lackey. This old man saw the leaning out at him faces from the carriages and, respectfully touching to the elbow of Pierre, said something to him, pointing to the carriage. Pierre for long could not understand what he spoke; so he was apparently immersed in his thought. Finally, when he got it, looked by the direction and, upon learning of Natasha, at that same second, gave back the first impression, quickly directing to the carriage. Yet, having passed nine steps, he, apparently, remembering something, stopped.
The leaning out from the carriage face of Natasha shone a mocking caress.
— Petr Kirilych, go already! Because we recognized you! This is surprising! — she shouted, holding out her hand. — How is this you? What for are you so?
Pierre took the outstretched hand and on the go (as the coach continued to move) awkwardly kissed it.
— What is with you, count? — asked the surprised and condoling voice of the countess.
— What? What? What for? Do not ask me, — said Pierre and turned back to Natasha, whose shining joyous look (he felt this, not looking at her) doused him in charm.
— What again are you staying in Moscow? — Pierre was silent.
— In Moscow? — he said interrogatively. — Yes, in Moscow. Farewell.
— Ah, I would want to be a man, I would be indispensably left with you. Ah, how this is okay! — said Natasha. — Mama, let me, I will stay. — Pierre absent-mindedly looked at Natasha and wanted to say something, but the countess interrupted him.
— You were in the battle, we have heard?
— Yes, I was, — was the response of Pierre. — Tomorrow will again be a battle... — he started, but Natasha interrupted him:
— And what again is with you, count? You are not similar to yourself...
— Ah, do not ask, do not ask me, I myself do not know anything. Tomorrow... yes and no! Farewell, farewell, — he spoke, — A terrible time! — and, behind the carriages, he walked away on the sidewalk.
Natasha for long still leaned out from the window, beaming at him with an affectionate and little mocking, joyful smile.
Mentioned: thirty years, to-morrow
Locations: Moscow, Kudrino, Nikitskaya (Nikitski in Maude. Nikitsky in Mandelker and Garnett), Pryesen (Presnya in Briggs, Dunnigan, Mandelker and Maude. Presnia in Pevear and Volokhonsky. Pryesny in Garnett), Podnovinskoe (Podnovinskaya in Briggs and Dunnigan. Podnovinsky in Mandelker, Garnett, and Pevear and Volokhonsky. Podnovinsk in Maude. Weiner calls these last four wards. Briggs, Dunnigan, and Maude call them streets. Pevear and Volokhonsky call them Boulevard.), Sadovaya (Sadovoy in Garnett), Sukharev tower (Dunnigan capitalizes tower...water-tower in Briggs, Mandelker, and Maude. Sukhavera in Pevear and Volokhonsky. Suharev Tower in Garnett.), Myeshchanskaya Street (cut in Bell. Meshchanskaya Street in Dole, Dunnigan, and Pevear and Volokhonsky. Meshchansky Street in Briggs and Mandelker. Meshchanski Street in Maude. Myeshtchansky Street in Garnett.)
Pevear and Volokhonsky Notes: Sonya discovers that the wounded prince is Andrei Bolkonsky and tells the countess. "They knew their Natasha, and the dread of what would happen to her at this news stifled in them any sympathy for the man, whom they both liked."
"The ways of God are inscrutable!" she thought, feeling that in all that was now happening an almighty hand, which had previously been hidden from people's eyes, was beginning to show."'
There is then a long emphasis on the count constantly forgetting things and the coachmen being used to the routine and to the berating coming from the countess. As the carriages are leaving, Natasha sees Pierre, who after hesitation, comes to talk to Natasha at her bidding. He is clearly not himself and stumbles through a conversation that reveals to them that he is staying in Moscow.
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 *):
Prince Andrei Bolkonsky (arguable whether or not he is in the chapter or just mentioned. Also "the wounded prince".)
Sonya (also "baruishnya")
Countess Rostova ("countess", "mamma", and "maman".)
Natasha
Count Rostof ("count")
Petya
Madame Schoss
Mavra Kuzminitchna
Vasilyitch
Dunyasha
Yefim ("the old coachman". "Efim" in Wiener, Maude, and Garnett. "Yefime"in Bell.)
Sokol (with the footnote "Hawk". "the off chestnut". "Falcon" in Edmonds, Mandelker, and Dunnigan.)
Count Pierre Bezukhoi (Also "Piotr Kiriluitch". and the "sallow, beardless little old man" who walks with him.)
Abridged Versions: End of Chapter 14 in Bell.
Gibian: end of Chapter 8.
Fuller: The brief mention of Petya being with those to who are passing out weapons is removed. Chapter appears otherwise preserved but does not have a line break.
Komroff: The section where the countess and Dunyasha talk about how they are sitting is removed. The discussion with Pierre is slightly shorter. Followed by a line break.
Kropotkin: Chapter 8: The whole Sonya discovery of Prince Andrei and the conversations around it are removed. However, the sitting around the icons is kept. The section where the countess and Dunyasha talk about how they are sitting is removed.
Simmons: A few descriptive details are removed, but overall the chapter is preserved. End of Chapter 8.
Edmundson: Act 4 Scene 7: Natasha and the Countess see Pierre and talk with him. Napoleon then appears to Pierre and questions him about how he would kill him, mentioning the student in Vienna. Pierre then realizes he can't kill Napoleon and sees the fire around him and goes to help the Woman find her child. After saving the child, he confronts the French soldiers and is arrested.
Additional Notes:
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