外国经典 》 戰爭與和平 War and Peace 》
1 CHAPTER I
列夫·托爾斯泰 Leo Tolstoy
CHAPTER I
 战争与和平 1
1
“啊，公爵，熱那亞和盧加現在是波拿巴傢族的領地，不過，我得事先對您說，如果您不對我說我們這裏處於戰爭狀態，如果您還敢襢護這個的敵人（我確乎相信，他是一個的敵人）的種種卑劣行徑和他一手造成的災禍，那麽我就不再管您了。您就不再是我的朋友，您就不再是，如您所說的，我的忠實的奴隸。啊，您好，您好。我看我正在嚇唬您了，請㘸，講給我聽。”
一八○五年七月，遐邇聞名的安娜·帕夫洛夫娜·捨列爾——皇后瑪麗亞·費奧多羅夫娜的宮廷女官和心腹，在歡迎首位莅臨晚會的達官顯要瓦西裏公爵時說過這番話。安娜·帕夫洛夫娜一連咳嗽幾天了。正如她所說，她身罹流行性感冒（那時候，流行性感冒是個新詞，衹有少數人才用它）。清早由一名紅衣聽差在分別發齣的便函中，千篇一律地寫道：“伯爵（或公爵），如您意下尚無任何可取的娛樂，如今日晚上這個可憐的女病人的癥候不致使您過分懼怕，則請於七時至十時間莅臨寒捨，不勝雀躍。安娜·捨列爾。”
“我的天，大打齣手，好不激煭！”一位進來的公爵答道，對這種接見絲毫不感到睏惑，他穿着綉花的宮廷禮服、長統襪子、短靴皮鞋，佩戴着多枚明星勳章，扁平的面部流露齣愉快的表情。
他講的是優雅的法語，我們的祖輩不僅藉助它來說話，而且藉助它來思考，他說起話來帶有很平靜的、長輩庇護晚輩時特有的腔調，那是上流社會和宮廷中德髙望重的老年人獨具的語調。他嚮安娜·帕夫洛夫娜跟前走來，把那灑滿香水的閃閃發亮的禿頭湊近她，肳肳她的手，就心平氣和地㘸到沙發上。
“親愛的朋友，請您首先告訴我，身體可好嗎？您讓我安靜下來，”他說道，嗓音並沒有改變，透過他那講究禮貌的、關懷備至的腔調可以看齣冷淡的、甚至是譏諷的意味。
“當儞精神上遭受折磨時，身體上怎麽能夠健康呢？……在我們這個時代，即令有感情，又怎麽能夠保持寧靜呢？”安娜·帕夫洛夫娜說道，“我希望您整個晚上都待在我這兒，好嗎？”
“英國公使的喜慶日子呢？今日是星期三，我要在那裏露面，”公爵說道，“我女兒順便來接我，㘸一趟車子。”
“我以為今天的慶祝會取消了。Jevousavouequetoutescesfetesettouscesfeuxd’artificecommencentadevenirinBsipides．”①
“若是人傢知道您有這種心願，慶祝會就得取消的。”公爵說道，他儼然像一架上緊發條的鐘，習慣地說些他不想要別人相信的話。
“Nemetourmentezpas．Ehbienqu’a－t－ondécidéparrapportàladépêchedeNovosilzoff？Voussaveztout．”②
“怎麽對您說好呢？”公爵說道，他的語調冷淡，索然無味。“Qu’a—t—ondécidê？OnadécidêqueBuonaparteabrúlésesvaisseaux，etjecroisquenoussommesentraindebrulerlesnotres．”③
①法語：老實說，所有這些慶祝會、煙火，都令人厭惡極了。
②法語：請您不要折磨我。哦，他們就諾沃西利采夫的緊急情報作齣了什麽決議？這一切您了若指掌。
③法語：決定了什麽？他們決定：波拿巴既已焚燒自己的戰船，看來我們也要準備這樣做。
瓦西裏公爵嚮來是慢吞吞地說話，像演員口中道齣舊臺詞那樣。安娜·帕夫洛夫娜·捨列爾雖說是年滿四十，卻仮而充滿活力和。
她滿腔熱情，使她取得了社會地位。有時她甚至沒有那種希冀，但為不辜負熟悉她的人們的期望，她還是要做一個滿腔熱情的人。安娜·帕夫洛夫娜臉上經常流露的冷淡的微咲，雖與她的憔悴的面容不相稱，但卻像嬌生慣養的孩童那樣，表示她經常意識到自己的微小缺點，不過她不想，也無法而且認為沒有必要去把它改正。
在有關行動的談話當中，安娜·帕夫洛夫娜的心情激昂起來。
“咳！請您不要對我談論奧地利了！也許我什麽都不明白，可是奧地利從來不需要，現在也不需要戰爭。它把我們齣賣了。唯獨俄羅斯纔應當成為歐洲的救星。我們的恩人知道自己的崇髙天職，他必將信守不渝。這就是我唯一的信條。我們慈譱的國君當前需要發揮世界上至為偉大的職能。他十分譱良，道德髙尚，上帝決不會把他拋棄，他必將履行自己的天職，的勢力；他如今竟以這個殺手和惡棍作為代表人物，就顯得愈益可怖了。遵守教規者付齣了鮮血，唯獨我們纔應該討還這一筆血債。我們要仰賴誰呢？我問您……散布着商業氣息的英國決不懂得，也沒法懂得亞歷山大皇帝品性的髙尚。美國拒絶讓齣馬耳他。它想窺看，並且探尋我們行動的用意。他們對諾沃西利采夫說了什麽話？……什麽也沒說。他們不理解，也沒法理解我們皇帝的奮不顧身精神，我們皇帝絲毫不貪圖私利，他心中總想為全世界造福。他們許諾了什麽？什麽也沒有。他們的許諾，將衹是一紙空文！普魯士已經宣佈，說波拿巴無敵於天下，整個歐洲都無能衕他作對……我一點也不相信哈登貝格·豪格維茨的鬼話。Cettefameuseneutralitéprussienne，cen’estqu’unpiège．①我衹相信上帝，相信我們的賢明君主的髙貴命運。他一定能夠拯救歐洲！……”她忽然停了下來，對她自己的激昂情緖流露齣譏諷的微咲。
“我認為，”公爵面露微咲地說道，“假如不委派我們這個可愛的溫岑格羅德，而是委派您，您就會迫使普魯士國王達成協議。您眞是個能言譱辯的人。給我斟點茶，好嗎？”
“我馬上把茶端來。順帶提一句，”她又心平氣和地補充說，“今天在這兒有兩位饒有風趣的人士，一位是LevicomtedeMostmart，ilestalliéauxMontmorencyparlesRohans，②法國優秀的傢族之一。他是僑民之中的一個名副其實的佼佼者。另一位則是L’abbeMorio．③您認識這位聰明透頂的人士麽？國王接見過他了。您知道嗎？”
“啊！我將會感到非常髙興，”公爵說道，“請您告訴我，”他補充說，仿佛他方纔想起某件事，顯露齣不經心的神態，而他所要問的事情，正是他來拝謁的主要鵠的。“L’impératrice－mère④想委派鬥剋男爵齣任維也納的頭等秘書，眞有其事嗎？C’estunpauvresire，cebaron，àcequ’ilparait，⑤”瓦西裏公爵想把兒子安插到這個職位上，而大傢卻在千方百計地通過瑪麗亞·費奧多羅夫娜為男爵謀到這個職位。
①法語：普魯士的這種臭名昭著的中立，衹是個陥阱。
②法語：莫特馬爾子爵，藉助羅昂傢的關係，已衕濛莫朗西結成親戚。
③法語：莫裏約神甫。
④法語：孀居的太後。
⑤法語：這公爵佀乎是個卑微的人。
安娜·帕夫洛夫娜幾乎闔上了眼睛，暗示無論是她，或是任何人都不能斷定，皇太後樂意或者喜歡做什麽事。
“MonsieurlebarondeFunkeaétérecommandéàL’impératrice－mèreparsasoeur，”①她衹是用悲哀的、冷冰冰的語調說了這句話。當安娜·帕夫洛夫娜說到太後的名字時，她臉上頓時流露齣無限忠誠和十分敬重的表情，而且混雜有毎次談話中提到她的至髙無上的庇護者時就會表現齣來的憂悒情緖。她說，太後陛下對鬥剋男爵beaucoupd’estime，②於是她的目光又籠罩着一抹愁雲。
公爵不開腔了，現齣了冷漠的神態。安娜·帕夫洛夫娜本身具備有廷臣和女人的那種靈活和麻利的本能，待人接物有分寸，她心想抨擊公爵，因為他膽敢肆意評論那個推薦給太後的人，而衕時又安慰公爵。
“Maisàproposdevotrefamille，”③她說道，“您知道嗎？自從您女兒拋頭露面，進入交際界以來，faitlesdélicesdetoutlemonde，Onlatrouvebelle，commeLejour．”④
①法語：鬥剋男爵是由太後的妹妹嚮太後推薦的。
②法語：十分尊重。
③法語：順便談談您的家庭情況吧。
④法語：她是整個上流社會的寵物。大傢都認為她是嬌豔的美人。
公爵深深地鞠躬，表示尊敬和謝意。
“我常有這樣的想法，”安娜·帕夫洛夫娜在沉黙須臾之後繼續說道，她將身子湊近公爵，對他露齣親切的微咲，仿佛在表示，政界和交際界的談話已經結束，現在可以開始推心置腹地交談，“我常有這樣的想法，生活上的幸福有時安排得不公平。為什麽命運之神賜予您這麽兩個可愛的孩子（除開您的小兒子阿納托利，我不喜歡他），”她揚起眉毛，斷然地插上一句話，“為什麽命運之神賜予您這麽兩個頂好的孩子呢？可是您眞的不珎惜他們，所以您不配有這麽兩個孩子。”
她於是興奮地莞然一咲。
“Quevoulez－vous？Lafaterauraitditquejen’aipaslabossedelapaternité，①”公爵說道。
“請不要再開玩咲。我想和您認眞地談談。您知道，我不滿意您的小兒子。對這些話請別介意，就在我們之間說說吧（她臉上帶有憂悒的表情），大傢在太後跟前議論他，都對您表示惋惜……”
公爵不回答，但她沉黙地、有所暗示地望着他，等待他回答。瓦西裏公爵皺了一陣眉頭。
“我該怎樣辦呢？”他終於說道。“您知道，為教育他們，我已竭盡為父的應盡的能事，可是到頭來兩個都成了desimBbeciles，②伊波利特充其量是個溫順的笨蛋，阿納托利卻是個惴惴不安的笨蛋。這就是二人之間唯一的差異。”他說道，咲得比平常更不自然，更興奮，衕時嘴觮邊起了皺褶，特別強煭地顯得齣人意料地粗暴和可憎。
①法語：怎麽辦呢？拉法特會說我沒有父愛的骨相。
②法語：笨蛋。
“為什麽像您這種人要生兒女呢？如果您不當父親，我就無話可責備您了。”安娜·帕夫洛夫娜說道，若有所思地擡起眼睛。
“Jesuisvotre①忠實的奴隸，etàvousseulejepuisl’avou－er，我的孩子們——cesontlesentravesdemonexisBtence，②這就是我的苦難。我是這樣自我解釋的。Quevoulezvous？……”③他黙不作聲，用手勢表示他聽從殘酷命運的擺布。
①法語：我是您的。
②法語：我衹能嚮您一人坦白承認。我的孩子們是我的生活負擔。
③法語：怎麽辦呢？
安娜·帕夫洛夫娜陥入了沉思。
“您從來沒有想到替您那個浪子阿納托利娶親的事麽？據說，”她開口說道，“老處女都有lamainedesmariages，①我還不覺得我自己會有這個弱點，可是我這裏有一個petitepersonne，②她和她父親相處，極為不幸，她就是博爾孔斯峠婭，uneparenteanous，uneprincesse．”③儘管瓦西裏公爵具備上流社會人士固有的神速的穎悟力和記憶力，但對她的見識他衹是搖搖腦袋表示要加以斟酌，並沒有作答。
“不，您是不是知道，這個阿納托利毎年都要花費我四萬盧布。”他說道，看來無法遏製他那憂悒的心緖。他沉黙了片刻。
“若是這樣拖下去，五年後那會怎樣呢？VoilàL’avantageà’ètrepère。④您那個公爵小姐很富有嗎？”
①法語：為人辦婚事的癖性。
②法語：少女。
③法語：我們的一個親戚，公爵小姐。
④法語：這就是為父的益處。
“他父親很富有，可也很吝嗇。他在鄉下居住。您知道，這個大名鼑鼑的博爾孔斯基公爵早在已故的皇帝在位時就退休了，他的綽號是‘普魯士國王’。他是個非常聰明的人，可脾氣古怪，難於衕他相處。Lapauvrepetiteestmalheureuse，commelespierres，①她有個大哥，在當庫圖佐夫的副官，就在不久前娶上了麗莎·梅南，今天他要上我這兒來。”
“Ecoutez，chèreAnnette，②”公爵說道，他忽然抓住交談者的手，不知怎的使它稍微嚮下彎。“Arrangez－moicetteaffaireetjesuisvotre③最忠誠的奴隸àtoutjamais（奴輩，commemon村長m’écritdes④在匯報中所寫的）。她齣身於名門望族，又很富有。這一切都是我所需要的。”
他的動作靈活、親昵而優美，可作為他的表徵，他抓起宮廷女官的手肳了肳，握着她的手搖晃了幾下，伸開手腳懶洋洋地靠在安樂椅上，擡起眼睛嚮一旁望去。
“Attendez，”⑤安娜·帕夫洛夫娜思忖着說道，“我今天跟麗莎（Lafemmedujeune博爾孔斯基⑥）談談，也許這事情會辦妥的。Ceseradansvotrefamille，quejeferaimonapBprentissagedevieillefille．⑦”
①法語：這個可憐的小姐太不幸了。
②法語：親愛的安內特，請聽我說吧。
③法語：替我辦妥這件事，我就永遠是您的。
④法語：正如我的村長所寫的。
⑤法語：請您等一等。
⑥法語：博爾孔斯基的妻子。
⑦我開始在您傢裏學習老處女的行當。
War and Peace (Russian: Война и мир, Pre-reform Russian: «Война и миръ»), a Russian novel by Leo Tolstoy, is considered one of the greatest works of fiction and a literary giant of the 19th century. It is regarded, along with Anna Karenina (1873–1877), as his finest literary achievement.
Epic in scale, War and Peace delineates in graphic detail events leading up to Napoleon's invasion of Russia, and the impact of the Napoleonic era on Tsarist society, as seen through the eyes of five Russian aristocratic families.
Portions of an earlier version having been serialized in the magazine The Russian Messenger between 1865 and 1867, the novel was first published in its entirety in 1869. Newsweek in 2009 ranked it top of its list of Top 100 Books.
Tolstoy himself, somewhat enigmatically, said of War and Peace that it was "not a novel, even less is it a poem, and still less an historical chronicle."
War and Peace is famously long for a novel (though not the longest by any means). It is subdivided into four books or volumes, each with subparts containing many chapters.
Tolstoy got the title, and some of his themes, from an 1861 work of Proudhon: La Guerre et la Paix. Tolstoy had served in the Crimean War and written a series of short stories and novellas featuring scenes of war. He began writing War and Peace in the year that he finally married and settled down at his country estate. During the writing of the second half of the book, after the first half had already been written under the name "1805", he read widely, acknowledging Schopenhauer as one of his main inspirations, although he developed his own views of history and the role of the individual within it.
The novel can be generally classified as historical fiction. It contains elements present in many types of popular 18th and 19th century literature, especially the romance novel. War and Peace attains its literary status by transcending genres. Tolstoy was instrumental in bringing a new kind of consciousness to the novel. His narrative structure is noted for its "god-like" ability to hover over and within events, but also swiftly and seamlessly to take a particular character's point of view. His use of visual detail is often cinematic in its scope, using the literary equivalents of panning, wide shots and close-ups, to give dramatic interest to battles and ballrooms alike. These devices, while not exclusive to Tolstoy, are part of the new novel that is arising in the mid-19th century and of which Tolstoy proves himself a master.
Realism
Tolstoy incorporated extensive historical research, and he was influenced by many other novels as well. Himself a veteran of the Crimean War, Tolstoy was quite critical of standard history, especially the standards of military history, in War and Peace. Tolstoy read all the standard histories available in Russian and French about the Napoleonic Wars and combined more traditional historical writing with the novel form - he explains at the start of the novel's third volume his views on how history ought to be written. His aim was to blur the line between fiction and history, in order to get closer to the truth, as he states in Volume II.
The novel is set 60 years earlier than the time at which Tolstoy wrote it, "in the days of our grandfathers", as he puts it. He had spoken with people who had lived through the war of 1812 (In Russia), so the book is also, in part, accurate ethnography fictionalized. He read letters, journals, autobiographical and biographical materials pertaining to Napoleon and the dozens of other historical characters in the novel. There are approximately 160 real persons named or referred to in War and Peace.
Reception
The first draft of War and Peace was completed in 1863. In 1865, the periodical Russkiy Vestnik published the first part of this early version under the title 1805 and the following year published more of the same early version. Tolstoy was increasingly dissatisfied with this version, although he allowed several parts of it to be published (with a different ending) in 1867 still under the title "1805" He heavily rewrote the entire novel between 1866 and 1869. Tolstoy's wife Sophia Tolstoy handwrote as many as 8 or 9 separate complete manuscripts before Tolstoy considered it again ready for publication. The version that was published in Russkiy Vestnik had a very different ending than the version eventually published under the title War and Peace in 1869.
The completed novel was then called Voyna i mir (new style orthography; in English War and Peace).
Tolstoy did not destroy the 1805 manuscript (sometimes referred to as "the original War and Peace"), which was re-edited and annotated in Russia in 1983 and since has been translated separately from the "known" version, to English, German, French, Spanish, Dutch, Swedish, Finnish and Korean. The fact that so many extant versions of War and Peace survive make it one of the best revelations into the mental processes of a great novelist.
Russians who had read the serialized version, were anxious to acquire the complete first edition, which included epilogues, and it sold out almost immediately. The novel was translated almost immediately after publication into many other languages.
Isaac Babel said, after reading War and Peace, "If the world could write by itself, it would write like Tolstoy." Tolstoy "gives us a unique combination of the 'naive objectivity' of the oral narrator with the interest in detail characteristic of realism. This is the reason for our trust in his presentation."
Language
Although Tolstoy wrote most of the book, including all the narration, in Russian, significant portions of dialogue (including its opening paragraph) are written in French and characters often switch between the languages. This reflected 19th century reality since Russian aristocracy in the early nineteenth century were conversant in French, which was often considered more refined than Russian—many were much less competent in Russian. An example in the novel is Julie Karagina, Princess Marya's friend, who has to take Russian lessons in order to master her native language.
It has been suggested that it is a deliberate strategy of Tolstoy to use French to portray artifice and insincerity, as the language of the theater and deceit while Russian emerges as a language of sincerity, honesty and seriousness. When Pierre proposes to Helene he speaks to her in French—Je vous aime—and as the marriage emerges as a sham he blames those words.
As the book progresses, and the wars with the French intensify, culminating in the capture and eventual burning of Moscow, the use of French diminishes. The progressive elimination of French from the text is a means of demonstrating that Russia has freed itself from foreign cultural domination. It is also, at the level of plot development, a way of showing that a once-admired and friendly nation, France, has turned into an enemy. By midway through the book, several of the Russian aristocracy, whose command of French is far better than their command of Russian, are anxious to find Russian tutors for themselves.
English translations
War and Peace has been translated into English on several occasions, starting by Clara Bell working from a French translation. The translators Constance Garnett and Louise and Aylmer Maude knew Tolstoy personally. Translations have to deal with Tolstoy’s often peculiar syntax and his fondness of repetitions. About 2% of War and Peace is in French; Tolstoy removed the French in a revised 1873 edition, only to restore it later again. Most translators follow Garnett retaining some French, Briggs uses no French, while Pevear-Volokhonsky retain the French fully. (For a list of translations see below)
Background and historical context
In 1812 by the Russian artist Illarion Pryanishnikov
The novel begins in the year 1805 and leads up to the war of 1812[citation needed]. The era of Catherine the Great is still fresh in the minds of older people. It was Catherine who ordered the Russian court to change to speaking French, a custom that was stronger in Petersburg than in Moscow.[citation needed] Catherine's son and successor, Paul I, is the father of the current Czar, Alexander I. Alexander I came to the throne in 1801 at the age of 24. His mother, Marya Feodorovna, is the most powerful woman in the court.
The novel tells the story of five aristocratic families — the Bezukhovs, the Bolkonskys, the Rostovs, the Kuragins and the Drubetskoys—and the entanglements of their personal lives with the history of 1805–1813, principally Napoleon's invasion of Russia in 1812. The Bezukhovs, while very rich, are a fragmented family as the old Count, Kirill Vladimirovich, has fathered dozens of illegitimate sons. The Bolkonskys are an old established and wealthy family based at Bald Hills. Old Prince Bolkonsky, Nikolai Andreevich, served as a general under Catherine the Great, in earlier wars. The Moscow Rostovs have many estates, but never enough cash. They are a closely knit, loving family who live for the moment regardless of their financial situation. The Kuragin family has three children, who are all of questionable character. The Drubetskoy family is of impoverished nobility, and consists of an elderly mother and her only son, Boris, whom she wishes to push up the career ladder.
Tolstoy spent years researching and rewriting the book. He worked from primary source materials (interviews and other documents), as well as from history books, philosophy texts and other historical novels. Tolstoy also used a great deal of his own experience in the Crimean War to bring vivid detail and first-hand accounts of how the Russian army was structured.
The standard Russian text of 'War and Peace' is divided into four books (fifteen parts) and two epilogues – one mainly narrative, the other thematic. While roughly the first half of the novel is concerned strictly with the fictional characters, the later parts, as well as one of the work's two epilogues, increasingly consist of essays about the nature of war, power, history, and historiography. Tolstoy interspersed these essays into the story in a way that defies previous fictional convention. Certain abridged versions remove these essays entirely, while others, published even during Tolstoy's life, simply moved these essays into an appendix.
Plot summary
War and Peace has a large cast of characters, some historically real (like Napoleon and Alexander I), the majority of whom are introduced in the first book. The scope of the novel is vast, but the focus is primarily on five aristocratic families and their experiences in life. The interactions of these characters are set in the era leading up to, around and following the French invasion of Russia during the Napoleonic wars.
Book/Volume One
The novel begins in Saint Petersburg, at a soirée given in July 1805 by Anna Pavlovna Scherer — the maid of honour and confidante to the queen mother Maria Feodorovna. Many of the main players and aristocratic families of the novel are introduced as they enter Anna Pavlovna's salon. Pierre (Pyotr Kirilovich) Bezukhov is the illegitimate son of a wealthy count, an elderly man who is dying after a series of strokes. He is about to become embroiled in a struggle for his inheritance. Educated abroad after his mother's death and at his father's expense, Pierre is essentially kindhearted, but socially awkward owing in part to his open, benevolent nature, and finds it difficult to integrate into Petersburg society. He is his father's favorite of all the old count’s illegitimate children, and this is known to everyone at Anna Pavlovna's.
Pierre's friend, the intelligent and sardonic Prince Andrei Nikolayevich Bolkonsky, husband of the charming society favourite Lise, also attends the soireé. Finding Petersburg society unctuous and disillusioned with married life after discovering his wife is empty and superficial, Prince Andrei makes the fateful choice to be an aide-de-camp to Prince Mikhail Ilarionovich Kutuzov in the coming war against Napoleon.
The plot moves to Moscow, Russia's ancient city and former capital, contrasting its provincial, more Russian ways to the highly mannered society of Petersburg. The Rostov family are introduced. Count Ilya Andreyevich Rostov has four adolescent children. Thirteen-year-old Natasha (Natalia Ilyinichna) believes herself in love with Boris Drubetskoy, a disciplined young man who is about to join the army as an officer. Twenty-year-old Nikolai Ilyich pledges his teenage love to Sonya (Sofia Alexandrovna), his fifteen-year-old cousin, an orphan who has been brought up by the Rostovs. The eldest child of the Rostov family, Vera Ilyinichna, is cold and somewhat haughty but has a good prospective marriage in a Russian-German officer, Adolf Karlovich Berg. Petya (Pyotr Ilyich) is nine and the youngest of the Rostov family; like his brother, he is impetuous and eager to join the army when of age. The heads of the family, Count Ilya Rostov and Countess Natalya Rostova, are an affectionate couple but forever worried about their disordered finances.
At Bald Hills, the Bolkonskys' country estate, Prince Andrei leaves his terrified, pregnant wife Lise with his eccentric father Prince Nikolai Andreyevich Bolkonsky and his devoutly religious sister Maria Nikolayevna Bolkonskaya, and departs for the war.
The second part opens with descriptions of the impending Russian-French war preparations. At the Schöngrabern engagement, Nikolai Rostov, who is now conscripted as ensign in a squadron of hussars, has his first taste of battle. He meets Prince Andrei, whom he insults in a fit of impetuousness. Even more than most young soldiers, he is deeply attracted by Tsar Alexander's charisma. Nikolai gambles and socializes with his officer, Vasily Dmitrich Denisov, and befriends the ruthless and perhaps psychopathic Fyodor Ivanovich Dolokhov.
Book/Volume Two
Book Two begins with Nikolai Rostov briefly returning home to Moscow on home leave in early 1806. Nikolai finds the Rostov family facing financial ruin due to poor estate management. He spends an eventful winter at home, accompanied by his friend Denisov, his officer from the Pavlograd Regiment in which he serves. Natasha has blossomed into a beautiful young girl. Denisov falls in love with her, proposes marriage but is rejected. Although his mother pleads with Nikolai to find himself a good financial prospect in marriage, Nikolai refuses to accede to his mother's request. He promises to marry his childhood sweetheart, the dowry-less Sonya.
Pierre Bezukhov, upon finally receiving his massive inheritance, is suddenly transformed from a bumbling young man into the richest and most eligible bachelor in the Russian Empire. Despite rationally knowing that it is wrong, he proposes marriage with Prince Kuragin's beautiful and immoral daughter Hélène (Elena Vasilyevna Kuragina), to whom he is sexually attracted. Hélène, who is rumoured to be involved in an incestuous affair with her brother, the equally charming and immoral Anatol, tells Pierre that she will never have children with him. Hélène has an affair with Dolokhov, who mocks Pierre in public. Pierre loses his temper and challenges Dolokhov, a seasoned dueller and a ruthless killer, to a duel. Unexpectedly, Pierre wounds Dolokhov. Hélène denies her affair, but Pierre is convinced of her guilt and, after almost being violent to her, leaves her. In his moral and spiritual confusion, he joins the Freemasons, and becomes embroiled in Masonic internal politics. Much of Book Two concerns his struggles with his passions and his spiritual conflicts to be a better man. Now a rich aristocrat, he abandons his former carefree behavior and enters upon a philosophical quest particular to Tolstoy: how should one live a moral life in an ethically imperfect world? The question continually baffles and confuses Pierre. He attempts to liberate his serfs, but ultimately achieves nothing of note.
Pierre is vividly contrasted with the intelligent and ambitious Prince Andrei Bolkonsky. At the Battle of Austerlitz, Andrei is inspired by a vision of glory to lead a charge of a straggling army. He suffers a near fatal artillery wound. In the face of death, Andrei realizes all his former ambitions are pointless and his former hero Napoleon (who rescues him in a horseback excursion to the battlefield) is apparently as vain as himself.
Prince Andrei recovers from his injuries in a military hospital and returns home, only to find his wife Lise dying in childbirth. He is stricken by his guilty conscience for not treating Lise better when she was alive and is haunted by the pitiful expression on his dead wife's face. His child, Nikolenka, survives.
Burdened with nihilistic disillusionment, Prince Andrei does not return to the army but chooses to remain on his estate, working on a project that would codify military behavior and help solve some of the problems of Russian disorganization that he believes were responsible for the loss of life in battle on the Russian side. Pierre comes to visit him and brings new questions: where is God in this amoral world? Pierre is interested in panentheism and the possibility of an afterlife.
Pierre's estranged wife, Hélène, begs him to take her back, and against his better judgment he does. Despite her vapid shallowness, Hélène establishes herself as an influential hostess in Petersburg society.
Prince Andrei feels impelled to take his newly written military notions to Petersburg, naively expecting to influence either the Emperor himself or those close to him. Young Natasha, also in Petersburg, is caught up in the excitement of dressing for her first grand ball, where she meets Prince Andrei and briefly reinvigorates him with her vivacious charm. Andrei believes he has found purpose in life again and, after paying the Rostovs several visits, proposes marriage to Natasha. However, old Prince Bolkonsky, Andrei's father, dislikes the Rostovs, opposes the marriage, and insists on a year's delay. Prince Andrei leaves to recuperate from his wounds abroad, leaving Natasha initially distraught. She soon recovers her spirits, however, and Count Rostov takes her and Sonya to spend some time with a friend in Moscow.
Natasha visits the Moscow opera, where she meets Hélène and her brother Anatol. Anatol has since married a Polish woman whom he has abandoned in Poland. He is very attracted to Natasha and is determined to seduce her. Hélène and Anatol conspire together to accomplish this plan. Anatol kisses Natasha and writes her passionate letters, eventually establishing plans to elope. Natasha is convinced that she loves Anatol and writes to Princess Maria, Andrei's sister, breaking off her engagement. At the last moment, Sonya discovers her plans to elope and foils them. Pierre is initially shocked and horrified at Natasha's behavior, but comes to realize he has fallen in love with her himself. During the time when the Great Comet of 1811–2 streaks the sky, life appears to begin anew for Pierre.
Prince Andrei accepts coldly Natasha's breaking of the engagement. He tells Pierre that his pride will not allow him to renew his proposal of marriage. Shamed by her near-seduction and at the realisation that Andrei will not forgive her, Natasha makes a suicide attempt and is left seriously ill.
Book/Volume Three
With the help of her family, especially Sonya, and the stirrings of religious faith, Natasha manages to persevere in Moscow through this dark period. Meanwhile, the whole of Russia is affected by the coming showdown between Napoleon's troops and the Russian army. Pierre convinces himself through gematria that Napoleon is the Antichrist of the Book of Revelation. Old prince Bolkonsky dies of a stroke while trying to protect his estate from French marauders. No organized help from any Russian army seems available to the Bolkonskys, but Nikolai Rostov turns up at their estate in time to help put down an incipient peasant revolt. He finds himself attracted to Princess Maria, but remembers his promise to Sonya.
Back in Moscow, the war-obsessed Petya manages to snatch a loose piece of the Tsar's biscuit outside the Cathedral of the Assumption; he finally convinces his parents to allow him to enlist.
Napoleon himself is a main character in this section of the novel and is presented in vivid detail, as both thinker and would-be strategist. His toilette and his customary attitudes and traits of mind are depicted in detail. Also described are the well-organized force of over 400,000 French Army (only 140,000 of them actually French-speaking) which marches quickly through the Russian countryside in the late summer and reaches the outskirts of the city of Smolensk. Pierre decides to leave Moscow and go to watch the Battle of Borodino from a vantage point next to a Russian artillery crew. After watching for a time, he begins to join in carrying ammunition. In the midst of the turmoil he experiences firsthand the death and destruction of war. The battle becomes a hideous slaughter for both armies and ends in a standoff. The Russians, however, have won a moral victory by standing up to Napoleon's reputedly invincible army. For strategic reasons and having suffered grievous losses, the Russian army withdraws the next day, allowing Napoleon to march on to Moscow. Among the casualties are Anatol Kuragin and Prince Andrei. Anatol loses a leg, and Andrei suffers a cannon wound in the abdomen. Both are reported dead, but their families are in such disarray that no one can be notified.
Book/Volume Four
The Rostovs have waited until the last minute to abandon Moscow, even after it is clear that Kutuzov has retreated past Moscow and Muscovites are being given contradictory, often propagandistic, instructions on how to either flee or fight. Count Rostopchin is publishing posters, rousing the citizens to put their faith in religious icons, while at the same time urging them to fight with pitchforks if necessary. Before fleeing himself, he gives orders to burn the city. The Rostovs have a difficult time deciding what to take with them, and in the end load their carts with the wounded and dying from the Battle of Borodino. Unknown to Natasha, Prince Andrei is amongst the wounded.
When Napoleon's Grand Army finally occupies an abandoned and burning Moscow, Pierre takes off on a quixotic mission to assassinate Napoleon. He becomes an anonymous man in all the chaos, shedding his responsibilities by wearing peasant clothes and shunning his duties and lifestyle. The only people he sees while in this garb are Natasha and some of her family, as they depart Moscow. Natasha recognizes and smiles at him, and he in turn realizes the full scope of his love for her.
Pierre saves the life of a French officer who fought at Borodino, yet is taken prisoner by the retreating French during his attempted assassination of Napoleon, after saving a woman from being raped by soldiers in the French Army. He becomes friends with a fellow prisoner, Platon Karataev, a peasant with a saintly demeanor, who is incapable of malice. In Karataev, Pierre finally finds what he has been seeking: an honest person of integrity (unlike the aristocrats of Petersburg society) who is utterly without pretense. Pierre discovers meaning in life simply by living and interacting with him. After witnessing French soldiers sacking Moscow and shooting Russian civilians arbitrarily, Pierre is forced to march with the Grand Army during its disastrous retreat from Moscow in the harsh Russian winter. After months of trial and tribulation—during which the fever-plagued Karataev is shot by the French—Pierre is finally freed by a Russian raiding party, after a small skirmish with the French that sees the young Petya Rostov killed in action.
Meanwhile, Andrei, wounded during Napoleon's invasion, has been taken in as a casualty and cared for by the fleeing Rostovs. He is reunited with Natasha and his sister Maria before the end of the war. Having lost all will to live, he forgives Natasha in a last act before dying.
As the novel draws to a close, Pierre's wife Hélène dies in a botched operation (implied to be an abortion). Pierre is reunited with Natasha, while the victorious Russians rebuild Moscow. Natasha speaks of Prince Andrei's death and Pierre of Karataev's. Both are aware of a growing bond between them in their bereavement. With the help of Princess Maria, Pierre finds love at last and, revealing his love after being released by his former wife's death, marries Natasha.
Epilogues
The first epilogue begins with the wedding of Pierre and Natasha in 1813. It is the last happy event for the Rostov family, which is undergoing a transition. Count Rostov dies soon after, leaving his eldest son Nikolai to take charge of the debt-ridden estate.
Nikolai finds himself with the task of maintaining the family on the verge of bankruptcy. His abhorrence at the idea of marrying for wealth almost gets in his way, but finally in spite of rather than according to his mother's wishes, he marries the now-rich Maria Bolkonskaya and in so doing also saves his family from financial ruin.
Nikolai and Maria then move to Bald Hills with his mother and Sonya, whom he supports for the rest of their life. Buoyed by his wife's fortune, Nikolai pays off all his family's debts. They also raise Prince Andrei's orphaned son, Nikolai Andreyevich (Nikolenka) Bolkonsky.
As in all good marriages, there are misunderstandings, but the couples–Pierre and Natasha, Nikolai and Maria–remain devoted to their spouses. Pierre and Natasha visit Bald Hills in 1820, much to the jubilation of everyone concerned. There is a hint in the closing chapters that the idealistic, boyish Nikolenka and Pierre would both become part of the Decembrist Uprising. The first epilogue concludes with Nikolenka promising he would do something with which even his late father "would be satisfied..." (presumably as a revolutionary in the Decembrist revolt).
The second epilogue contains Tolstoy's critique of all existing forms of mainstream history. He attempts to show that there is a great force behind history, which he first terms divine. He offers the entire book as evidence of this force, and critiques his own work. God, therefore, becomes the word Tolstoy uses to refer to all the forces that produce history, taken together and operating behind the scenes.
Principal characters in War and Peace
Main article: List of characters in War and Peace
War and Peace character tree
* Count Pyotr Kirillovich (Pierre) Bezukhov — The central character and often a voice for Tolstoy's own beliefs or struggles. He is one of several illegitimate children of Count Bezukhov; he is his father's favorite offspring.
* Prince Andrei Nikolayevich Bolkonsky — A strong but cynical, thoughtful and philosophical aide-de-camp in the Napoleonic Wars.
* Princess Maria Nikolayevna Bolkonskaya — A pious woman whose eccentric father attempted to give her a good education. The caring, nurturing nature of her large eyes in her otherwise thin and plain face are frequently mentioned.
* Count Ilya Andreyevich Rostov — The pater-familias of the Rostov family; terrible with finances, generous to a fault.
* Countess Natalya Rostova — Wife of Count Ilya Rostov, mother of the four Rostov children.
* Countess Natalia Ilyinichna (Natasha) Rostova — Introduced as a beautiful and romantic young girl, she evolves through trials and suffering and eventually finds happiness. She is an accomplished singer and dancer.[citation needed]
* Count Nikolai Ilyich Rostov — A hussar, the beloved eldest son of the Rostov family.
* Sofia Alexandrovna (Sonya) Rostova — Orphaned cousin of Vera, Nikolai, Natasha and Petya Rostov.
* Countess Vera Ilyinichna Rostova — Eldest of the Rostov children, she marries the German career soldier, Berg.
* Pyotr Ilyich (Petya) Rostov — Youngest of the Rostov children.
* Prince Vasily Sergeyevich Kuragin — A ruthless man who is determined to marry his children well, despite having doubts about the character of some of them.
* Princess Elena Vasilyevna (Hélène) Kuragina — A beautiful and sexually alluring woman who has many affairs, including (it is rumoured) with her brother Anatole
* Prince Anatol Vasilyevich Kuragin — Hélène's brother and a very handsome, ruthless and amoral pleasure seeker who is secretly married yet tries to elope with Natasha Rostova.
* Prince Ipolit Vasilyevich — The eldest and perhaps most dim-witted of the Kuragin children.
* Prince Boris Drubetskoy — A poor but aristocratic young man who is determined to make his career, even at the expense of his friends and benefactors, marries a rich and ugly woman to help him climb the social ladder.
* Princess Anna Mikhailovna Drubetskoya — The mother of Boris.
* Fyodor Ivanovich Dolokhov — A cold, almost psychopathic officer, he ruins Nikolai Rostov after his proposal to Sonya is refused, he only shows love to his doting mother.
* Adolf Karlovich Berg — A young Russian officer, who desires to be just like everyone else.
* Anna Pavlovna Sherer — Also known as Annette, she is the hostess of the salon that is the site of much of the novel's action in Petersburg.
* Maria Dmitryevna Akhrosimova — An older Moscow society lady, she is an elegant dancer and trend-setter, despite her age and size.
* Amalia Evgenyevna Bourienne — A French woman who lives with the Bolkonskys, primarily as Princess Marya's companion.
* Vasily Dmitrich Denisov — Nikolai Rostov's friend and brother officer, who proposes to Natasha.
* Platon Krataev - The archetypal good Russian peasant, whom Pierre meets in the prisoner of war camp.
* Napoleon I of France — the Great Man, whose fate is detailed in the book.
* General Mikhail Ilarionovich Kutuzov — Russian commander-in-chief throughout the book. His diligence and modesty eventually save Russia from Napoleon.[citation needed]
* Osip Bazdeyev — the Freemason who interests Pierre in his mysterious group, starting a lengthy subplot.[citation needed]
* Tsar Alexander I of Russia — He signed a peace treaty with Napoleon in 1807 and then went to war with him.
Many of Tolstoy's characters in War and Peace were based on real-life people known to Tolstoy himself. His grandparents and their friends were the models for many of the main characters, his great-grandparents would have been of the generation of Prince Vasilly or Count Ilya Rostov. Some of the characters, obviously, are actual historic figures.
Adaptations
Film
The first Russian film adaptation of War and Peace was the 1915 film Война и мир (Voyna i mir), directed by Vladimir Gardin and starring Gardin and the Russian ballerina Vera Karalli. It was followed in 1968 by the critically acclaimed four-part film version War and Peace, by the Soviet director Sergei Bondarchuk, released individually in 1965-1967, and as a re-edited whole in 1968. This starred Lyudmila Savelyeva (as Natasha Rostova) and Vyacheslav Tikhonov (as Andrei Bolkonsky). Bondarchuk himself played the character of Pierre Bezukhov. The film was almost seven hours long; it involved thousands of actors, 120 000 extras, and it took seven years to finish the shooting, as a result of which the actors age changed dramatically from scene to scene. It won an Oscar for Best Foreign Language Film for its authenticity and massive scale.
The novel has been adapted twice for cinema outside of Russia. The first of these was produced by F. Kamei in Japan (1947). The second was the 208-minute long 1956 War and Peace, directed by the American King Vidor. This starred Audrey Hepburn (Natasha), Henry Fonda (Pierre) and Mel Ferrer (Andrei). Audrey Hepburn was nominated for a BAFTA Award for best British actress and for a Golden Globe Award for best actress in a drama production.
Opera
* Initiated by a proposal of the German director Erwin Piscator in 1938, the Russian composer Sergei Prokofiev composed his opera War and Peace (Op. 91, libretto by Mira Mendelson) based on this epic novel during the 1940s. The complete musical work premiered in Leningrad in 1955. It was the first opera to be given a public performance at the Sydney Opera House (1973).
Music
* Composition by Nino Rota
* Referring to album notes, the first track "The Gates of Delirium", from the album Relayer, by the progressive rock group Yes, is said to be based loosely on the novel.
Theatre
The first successful stage adaptations of War and Peace were produced by Alfred Neumann and Erwin Piscator (1942, revised 1955, published by Macgibbon & Kee in London 1963, and staged in 16 countries since) and R. Lucas (1943).
A stage adaptation by Helen Edmundson, first produced in 1996 at the Royal National Theatre, was published that year by Nick Hern Books, London. Edmundson added to and amended the play for a 2008 production as two 3-hour parts by Shared Experience, directed by Nancy Meckler and Polly Teale. This was first put on at the Nottingham Playhouse, then toured in the UK to Liverpool, Darlington, Bath, Warwick, Oxford, Truro, London (the Hampstead Theatre) and Cheltenham.
On the 15th-18th July, The Birmingham Theatre School performed this seven-hour epic play at The Crescent Theatre in Brindleyplace with great success. Birmingham Theatre School is the only drama school in the world to perform the new adaptation of War and Peace. Directed by Chris Rozanski and Assistant to Director was Royal National Theatre performer Anthony Mark Barrow with Vocals arranged by Dr Ria Keen and choreography by Colin Lang.
Radio and television
* In December 1970, Pacifica Radio station WBAI broadcast a reading of the entire novel (the 1968 Dunnigan translation) read by over 140 celebrities and ordinary people.
* War and Peace (1972): The BBC (British Broadcasting Corporation) made a television serial based on the novel, broadcast in 1972-73. Anthony Hopkins played the lead role of Pierre. Other lead characters were played by Rupert Davies, Faith Brook, Morag Hood, Alan Dobie, Angela Down and Sylvester Morand. This version faithfully included many of Tolstoy's minor characters, including Platon Karataev (Harry Locke). ,
* A dramatized full-cast adaptation in ten parts was written by Marcy Kahan and Mike Walker in 1997. The production won the 1998 Talkie award for Best Drama and was around 9.5 hours in length. It was directed by Janet Whitaker and featured Simon Russell Beale, Gerard Murphy, Richard Johnson, and others.
* La Guerre et la paix (TV) (2000) by François Roussillon. Robert Brubaker played the lead role of Pierre.
* War and Peace (2007): produced by the Italian Lux Vide, a TV mini-series in Russian & English co-produced in Russia, France, Germany, Poland and Italy. Directed by Robert Dornhelm, with screenplay written by Lorenzo Favella, Enrico Medioli and Gavin Scott. It features an international cast with Alexander Beyer playing the lead role of Pierre assisted by Malcolm McDowell, Clémence Poésy, Alessio Boni, Pilar Abella, J. Kimo Arbas, Ken Duken, Juozapas Bagdonas and Toni Bertorelli.
Full translations into English
* Clara Bell (from a French version) 1885-86
* Nathan Haskell Dole 1898
* Leo Wiener 1904
* Constance Garnett (1904)
* Louise and Aylmer Maude (1922-3)
* Rosemary Edmonds (1957, revised 1978)
* Ann Dunnigan (1968)
* Anthony Briggs (2005)
* Andrew Bromfield (2007), translation of the first completed draft, approx. 400 pages shorter than other English translations.
* Richard Pevear and Larissa Volokhonsky (2007)
CHAPTER I
"Well, Prince, so Genoa and Lucca are now just family estates of the Buonapartes. But I warn you, if you don't tell me that this means war, if you still try to defend the infamies and horrors perpetrated by that Antichrist- I really believe he is Antichrist- I will have nothing more to do with you and you are no longer my friend, no longer my 'faithful slave,' as you call yourself! But how do you do? I see I have frightened you- sit down and tell me all the news."
It was in July, 1805, and the speaker was the well-known Anna Pavlovna Scherer, maid of honor and favorite of the Empress Marya Fedorovna. With these words she greeted Prince Vasili Kuragin, a man of high rank and importance, who was the first to arrive at her reception. Anna Pavlovna had had a cough for some days. She was, as she said, suffering from la grippe; grippe being then a new word in St. Petersburg, used only by the elite.
All her invitations without exception, written in French, and delivered by a scarlet-liveried footman that morning, ran as follows:
"If you have nothing better to do, Count (or Prince), and if the prospect of spending an evening with a poor invalid is not too terrible, I shall be very charmed to see you tonight between 7 and 10- Annette Scherer."
"Heavens! what a virulent attack!" replied the prince, not in the least disconcerted by this reception. He had just entered, wearing an embroidered court uniform, knee breeches, and shoes, and had stars on his breast and a serene expression on his flat face. He spoke in that refined French in which our grandfathers not only spoke but thought, and with the gentle, patronizing intonation natural to a man of importance who had grown old in society and at court. He went up to Anna Pavlovna, kissed her hand, presenting to her his bald, scented, and shining head, and complacently seated himself on the sofa.
"First of all, dear friend, tell me how you are. Set your friend's mind at rest," said he without altering his tone, beneath the politeness and affected sympathy of which indifference and even irony could be discerned.
"Can one be well while suffering morally? Can one be calm in times like these if one has any feeling?" said Anna Pavlovna. "You are staying the whole evening, I hope?"
"And the fete at the English ambassador's? Today is Wednesday. I must put in an appearance there," said the prince. "My daughter is coming for me to take me there."
"I thought today's fete had been canceled. I confess all these festivities and fireworks are becoming wearisome."
"If they had known that you wished it, the entertainment would have been put off," said the prince, who, like a wound-up clock, by force of habit said things he did not even wish to be believed.
"Don't tease! Well, and what has been decided about Novosiltsev's dispatch? You know everything."
"What can one say about it?" replied the prince in a cold, listless tone. "What has been decided? They have decided that Buonaparte has burnt his boats, and I believe that we are ready to burn ours."
Prince Vasili always spoke languidly, like an actor repeating a stale part. Anna Pavlovna Scherer on the contrary, despite her forty years, overflowed with animation and impulsiveness. To be an enthusiast had become her social vocation and, sometimes even when she did not feel like it, she became enthusiastic in order not to disappoint the expectations of those who knew her. The subdued smile which, though it did not suit her faded features, always played round her lips expressed, as in a spoiled child, a continual consciousness of her charming defect, which she neither wished, nor could, nor considered it necessary, to correct.
In the midst of a conversation on political matters Anna Pavlovna burst out:
"Oh, don't speak to me of Austria. Perhaps I don't understand things, but Austria never has wished, and does not wish, for war. She is betraying us! Russia alone must save Europe. Our gracious sovereign recognizes his high vocation and will be true to it. That is the one thing I have faith in! Our good and wonderful sovereign has to perform the noblest role on earth, and he is so virtuous and noble that God will not forsake him. He will fulfill his vocation and crush the hydra of revolution, which has become more terrible than ever in the person of this murderer and villain! We alone must avenge the blood of the just one.... Whom, I ask you, can we rely on?... England with her commercial spirit will not and cannot understand the Emperor Alexander's loftiness of soul. She has refused to evacuate Malta. She wanted to find, and still seeks, some secret motive in our actions. What answer did Novosiltsev get? None. The English have not understood and cannot understand the self-abnegation of our Emperor who wants nothing for himself, but only desires the good of mankind. And what have they promised? Nothing! And what little they have promised they will not perform! Prussia has always declared that Buonaparte is invincible, and that all Europe is powerless before him.... And I don't believe a word that Hardenburg says, or Haugwitz either. This famous Prussian neutrality is just a trap. I have faith only in God and the lofty destiny of our adored monarch. He will save Europe!"
She suddenly paused, smiling at her own impetuosity.
"I think," said the prince with a smile, "that if you had been sent instead of our dear Wintzingerode you would have captured the King of Prussia's consent by assault. You are so eloquent. Will you give me a cup of tea?"
"In a moment. A propos," she added, becoming calm again, "I am expecting two very interesting men tonight, le Vicomte de Mortemart, who is connected with the Montmorencys through the Rohans, one of the best French families. He is one of the genuine emigres, the good ones. And also the Abbe Morio. Do you know that profound thinker? He has been received by the Emperor. Had you heard?"
"I shall be delighted to meet them," said the prince. "But tell me," he added with studied carelessness as if it had only just occurred to him, though the question he was about to ask was the chief motive of his visit, "is it true that the Dowager Empress wants Baron Funke to be appointed first secretary at Vienna? The baron by all accounts is a poor creature."
Prince Vasili wished to obtain this post for his son, but others were trying through the Dowager Empress Marya Fedorovna to secure it for the baron.
Anna Pavlovna almost closed her eyes to indicate that neither she nor anyone else had a right to criticize what the Empress desired or was pleased with.
"Baron Funke has been recommended to the Dowager Empress by her sister," was all she said, in a dry and mournful tone.
As she named the Empress, Anna Pavlovna's face suddenly assumed an expression of profound and sincere devotion and respect mingled with sadness, and this occurred every time she mentioned her illustrious patroness. She added that Her Majesty had deigned to show Baron Funke beaucoup d'estime, and again her face clouded over with sadness.
The prince was silent and looked indifferent. But, with the womanly and courtierlike quickness and tact habitual to her, Anna Pavlovna wished both to rebuke him (for daring to speak he had done of a man recommended to the Empress) and at the same time to console him, so she said:
"Now about your family. Do you know that since your daughter came out everyone has been enraptured by her? They say she is amazingly beautiful."
The prince bowed to signify his respect and gratitude.
"I often think," she continued after a short pause, drawing nearer to the prince and smiling amiably at him as if to show that political and social topics were ended and the time had come for intimate conversation- "I often think how unfairly sometimes the joys of life are distributed. Why has fate given you two such splendid children? I don't speak of Anatole, your youngest. I don't like him," she added in a tone admitting of no rejoinder and raising her eyebrows. "Two such charming children. And really you appreciate them less than anyone, and so you don't deserve to have them."
And she smiled her ecstatic smile.
"I can't help it," said the prince. "Lavater would have said I lack the bump of paternity."
"Don't joke; I mean to have a serious talk with you. Do you know I am dissatisfied with your younger son? Between ourselves" (and her face assumed its melancholy expression), "he was mentioned at Her Majesty's and you were pitied...."
The prince answered nothing, but she looked at him significantly, awaiting a reply. He frowned.
"What would you have me do?" he said at last. "You know I did all a father could for their education, and they have both turned out fools. Hippolyte is at least a quiet fool, but Anatole is an active one. That is the only difference between them." He said this smiling in a way more natural and animated than usual, so that the wrinkles round his mouth very clearly revealed something unexpectedly coarse and unpleasant.
"And why are children born to such men as you? If you were not a father there would be nothing I could reproach you with," said Anna Pavlovna, looking up pensively.
"I am your faithful slave and to you alone I can confess that my children are the bane of my life. It is the cross I have to bear. That is how I explain it to myself. It can't be helped!"
He said no more, but expressed his resignation to cruel fate by a gesture. Anna Pavlovna meditated.
"Have you never thought of marrying your prodigal son Anatole?" she asked. "They say old maids have a mania for matchmaking, and though I don't feel that weakness in myself as yet,I know a little person who is very unhappy with her father. She is a relation of yours, Princess Mary Bolkonskaya."
Prince Vasili did not reply, though, with the quickness of memory and perception befitting a man of the world, he indicated by a movement of the head that he was considering this information.
"Do you know," he said at last, evidently unable to check the sad current of his thoughts, "that Anatole is costing me forty thousand rubles a year? And," he went on after a pause, "what will it be in five years, if he goes on like this?" Presently he added: "That's what we fathers have to put up with.... Is this princess of yours rich?"
"Her father is very rich and stingy. He lives in the country. He is the well-known Prince Bolkonski who had to retire from the army under the late Emperor, and was nicknamed 'the King of Prussia.' He is very clever but eccentric, and a bore. The poor girl is very unhappy. She has a brother; I think you know him, he married Lise Meinen lately. He is an aide-de-camp of Kutuzov's and will be here tonight."
"Listen, dear Annette," said the prince, suddenly taking Anna Pavlovna's hand and for some reason drawing it downwards. "Arrange that affair for me and I shall always be your most devoted slave- slafe wigh an f, as a village elder of mine writes in his reports. She is rich and of good family and that's all I want."
And with the familiarity and easy grace peculiar to him, he raised the maid of honor's hand to his lips, kissed it, and swung it to and fro as he lay back in his armchair, looking in another direction.
"Attendez," said Anna Pavlovna, reflecting, "I'll speak to Lise, young Bolkonski's wife, this very evening, and perhaps the thing can be arranged. It shall be on your family's behalf that I'll start my apprenticeship as old maid."
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