Book 2 Part 5 Character Index

Natasha: Chapters 6, 7, 8, 9, 10, 12, 13, 14, 15, 16, 18, 19, 21, and 22. Mentioned: Chapters 1, 2, 4, 11, and 20. (Also “Countess Rostova” and “Natalya Ilyinitchna”. Garnett, Briggs, and Maude add “young”. Also “prospective sister-in-law”, "future daughter-in-law" “future sister-in-law”, “Nathalie”, and “little songstress”. Also “daughter” and the many insulting names Marya Dmitrievna lays on her.)

Count Ilya Andreyevitch Rostof: Chapters 6, 7, 8, 9, 10, 12, 13, 14, 18, and 21. Mentioned: Chapters 15, 19, and 22. (also “father”, “old count”, and “papa”.)

Sonya: Chapters 6, 7, 8, 9, 15, 16, 18, 19, 21, and 22. Mentioned: Chapters 10 and 14. (also “Sonyushka” and "cousin".)

Anatol Vasilyitch Kurgain: Chapters 5, 9, 10, 11, 13, 16, 17, 19, and 20. Mentioned: Chapters 8, 12, 14, 15, 18, 21, and 22. (Mandelker, Maude, Bell, and Edmonds don’t print the second name. Its “Vasilyevich” in Dunnigan. “Vasilich” in Wiener. Also "brother".)

Pierre Bezukhoi: Chapters 1, 3, 4, 9, 11, 19, 20, 21, and 22. Mentioned: Chapters 6, 8, 12, and 15. (Also “Count Piotr Kirillovitch” and “husband”.)

Marya Dmitrievna Akhrosimova: Chapters 6, 7, 8, 12, 14, 15, 18, 19, 21, and 22. Mentioned: Chapter 17 (her daughter and sons are referenced, though not differentiated. Also "mistress".)

Countess Elena Vasilyevna Bezukhaya: Chapters 8, 9, 10, 12, 13, and 20. Mentioned: Chapters 1, 6, and 19. (also "wife" and "sister")

Dolokhof: Chapters 8, 9, 11, 16, and 17. Mentioned: Chapters 14 and 20. (also “Dolohoff le Persan”. For some reason Dole calls him “Lopukhof” once (in the Balaga description). The names “Feodor Ivanuitch” (and later “Feodor Ivanovitch”, the rest of the translations not giving a variation) are given in Dole. These appear to be attached to Dolokhof. “Fiodr Ivanich” in Edmonds. “Fyodr Ivanych” in Dunnigan.”Theodore Ivanych” in Maude. “Fyodor Ivanovitch” in Garnett. “Fyodor Ivanovich” in Garnett. “Fyodor Ivanych” in Mandelker. “Fedor Ivanych” in Wiener. “Fedor Ivanovitch” in Bell. Also “Fedya”.)

Princess Mariya: Chapters 2, 3, 4, 7, and 21. Mentioned: Chapters 5, 6, 8, 10, 11, 12, 14, and 15. (also “Bolkonsky’s daughter”, “Mashenka”, "sister", and “sister-in-law”. Dunnigan uses “Masha”. Maude just uses the usual “Mary”.)

Prince Nikolai Andreyitch Bolkonsky: Chapters 2, 3, 4, and 21. Mentioned: Chapters 5, 6, 7, 8, 12, and 14. (also “father”, “the old prince”, and “illustriousness”.)

Boris Drubetskoi: Chapters 3, 4, 5, and 9. Mentioned: Chapters 6, 8, and 12. (also "son".)

Mademoiselle Amalie Bourienne: Chapters 2, 3, 7, and 21. (also "pretty Frenchwoman". Maude, Edmonds, and Briggs don’t use the additional name. Garnett has “Amalia Yevgenyevna” where Dole puts “Amalie Bourienne”. Mandelker puts “Amelia Evgenievna” and follows it with “Mademoiselle Bourienne” in parenthesis. “Amaliya Evgenevna” in Wiener. Bell doesn’t use these two names, substituting a pronoun.)

Makarin: Chapters 16, 17, and 19. (also “Makarka”. “Makarine” is the first name in Bell.)

Shinshin: Chapters 8 and 9. Mentioned: Chapters 6 and 11.

Metivier: Chapters 3 and 13. (Bell adds M. to the front of his name for Monsieur.)

His (Anatol) French Valet Joseph: Chapters 16 and 17.

Khvostikof: Chapters 16 and 17. (“Hvostikov” in Edmonds and Garnett. “Khvostikov” in Dunnigan, Briggs, Wiener, and Maude. “Gvostikow” in Bell.)

Balaga: Chapters 16 and 17.

Gavrilo: Chapters 17 and 18. (“Marya Dmitrievna’s colassal footman”, so unlikely to be any of the previous Gavrilos. Bell doesn’t use the name.)

Prince Andrei Bolkonsky: Chapter 21. Mentioned: Chapters 1, 2, 3, 4, 6, 7, 8, 9, 10, 12, 13, 14, 15, 18, 19, and 22. (Also “My Andryusha”, "brother", "son", and “future husband”.)

Mademoiselle Julie Karaguine: Chapter 5. Mentioned: Chapters 2, 4, 8, and 11. (Garnett, Wiener, and Maude keep “Karagin” while Briggs puts “Karagina”. Edmonds keeps “Karagin” but drops “Julie”. Bell uses “Mlle. Karaguine” and “Mlle. Julie”.)

Anna Mikhailovna: Chapter 5. Mentioned: Chapters 6 and 8.

Mademoiselle Georges: Chapter 13. Mentioned: Chapters 11 and 12.

Nikolushka: Chapter 2. (also “six-year-old nephew.”)

Filipp: Chapter 2. (though he seems to be “the butler” here, probably the same Filipp that was the “groom” earlier in the novel. He’s a “footman” in Edmonds.)

Count Rostopchin: Chapter 3. (Bell spells it “...Rostopchine”.)

Prince Lopukhin: Chapter 3. (as in Dole, Mandelker, Wiener, and Briggs. “...Lopuhin” in Garnett and Edmonds. “...Lapoukhine” in Bell.)

General Chatrof: Chapter 3. (Prince Lopukhin’s nephew. “...Chatrov” in Edmonds, Wiener, Maude, and Dunnigan. “..Tchatrov” in Garnett. “...Tchatrow” in Bell. Also “old general”.)

Ignatka: Chapter 17. (another valet, the one that brings the coat. Dunnigan prints “Ignashka”.)

Matriona Matveyevna: Chapter 17. (as in Dole and Edmonds. the one that has the coat. “Matryona...” in Briggs and Garnett. “Matryona Matveevna” in Mandelker. “Matryona Matrevna” in Dunnigan. “Matrena Matrevna” in Maude. Also “Matrioshka”. “Matryosha” in Briggs and Mandelker. Edmonds, Maude, and Dunnigan do not use a second name. “Matrena Matfeievna” in Bell. “Matrena Matvyeevna” in Wiener.)

Prince Meshchersky: Chapter 21. (as in Dole and Briggs. “Meshtchersky” in Garnett. “Meshcherski” in Wiener. “Mestchersky” in Bell.)

Characters who are mentioned, but do not appear:

Nikolai Rostof : Chapters 8, 15, 18, and 19. (Also “Nikolenka”, “Nicolas”, and "brother".)

Countess Rostova: Chapters 18, 19, 21, and 22. (“countess” and "mother".)

Napoleon Bonaparte: Chapters 1, 3, and 21.

Iosiph Alekseyevitch: Chapters 1 and 19. (also "Benefactor". Garnett also adds "the old freemason" and his widow, who gets no characterization)

Emperor Alexander: Chapters 2 and 3. (“majesty”, “sovereign”, and “the Emperor”.)

Prince Vasili: Chapters 5 and 11. (also “his father”.)

Mademoiselle Aubert-Chalme: Chapters 6 and 12. (As in Dunnigan, Marya Dmitrievna calls her “Super-Sham’s”, which Dunnigan follows with “Madame Chalme” in parenthesis, which is repeated a couple paragraphs later. Maude prints “Super Rougue’s” the first time and “Madame Suppert-Roguet” the second time (Edmonds prints this both times). Garnett prints “Aubert-Chalmey” both times, adding Madame the second time. Briggs puts “Madame Saucy Rascal” with the parenthetical “Her dressmaker’s real name was Suzie Pascal”, printing “Madame Pascal” the second time. Wiener prints “Aubert Chalme” both times, adding “Madame” the second time. Bell prints “Chalme’s” the first time and “Mme. Aubert Chalme” the second time. A "modiste”, “dressmaker” in Mandelker, from her comes.)

Apollon Nikolayevitch: Chapter 1. ("....Nikolayevich" in Briggs, Dunnigan, and Edmonds. "....Nikolaevich" in Mandelker and Wiener. Bell cuts the name and just uses “a friend”.)

Emperor Franz: Chapter 1.

Emperor Franz's daughter: Chapter 1. (who will be Napoleon's wife.)

Duke of Oldenburg: Chapter 3. (also “Duchy of Oldenburg”. Bell uses “Grand Duchy of Oldenburg”.)

The pope: Chapter 3. (also “head of the Catholic religion”.)

Peter the Great: Chapter 3. (Rostopchin mentions his “cudgel”.)

Princess Irena Vasilyevna: Chapter 6. (“...Irina...” in Dunnigan, Edmonds, and Briggs. “...Irina Vasilevna...” in Maude, Wiener, and Mandelker. “...Irina Vassilyevna” in Garnett. Bell drops the name and replaces “a young lady”.)

Anna Semyonovna : Chapter 7. (as in Dole, Garnett, and Dunnigan. “...Semeonovna” in Edmonds. “...Semenovna” in Maude and Wiener. Bell drops the name.)

Alenina : Chapter 8. (seen at the opera and noticed by Sonya, with her mother. “Miss Alenin” in Wiener. “Mme. Alenine” in Bell.)

Mikhail Kiriluitch: Chapter 8. (seen by Count Rostof. “Mihail Kirillich” in Edmonds. “Mikhail Kirilich” in Dunnigan. “Michael Kirilovich” in Maude. “Mihail Kirillitch” in Garnett. “Mikhail Kirillych” in Briggs. “Mikhail Kirilovich” in Mandelker. “Mikhail Kirillych” in Wiener. “Michael Kirilovitch” in Bell.)

Arkharof: Chapter 14. (again as a family name as a place someone goes to.)

Stioshka: Chapter 17 (“Styoshka” in Garnett, Mandelker, and Briggs. “Steshka” in Maude and Wiener. Bell cuts the reference.)

Speransky: Chapter 21.

Mr. Dessalles: Chapter 21. (Dunnigan and Edmonds use Monsieur. The Swiss tutor. Wiener spells it “Desalles”.)

Book 2 Part 4 Chapter 13 (Chapter 142 Overall)

Chapter Summaries: Dole: Nikolai confesses to his mother. The countess offended. The countess reproaches Sonya. the quarrel. Natasha as peacemaker. Nikolai rejoins his regiment. Natasha's unsatisfactory letters. The Rostofs' return to Moscow.
Briggs: Nikolay's marriage to Sonya is opposed. Nikolay rejoins the regiment.
Maude: His mother opposes Nicholas's wish to marry Sonya, and he returns to his regiment. Natasha becomes restless and impatient for Prince Andrew's return
Pevear and Volkhonsky: The old countess opposes Nikolai's marriage to Sonya. He goes back to his regiment. Natasha impatiently waits for Prince Andrei. She and Sonya return to Moscow with the old count.

Translation:

XIII.

Soon after Christmas Nikolay declared to his mother about his love for Sonya and about his solid decision to marry her. The countess, for a long time noticing what was happening between Sonya and Nikolay, and awaiting this explanation, silently listened to his words and told her son that he may marry whom he wants to; but that she, nor his father will give their blessings to such a marriage. For the first time Nikolay felt that his mother was unhappy with him, that despite all her love for him, she would not yield him. She, coldly and not looking at her son, sent for her husband; and, when he came, the countess wanted to shortly and coldly in the presence of Nikolay report to him this business, but this did not survive; she cried tears in annoyance and exited from the room. The old count began indecisively to counsel Nikolay and to ask him to refuse from his intentions. Nikolay responded that he may not change his word, and his father, sighing and obviously embarrassed, quite soon interrupted his speech and went to the countess. In all the collisions with his son, the count did not leave the consciousness of his guilt before him for the disappointment of the case, and because he could not be angry at his son for the failure to marry a rich bride and for choosing the homeless Sonya, — he only in this case livelier remembered how, if the affairs would not have been disturbed there could not be for Nikolay to want a better wife than Sonya; and that he was guilty in the disappointing cases alone with his Mitenka and with their own irresistible habits.

The father with the mother did not more talk about this case with the son; but a few days after this, the countess called to herself Sonya and with a cruelty which she did not await from another, the countess reproached her niece in enticing her son in ingratitude. Sonya, silently with closed eyes, listened to the cruel words of the countess and did not understand what from her was required. She was all ready to donate for her benefactors. The idea about self-sacrifice was beloved to her thought; but in this case she could not understand who and what she needed to sacrifice. She could not not love the countess and all the family of Rostovs, but she could not not love Nikolay and not know that his happiness depended on this love. She was silent and sad, and did not answer. Nikolay could not, as it seemed to him, bring more to this situation and went to explain with his mother. Nikolay begged his mother to forgive him and Sonya and to agree to their marriage, then threatened his mother that should Sonya be hunted then he now again will marry her in secret.

The countess with coldness, which her son had never seen, answered to him that he is an adult, that Prince Andrey married without the consent of his father, and that he may do the same, but that she would never recognize this intriguer as her daughter.

Exploding at the word intriguer, Nikolay, elevating his voice, said to his mother that he never thought for her to force him to sell his feelings, and that should this be so, that he for the last time speaks... but he did not have time to say these decisive words, which, judging by the expression of his face, with horror was waiting for his mother and which maybe forever would have left a cruel memory between them. He did not have time to finish because of how Natasha with a pale and severe face entered into the room from the door, at which she overheard.

— Nikolinka, you speak nonsense, silence, silence! I to you speak, silence!.. — she almost shouted, so that to drown out his voice.

— Mama, darling, this is really not because... my darling, poor, — she turned to her mother, who, feeling herself on the edge of breaking, with horror watched her son, but, owing to stubbornness and the hobby of fighting, did not want to and could not give up.

— Nikolinka, I explain to you, you leave — you listen, Mama, darling, — she said to her mother.

Her words were meaningless: but they reached this result which she sought.

The countess heavily stuck her face in the breast of her daughter, but Nikolay got up, grabbed behind the head and got out from the room.

Natasha took for the business of reconciliation and led him to how Nikolay received a promise from their mothers that Sonya will not be oppressed, and himself gave a promise that he will not undertake secretly from his parents.

With the solid intention to arrange in the regiment his affairs, to exit and resign, to come marry Sonya, Nikolay, sad and serious, in discord with his relatives, but as to him it seemed, passionately fallen in love, in the beginning of January left to the regiment.

After the departure of Nikolay in the house of the Rostovs it had become sadder than before. The countess from sincere disappointment was made sick.

Sonya was sad from the separation with Nikolay and still more from this hostile tone, from which she could not handle from the countess. The count more than before was concerned with the bad position of his cases, demanding some kind of decisive measures. It was necessary to sell the Moscow house and the one near Moscow, but for the sales of the homes it was needed to go to Moscow. Yet the health of the countess forced from day to day to save the departure.

Natasha, easily and even funnily carrying the first time of separation with her groom, now with every afternoon became more excited and more impatient. The that so for nothing or for no one disappeared her best time, which she would have used to love him, relentlessly tormented her. His letters for the most part angered her. To her it was offensive to think that so as she lived only to think about him, he lived the present life, saw new places, new people, which for him was interesting. The more entertaining were his letters, the more she was annoyed. Her same letters to him not only did not deliver her consolation, but presented a boring and fake duty. She was not able to write because of how she could not comprehend the opportunity to express in a letter truly one thousandth share of what she was used to expressing in her voice, smile and look. She wrote to him classically monotonous, dry letters, which she attributed no meanings and in which, by a draft notebook, the countess straightened her orthographic mistakes.

The health of the countess was not all mended; but to save the trip to Moscow now there was not an opportunity. The need was to make a dowry, the need was to sell the house, and moreover Prince Andrey was waiting first in Moscow, where in this winter lived Prince Nikolay Andreich, and Natasha was sure that he had already arrived.

The countess was left in the village, but the count, taking with himself Sonya and Natasha, at the end of January went to Moscow.

Time: Soon after the Christmas holidays, a few days later, in the beginning of January, end of January
Mentioned: that winter

Locations: see previous chapter
Mentioned: the Moscow house, the country

Pevear and Volokhonsky Notes: Nikolai has told his mother about his intention to marry Sonya. She refuses to give the blessing. "For the first time, Nikolai felt that his mother was displeased with him, and that, despite all her love for him, she would not yield."

The old count is no more successful in getting Nikolai to change his mind. The countess then has a cruel conversation with Sonya that "neither of them expected."

Nikolai and his mother have a fight that Natasha has to break up. Nikolai, now into January, goes back to his regiment. "After Nikolai's departure, the Rostovs' house became sadder than ever."

Natasha becomes even more separated from Andrei. Part Four ends with Sonya, Natasha, and the old count going to 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 *):

Nikolai (also "son" and "Nikolinka")

Countess Rostova ("mother", "mamma", and "countess")

Sonya

Count Rostof ("father" and "old count")

Mitenka

Prince Andrei

Natasha

Prince Nikolai Andreyitch (also "his father")

Abridged Versions: End of Part the Seventh in Wiener. End of Chapter 14 in Bell.

End of Part 4 in Briggs, Dunnigan, Mandelker,  and Edmonds. End of Part Seven in Garnett.

End of Book Seven in Maude.
Gibian: Chapter 13: end of Book Seven.

Fuller: Entire chapter is cut.

Komroff: Chapter is preserved. End of Book Seven.

Kropotkin: Chapter 7: Chapter seems preserved. End of Part Seventh.

Bromfield: The argument is shortened to a paragraph, Chapter 6 ends with Natasha begging to go to Moscow with her father. No illness or anything with the countess.
Simmons: Chapter 13: end of Book Seven.

Additional Notes:

Anna Karenina (Kent/Berberova/Garnett): Stephen Arkadyevich laughed outright “Oh moralist! But you must understand, there are two women; one who insists only

on her rights, and those rights are your live, which you can’t give her; and the other sacrifices everything for you and asks for nothing. What are you to do? How are

you to act? There’s a fearful tragedy in it.”.

The Devil (Maude): "Eugene...wished to marry honorably, for love."

Letters (Christian): Page 419: “Every man who is grown up and wants to live a good life must certainly marry, but he must certainly not marry for love but from calculation--only

understanding these two words in precisely the opposite way to which they are normally understood--i.e. Marry without sensual love, but from the calculation,

not of where to live of what to live on (everybody lives), but from the calculation (420) of how probably it is that your future wife will help you, and not prevent you

from living a humane life.”

Book 2 Part 4 Chapter 12 (Chapter 141 Overall)

Chapter Summaries: Dole: The ride home. "Thou." Nikolai tells Natasha. Enchantment. Twelfth Night magic. Sonya sees a vision. Re-action.
Briggs: Nikolai and Sonya in love. Natasha and Sonya try their fate with mirrors.
Maude: The drive home. Natasha and Sonya try the future with looking-glasses

Translation:

XII.

When all went backwards from Pelageya Danilovna, Natasha, always seeing and noticing all, arranged so to accommodate Louisa Ivanovna and she sat down in the sleigh with Dimmler, but Sonya sat with Nikolay and the girls.

Nikolay, now not overtaking, smoothly rode in the back way, and all peered at this strange, lunar light on Sonya, seeking out in this all changing light, from below the eyebrows and mustaches that former and present Sonya, with whom he decided now to never part. He peered, and when he found everything the same and another and remembered this smell of jams, mingled with the feeling of a kiss, he with a full breast inhaled in himself the frosty air and, looking at the parting land and brilliant sky, he felt himself again in a magic kingdom.

— Sonya, are you okay? — he occasionally asked.

— Yes, — answered Sonya. — And you?

In the middle of the road Nikolay gave to hold for a little bit the horses to the coachman, in a minute running up to the sleigh of Natasha and began in diversion.

— Natasha, — he said to her in a whisper in French, — I know, I decided about Sonya.

— You told her? — asked Natasha, all suddenly coming out from joys.

— Ah, how you are strange with these mustaches and eyebrows. Natasha! Are you happy?

— I am so happy, so happy! I really was angry at you. I to you have not said, but you acted badly with her. This is such a heart, Nicolas, how I am happy! I happen to be nasty, but I was ashamed to be happy alone without Sonya, — continued Natasha. — Now I am so happy, well, run to her.

— No, wait, ah how you are funny! — said Nikolay, all peering at her, and in his sister also finding something new, extraordinary and charmingly tender, what he had before not seen in her. — Natasha, something magic. Ah?

— Yes, — she answered, — you did perfectly.

"If only I before saw her such as she is now, — thought Nikolay, — I would have for a long time asked what to do and would have done all that she would have ordered, and all would be okay."

— So you are happy, and I did okay?

— Ah, so okay! I recently with Mother quarreled for this. Mama said that she caught you. How can she speak this! I with Mama a little bit spat. And let no one say or think anything evil about her because of how in her is another good.

— So okay? — said Nikolay, another time looking out at the expression of the face of his sister, so to know, really whether this was, and, hiding his boots, he jumped off from the diversion and ran to his sleigh. All that same happy smile of a Circassian, with the mustache and brilliant eyes, watching from under the sable bonnet, sitting there, and this Circassian was Sonya, and this Sonya was for sure his future, happy and affectionate wife.

Having arrived home and told their mother about how they held time at Melyukova’s, the young ladies went to themselves. Undressed, yet not washing the cork mustaches, they long were sitting, talking about their happiness. They talked about how they will live married, how their husbands will be friendly and how they will be happy. At Natasha’s table were standing still from the evening prepared by Dunyasha mirrors.

— Only when will this be? I am afraid that never... this too would be okay! — said Natasha, getting up and coming up to the mirrors.

— Sit down, Natasha, maybe you will see him, — said Sonya. Natasha lit up candles and sat.

— Someone with a mustache I see, — said Natasha, who saw her face.

— No need to laugh, young lady, — said Dunyasha.

Natasha found with the help of Sonya and the maid the position of the mirror; her face had accepted a serious expression, and she fell silent. She for long sat, looking at the row of parting candles at the mirrors, assuming (contemplating with heard stories) that she will see a coffin, that she will see him, Prince Andrey, at this last, merging, vague square. Yet as she was ready to accept the slightest blur for the form of a human or a coffin, she saw nothing. She often began to blink and walked away from the mirrors.

— For what do others see, but I see nothing? — she said. — Well you sit down, Sonya; now you indispensably need to, — she said. — Only for me... I am so fearful now!

Sonya sat behind the mirror, arranged her position, and began to look.

— Here Sofia Alexandrovna indispensably sees, — whisperingly said Dunyasha: — but you all laugh.

Sonya heard these words, and heard how Natasha in whisper said:

— And I know that she will see; she and of the past year will see.

For three minutes all was silent. “Indispensable!" whispered Natasha and not finishing... Suddenly Sonya set aside that mirror, which she held, and closed her eyes with her hands.

— Ah, Natasha! — she said.

— Did you see? Did you see? What did you see? — cried out Natasha, supporting the mirror.

Sonya saw nothing, she only wanted to blink her eyes and get up, when she heard the voice of Natasha, saying "indispensable"... She did not want to deceive Dunyasha or Natasha, and was sitting heavily. She herself did not know how and owing to what was her escaped shout, when she closed her eyes with her hand.

— See him? — asked Natasha, grabbing her behind the arm.

— Yes. Wait... I... see him, — unwittingly said Sonya, still not knowing who understood Natasha under the word him: him — Nikolay or him — Andrey.

"Yet from what again I do not say, what I see? Because I see another again! And who again may catch me in what I see or have not seen?" flashed in the head of Sonya.

— Yes, I see him, — she said.

— How again? How again? Standing or lying?

— No, I see... that nothing was, suddenly I saw that he was lying.

— Andrey lying? Is he ill? — with scared stopped eyes looking at her friend, asked Natasha.

— No, the opposite, — the opposite, a fun face, and he turned around to me, — and in that moment as she said it, to her it mostly seemed that she saw what was said.

— Well but then, Sonya?...

— Here I do not examine, something blue and red...

— Sonya! When will he return? When will I see him! My God! How I am afraid for him and for myself, and for all I am fearful... — began talking Natasha, and not answering the words in consolation of Sonya, lied down in bed and long after this, as she put out the candle, with open eyes, still lied on the bed and watched the frosty moonlight through the frozen window.

Time: see previous chapter, three minutes

Locations: the Melyukovs, the Rostovs home
Mentioned: Circassian

Pevear and Volokhonsky Notes: The connection between Sonya and Nikolai bleeds over, leading to a conversation between Natasha and Nikolai about her. Again, they are happy.

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 *):

Pelagaya Danilovna

Natasha

Luiza Ivanovna

Dimmler

Sonya (also "Sofya Aleksandrovna", as in Dole. "Sonya Aleksandrovna" in Wiener. "Sofia Alexandrovna" in Bell. Just "Miss Sonya" in Briggs, Maude, and Edmonds.)

Nikolai

Zakhar (the coachman is referenced so I am betting this is him.)

Countess Rostova ("mamma")

Dunyasha

Prince Andrei

Abridged Versions: Line break instead of chapter break in Bell.
Gibian: Chapter 12.

Fuller: Entire chapter is cut.

Komroff: Entire chapter is cut.

Kropotkin: Entire chapter is cut.

Bromfield: Mostly the same, though slightly shorter
Simmons: Chapter 12: preserved.

Additional Notes: Just as childish (particularly in Pierre, Natasha, and Nikolay) pretending continues to pop up in the novel and is amplified in this part, the idea of magic is emphasized not only in this chapter, but in

entire part. Nikolay has the magical pretending on the way to Pelagaya's, Natasha and Nikolay visualize a magical kingdom on their way back from Uncle's, Natasha thinks about fortune telling and philosophizes

about the eternity of the human soul, and in this chapter we have Nikolay's ruminations about magic and Sonya's mirror trick. Tolstoy, an anti-superstitious and anti-metaphysical person, utilizing this magic is

somewhat surprising and doesn't really come up in much of Tolstoy's other works (save for some of his parables and short stories aimed towards children). Resurrection and ...Death.. contain no such passages,

but could be considered one of the elements (beyond the vastness in scope) that really separates War and Peace from his other works.

Garnett: "expecting (in accordance with the tales she had heard) at one minute to see a coffin, at the next to see him: This is an allusion to Gottfried Burger's Lenore (1773), Zhukovsky's "Svetlana," and Pushkin's Eugene Onegin, each of which develops the balladic wandering motif of the deceased bridegroom come to claim his bride from beyond the grave."