maidservant ran into the hall and hurriedly said something, mentioning
the princess. At last an old, cross looking footman came and announced
to the Rostovs that the prince was not receiving, but that the
princess begged them to walk up. The first person who came to meet the
visitors was Mademoiselle Bourienne. She greeted the father and
daughter with special politeness and showed them to the princess'
room. The princess, looking excited and nervous, her face flushed in
patches, ran in to meet the visitors, treading heavily, and vainly
trying to appear cordial and at ease. From the first glance Princess
Mary did not like Natasha. She thought her too fashionably dressed,
frivolously gay and vain. She did not at all realize that before
having seen her future sister-in-law she was prejudiced against her by
involuntary envy of her beauty, youth, and happiness, as well as by
jealousy of her brother's love for her. Apart from this insuperable
antipathy to her, Princess Mary was agitated just then because on
the Rostovs' being announced, the old prince had shouted that he did
not wish to see them, that Princess Mary might do so if she chose, but
they were not to be admitted to him. She had decided to receive
them, but feared lest the prince might at any moment indulge in some
freak, as he seemed much upset by the Rostovs' visit.
"There, my dear princess, I've brought you my songstress," said
the count, bowing and looking round uneasily as if afraid the old
prince might appear. "I am so glad you should get to know one
another... very sorry the prince is still ailing," and after a few
more commonplace remarks he rose. "If you'll allow me to leave my
Natasha in your hands for a quarter of an hour, Princess, I'll drive
round to see Anna Semenovna, it's quite near in the Dogs' Square,
and then I'll come back for her."
The count had devised this diplomatic ruse (as he afterwards told
his daughter) to give the future sisters-in-law an opportunity to talk
to one another freely, but another motive was to avoid the danger of
encountering the old prince, of whom he was afraid. He did not mention
this to his daughter, but Natasha noticed her father's nervousness and
anxiety and felt mortified by it. She blushed for him, grew still
angrier at having blushed, and looked at the princess with a bold
and defiant expression which said that she was not afraid of
anybody. The princess told the count that she would be delighted,
and only begged him to stay longer at Anna Semenovna's, and he
departed.
Despite the uneasy glances thrown at her by Princess Mary - who
wished to have a tete-a-tete with Natasha - Mademoiselle Bourienne
remained in the room and persistently talked about Moscow amusements
and theaters. Natasha felt offended by the hesitation she had
noticed in the anteroom, by her father's nervousness, and by the
unnatural manner of the princess who - she thought - was making a
favor of receiving her, and so everything displeased her. She did
not like Princess Mary, whom she thought very plain, affected, and
dry. Natasha suddenly shrank into herself and involuntarily assumed an
offhand air which alienated Princess Mary still more. After five
minutes of irksome, constrained conversation, they heard the sound
of slippered feet rapidly approaching. Princess Mary looked
frightened.
The door opened and the old prince, in a dress, ing gown and a white
nightcap, came in.
"Ah, madam!" he began. "Madam, Countess... Countess Rostova, if I am
not mistaken... I beg you to excuse me, to excuse me... I did not
know, madam. God is my witness, I did not know you had honored us with
a visit, and I came in such a costume only to see my daughter. I beg
you to excuse me... God is my witness, I didn't know-" he repeated,
stressing the word "God" so unnaturally and so unpleasantly that
Princess Mary stood with downcast eyes not daring to look either at
her father or at Natasha.
Nor did the latter, having risen and curtsied, know what to do.
Mademoiselle Bourienne alone smiled agreeably.
"I beg you to excuse me, excuse me! God is my witness, I did not
know," muttered the old man, and after looking Natasha over from
head to foot he went out.
Mademoiselle Bourienne was the first to recover herself after this
apparition and began speaking about the prince's indisposition.
Natasha and Princess Mary looked at one another in silence, and the
longer they did so without saying what they wanted to say, the greater
grew their antipathy to one another.
When the count returned, Natasha was impolitely pleased and hastened
to get away: at that moment she hated the stiff, elderly princess, who
could place her in such an embarrassing position and had spent half an
hour with her without once mentioning Prince Andrew. "I couldn't begin
talking about him in the presence of that Frenchwoman," thought
Natasha. The same thought was meanwhile tormenting Princess Mary.
She knew what she ought to have said to Natasha, but she had been
unable to say it because Mademoiselle Bourienne was in the way, and
because, without knowing why, she felt it very difficult to speak of
the marriage. When the count was already leaving the room, Princess
Mary went up hurriedly to Natasha, took her by the hand, and said with
a deep sigh:
"Wait, I must..."
Natasha glanced at her ironically without knowing why.
"Dear Natalie," said Princess Mary, "I want you to know that I am
glad my brother has found happiness...."
She paused, feeling that she was not telling the truth. Natasha
noticed this and guessed its reason.
"I think, Princess, it is not convenient to speak of that now,"
she said with external dignity and coldness, though she felt the tears
choking her.
"What have I said and what have I done?" thought she, as soon as she
was out of the room.
They waited a long time for Natasha to come to dinner that day.
She sat in her room crying like a child, blowing her nose and sobbing.
Sonya stood beside her, kissing her hair.
"Natasha, what is it about?" she asked. "What do they matter to you?
It will all pass, Natasha."
"But if you only knew how offensive it was... as if I..."
"Don't talk about it, Natasha. It wasn't your fault so why should
you mind? Kiss me," said Sonya.
Natasha raised her head and, kissing her friend on the lips, pressed
her wet face against her.
"I can't tell you, I don't know. No one's to blame," said Natasha-
"It's my fault. But it all hurts terribly. Oh, why doesn't he
come?..."
She came in to dinner with red eyes. Marya Dmitrievna, who knew
how the prince had received the Rostovs, pretended not to notice how
upset Natasha was and jested resolutely and loudly at table with the
count and the other guests.
CHAPTER VIII
That evening the Rostovs went to the Opera, for which Marya
Dmitrievna had taken a box.
Natasha did not want to go, but could not refuse Marya
Dmitrievna's kind offer which was intended expressly for her. When she
came ready dressed into the ballroom to await her father, and
looking in the large mirror there saw that she was pretty, very
pretty, she felt even more sad, but it was a sweet, tender sadness.
"O God, if he were here now I would not behave as I did then, but
differently. I would not be silly and afraid of things, I would simply
embrace him, cling to him, and make him look at me with those
searching inquiring eyes with which he has so often looked at me,
and then I would make him laugh as he used to laugh. And his eyes - how
I see those eyes!" thought Natasha. "And what do his father and sister
matter to me? I love him alone, him, him, with that face and those
eyes, with his smile, manly and yet childlike.... No, I had better not
think of him; not think of him but forget him, quite forget him for
the present. I can't bear this waiting and I shall cry in a minute!"
and she turned away from the glass, making an effort not to cry.
"And how can Sonya love Nicholas so calmly and quietly and wait so
long and so patiently?" thought she, looking at Sonya, who also came
in quite ready, with a fan in her hand. "No, she's altogether
different. I can't!"
Natasha at that moment felt so softened and tender that it was not
enough for her to love and know she was beloved, she wanted now, at
once, to embrace the man she loved, to speak and hear from him words
of love such as filled her heart. While she sat in the carriage beside
her father, pensively watching the lights of the street lamps
flickering on the frozen window, she felt still sadder and more in
love, and forgot where she was going and with whom. Having fallen into
the line of carriages, the Rostovs' carriage drove up to the
theater, its wheels squeaking over the snow. Natasha and Sonya,
holding up their dresses, jumped out quickly. The count got out helped
by the footmen, and, passing among men and women who were entering and
the program sellers, they all three went along the corridor to the
first row of boxes. Through the closed doors the music was already
audible.
"Natasha, your hair!..." whispered Sonya.
An attendant deferentially and quickly slipped before the ladies and
opened the door of their box. The music sounded louder and through the
door rows of brightly lit boxes in which ladies sat with bare arms and
shoulders, and noisy stalls brilliant with uniforms, glittered
before their eyes. A lady entering the next box shot a glance of
feminine envy at Natasha. The curtain had not yet risen and the
overture was being played. Natasha, smoothing her gown, went in with
Sonya and sat down, scanning the brilliant tiers of boxes opposite.
A sensation she had not experienced for a long time - that of
hundreds of eyes looking at her bare arms and neck - suddenly
affected her both agreeably and disagreeably and called up a whole
crowd of memories, desires and emotions associated with that feeling.
The two remarkably pretty girls, Natasha and Sonya, with Count
Rostov who had not been seen in Moscow for a long time, attracted
general attention. Moreover, everybody knew vaguely of Natasha's
engagement to Prince Andrew, and knew that the Rostovs had lived in
the country ever since, and all looked with curiosity at a fiancee who
was making one of the best matches in Russia.
Natasha's looks, as everyone told her, had improved in the
country, and that evening thanks to her agitation she was particularly
pretty. She struck those who saw her by her fullness of life and
beauty, combined with her indifference to everything about her. Her
black eyes looked at the crowd without seeking anyone, and her
delicate arm, bare to above the elbow, lay on the velvet edge of the
box, while, evidently unconsciously, she opened and closed her hand in
time to the music, crumpling her program. "Look, there's Alenina,"
said Sonya, "with her mother, isn't it?"
"Dear me, Michael Kirilovich has grown still stouter!" remarked
the count.
"Look at our Anna Mikhaylovna - what a headdress she has on!"
"The Karagins, Julie - and Boris with them. One can see at once
that they're engaged...."
"Drubetskoy has proposed?"
"Oh yes, I heard it today," said Shinshin, coming into the
Rostovs' box.
Natasha looked in the direction in which her father's eyes were
turned and saw Julie sitting beside her mother with a happy look on
her face and a string of pearls round her thick red neck - which
Natasha knew was covered with powder. Behind them, wearing a smile and
leaning over with an ear to Julie's mouth, was Boris' handsome
smoothly brushed head. He looked the Rostovs from under his brows
and said something, smiling, to his betrothed.
"They are talking about us, about me and him!" thought Natasha. "And
he no doubt is calming her jealousy of me. They needn't trouble
themselves! If only they knew how little I am concerned about any of
them."
Behind them sat Anna Mikhaylovna wearing a green headdress and
with a happy look of resignation to the will of God on her face. Their
box was pervaded by that atmosphere of an affianced couple which
Natasha knew so well and liked so much. She turned away and suddenly
remembered all that had been so humiliating in her morning's visit.
"What right has he not to wish to receive me into his family? Oh,
better not think of it - not till he comes back!" she told herself, and
began looking at the faces, some strange and some familiar, in the
stalls. In the front, in the very center, leaning back against the
orchestra rail, stood Dolokhov in a Persian dress, his curly hair
brushed up into a huge shock. He stood in full view of the audience,
well aware that he was attracting everyone's attention, yet as much at
ease as though he were in his own room. Around him thronged Moscow's
most brilliant young men, whom he evidently dominated.
The count, laughing, nudged the blushing Sonya and pointed to her
former adorer.
"Do you recognize him?" said he. "And where has he sprung from?"
he asked, turning to Shinshin. "Didn't he vanish somewhere?"
"He did," replied Shinshin. "He was in the Caucasus and ran away
from there. They say he has been acting as minister to some ruling
prince in Persia, where he killed the Shah's brother. Now all the
Moscow ladies are mad about him! It's 'Dolokhov the Persian' that does
it! We never hear a word but Dolokhov is mentioned. They swear by him,
they offer him to you as they would a dish of choice sterlet. Dolokhov
and Anatole Kuragin have turned all our ladies' heads."
A tall, beautiful woman with a mass of plaited hair and much exposed
plump white shoulders and neck, round which she wore a double string
of large pearls, entered the adjoining box rustling her heavy silk
dress and took a long time settling into her place.
Natasha involuntarily gazed at that neck, those shoulders, and
pearls and coiffure, and admired the beauty of the shoulders and the
pearls. While Natasha was fixing her gaze on her for the second time
the lady looked round and, meeting the count's eyes, nodded to him and
smiled. She was the Countess Bezukhova, Pierre's wife, and the
count, who knew everyone in society, leaned over and spoke to her.
"Have you been here long, Countess?" he inquired. "I'll call, I'll
call to kiss your hand. I'm here on business and have brought my girls
with me. They say Semenova acts marvelously. Count Pierre never used
to forget us. Is he here?"
"Yes, he meant to look in," answered Helene, and glanced attentively
at Natasha.
Count Rostov resumed his seat.
"Handsome, isn't she?" he whispered to Natasha.
"Wonderful!" answered Natasha. "She's a woman one could easily
fall in love with."
Just then the last chords of the overture were heard and the
conductor tapped with his stick. Some latecomers took their seats in
the stalls, and the curtain rose.
As soon as it rose everyone in the boxes and stalls became silent,
and all the men, old and young, in uniform and evening dress, and
all the women with gems on their bare flesh, turned their whole
attention with eager curiosity to the stage. Natasha too began to look
at it.
CHAPTER IX
The floor of the stage consisted of smooth boards, at the sides
was some painted cardboard representing trees, and at the back was a
cloth stretched over boards. In the center of the stage sat some girls
in red bodices and white skirts. One very fat girl in a white silk
dress sat apart on a low bench, to the back of which a piece of
green cardboard was glued. They all sang something. When they had
finished their song the girl in white went up to the prompter's box
and a man with tight silk trousers over his stout legs, and holding
a plume and a dagger, went up to her and began singing, waving his
arms about.
First the man in the tight trousers sang alone, then she sang,
then they both paused while the orchestra played and the man
fingered the hand of the girl in white, obviously awaiting the beat to
start singing with her. They sang together and everyone in the theater
began clapping and shouting, while the man and woman on the stage - who
represented lovers - began smiling, spreading out their arms, and
bowing.
After her life in the country, and in her present serious mood,
all this seemed grotesque and amazing to Natasha. She could not follow
the opera nor even listen to the music; she saw only the painted
cardboard and the queerly dressed men and women who moved, spoke,
and sang so strangely in that brilliant light. She knew what it was
all meant to represent, but it was so pretentiously false and
unnatural that she first felt ashamed for the actors and then amused
at them. She looked at the faces of the audience, seeking in them
the same sense of ridicule and perplexity she herself experienced, but
they all seemed attentive to what was happening on the stage, and
expressed delight which to Natasha seemed feigned. "I suppose it has
to be like this!" she thought. She kept looking round in turn at the
rows of pomaded heads in the stalls and then at the seminude women
in the boxes, especially at Helene in the next box, who - apparently
quite unclothed - sat with a quiet tranquil smile, not taking her
eyes off the stage. And feeling the bright light that flooded the
whole place and the warm air heated by the crowd, Natasha little by
little began to pass into a state of intoxication she had not
experienced for a long while. She did not realize who and where she
was, nor what was going on before her. As she looked and thought,
the strangest fancies unexpectedly and disconnectedly passed through
her mind: the idea occurred to her of jumping onto the edge of the box
and singing the air the actress was singing, then she wished to
touch with her fan an old gentleman sitting not far from her, then
to lean over to Helene and tickle her.
At a moment when all was quiet before the commencement of a song,
a door leading to the stalls on the side nearest the Rostovs' box
creaked, and the steps of a belated arrival were heard. "There's
Kuragin!" whispered Shinshin. Countess Bezukhova turned smiling to the
newcomer, and Natasha, following the direction of that look, saw an
exceptionally handsome adjutant approaching their box with a
self-assured yet courteous bearing. This was Anatole Kuragin whom
she had seen and noticed long ago at the ball in Petersburg. He was
now in an adjutant's uniform with one epaulet and a shoulder knot.
He moved with a restrained swagger which would have been ridiculous
had he not been so good-looking and had his handsome face not worn
such an expression of good-humored complacency and gaiety. Though
the performance was proceeding, he walked deliberately down the
carpeted gangway, his sword and spurs slightly jingling and his
handsome perfumed head held high. Having looked at Natasha he
approached his sister, laid his well gloved hand on the edge of her
box, nodded to her, and leaning forward asked a question, with a
motion toward Natasha.
"Mais charmante!" said he, evidently referring to Natasha, who did
not exactly hear his words but understood them from the movement of
his lips. Then he took his place in the first row of the stalls and
sat down beside Dolokhov, nudging with his elbow in a friendly and
offhand way that Dolokhov whom others treated so fawningly. He
winked at him gaily, smiled, and rested his foot against the orchestra
screen.
"How like the brother is to the sister," remarked the count. "And
how handsome they both are!"
Shinshin, lowering his voice, began to tell the count of some
intrigue of Kuragin's in Moscow, and Natasha tried to overhear it just
because he had said she was "charmante."
The first act was over. In the stalls everyone began moving about,
going out and coming in.
Boris came to the Rostovs' box, received their congratulations
very simply, and raising his eyebrows with an absent-minded smile
conveyed to Natasha and Sonya his fiancee's invitation to her wedding,
and went away. Natasha with a gay, coquettish smile talked to him, and
congratulated on his approaching wedding that same Boris with whom she
had formerly been in love. In the state of intoxication she was in,
everything seemed simple and natural.
The scantily clad Helene smiled at everyone in the same way, and
Natasha gave Boris a similar smile.
Helene's box was filled and surrounded from the stalls by the most
distinguished and intellectual men, who seemed to vie with one another
in their wish to let everyone see that they knew her.
During the whole of that entr'acte Kuragin stood with Dolokhov in
front of the orchestra partition, looking at the Rostovs' box. Natasha
knew he was talking about her and this afforded her pleasure. She even
turned so that he should see her profile in what she thought was its
most becoming aspect. Before the beginning of the second act Pierre
appeared in the stalls. The Rostovs had not seen him since their
arrival. His face looked sad, and he had grown still stouter since
Natasha last saw him. He passed up to the front rows, not noticing
anyone. Anatole went up to him and began speaking to him, looking at
and indicating the Rostovs' box. On seeing Natasha Pierre grew
animated and, hastily passing between the rows, came toward their box.
When he got there he leaned on his elbows and, smiling, talked to
her for a long time. While conversing with Pierre, Natasha heard a
man's voice in Countess Bezukhova's box and something told her it
was Kuragin. She turned and their eyes met. Almost smiling, he gazed
straight into her eyes with such an enraptured caressing look that
it seemed strange to be so near him, to look at him like that, to be
so sure he admired her, and not to be acquainted with him.
In the second act there was scenery representing tombstones, there
was a round hole in the canvas to represent the moon, shades were
raised over the footlights, and from horns and contrabass came deep
notes while many people appeared from right and left wearing black
cloaks and holding things like daggers in their hands. They began
waving their arms. Then some other people ran in and began dragging
away the maiden who had been in white and was now in light blue.
They did not drag her away at once, but sang with her for a long
time and then at last dragged her off, and behind the scenes something
metallic was struck three times and everyone knelt down and sang a
prayer. All these things were repeatedly interrupted by the
enthusiastic shouts of the audience.
During this act every time Natasha looked toward the stalls she
saw Anatole Kuragin with an arm thrown across the back of his chair,
staring at her. She was pleased to see that he was captivated by her
and it did not occur to her that there was anything wrong in it.
When the second act was over Countess Bezukhova rose, turned to
the Rostovs' box - her whole bosom completely exposed - beckoned the old
count with a gloved finger, and paying no attention to those who had
entered her box began talking to him with an amiable smile.
"Do make me acquainted with your charming daughters," said she. "The
whole town is singing their praises and I don't even know then!"
Natasha rose and curtsied to the splendid countess. She was so
pleased by praise from this brilliant beauty that she blushed with
pleasure.
"I want to become a Moscovite too, now," said Helene. "How is it
you're not ashamed to bury such pearls in the country?"
Countess Bezukhova quite deserved her reputation of being a
fascinating woman. She could say what she did not think - especially
what was flattering - quite simply and naturally.
"Dear count, you must let me look after your daughters! Though I
am not staying here long this time - nor are you - I will try to amuse
them. I have already heard much of you in Petersburg and wanted to get
to know you," said she to Natasha with her stereotyped and lovely
smile. "I had heard about you from my page, Drubetskoy. Have you heard
he is getting married? And also from my husband's friend Bolkonski,
Prince Andrew Bolkonski," she went on with special emphasis,
implying that she knew of his relation to Natasha. To get better
acquainted she asked that one of the young ladies should come into her
box for the rest of the performance, and Natasha moved over to it.
The scene of the third act represented a palace in which many
candles were burning and pictures of knights with short beards hung on
the walls. In the middle stood what were probably a king and a
queen. The king waved his right arm and, evidently nervous, sang
something badly and sat down on a crimson throne. The maiden who had
been first in white and then in light blue, now wore only a smock, and
stood beside the throne with her hair down. She sang something
mournfully, addressing the queen, but the king waved his arm severely,
and men and women with bare legs came in from both sides and began
dancing all together. Then the violins played very shrilly and merrily
and one of the women with thick bare legs and thin arms, separating
from the others, went behind the wings, adjusted her bodice,
returned to the middle of the stage, and began jumping and striking
one foot rapidly against the other. In the stalls everyone clapped and
shouted "bravo!" Then one of the men went into a corner of the
stage. The cymbals and horns in the orchestra struck up more loudly,
and this man with bare legs jumped very high and waved his feet
about very rapidly. (He was Duport, who received sixty thousand rubles
a year for this art.) Everybody in the stalls, boxes, and galleries
began clapping and shouting with all their might, and the man
stopped and began smiling and bowing to all sides. Then other men
and women danced with bare legs. Then the king again shouted to the
sound of music, and they all began singing. But suddenly a storm
came on, chromatic scales and diminished sevenths were heard in the
orchestra, everyone ran off, again dragging one of their number
away, and the curtain dropped. Once more there was a terrible noise
and clatter among the audience, and with rapturous faces everyone
began shouting: "Duport! Duport! Duport!" Natasha no longer thought
this strange. She look about with pleasure, smiling joyfully.
"Isn't Duport delightful?" Helene asked her.
"Oh, yes," replied Natasha.
CHAPTER X
During the entr'acte a whiff of cold air came into Helene's box, the
door opened, and Anatole entered, stooping and trying not to brush
against anyone.
"Let me introduce my brother to you," said Helene, her eyes shifting
uneasily from Natasha to Anatole.
Natasha turned her pretty little head toward the elegant young
officer and smiled at him over her bare shoulder. Anatole, who was
as handsome at close quarters as at a distance, sat down beside her
and told her he had long wished to have this happiness - ever since the
Naryshkins' ball in fact, at which he had had the well-remembered
pleasure of seeing her. Kuragin was much more sensible and simple with
women than among men. He talked boldly and naturally, and Natasha
was strangely and agreeably struck by the fact that there was
nothing formidable in this man about whom there was so much talk,
but that on the contrary his smile was most naive, cheerful, and
good-natured.
Kuragin asked her opinion of the performance and told her how at a
previous performance Semenova had fallen down on the stage.
"And do you know, Countess," he said, suddenly addressing her as
an old, familiar acquaintance, "we are getting up a costume
tournament; you ought to take part in it! It will be great fun. We
shall all meet at the Karagins'! Please come! No! Really, eh?" said
he.
While saying this he never removed his smiling eyes from her face,
her neck, and her bare arms. Natasha knew for certain that he was
enraptured by her. This pleased her, yet his presence made her feel
constrained and oppressed. When she was not looking at him she felt
that he was looking at her shoulders, and she involuntarily caught his
eye so that he should look into hers rather than this. But looking
into his eyes she was frightened, realizing that there was not that
barrier of modesty she had always felt between herself and other
men. She did not know how it was that within five minutes she had come
to feel herself terribly near to this man. When she turned away she
feared he might seize her from behind by her bare arm and kiss her
on the neck. They spoke of most ordinary things, yet she felt that
they were closer to one another than she had ever been to any man.
Natasha kept turning to Helene and to her father, as if asking what it
all meant, but Helene was engaged in conversation with a general and
did not answer her look, and her father's eyes said nothing but what
they always said: "Having a good time? Well, I'm glad of it!"
During one of these moments of awkward silence when Anatole's
prominent eyes were gazing calmly and fixedly at her, Natasha, to
break the silence, asked him how he liked Moscow. She asked the
question and blushed. She felt all the time that by talking to him she
was doing something improper. Anatole smiled as though to encourage
her.
"At first I did not like it much, because what makes a town pleasant
ce sont les jolies femmes,* isn't that so? But now I like it very much
indeed," he said, looking at her significantly. "You'll come to the
costume tournament, Countess? Do come!" and putting out his hand to
her bouquet and dropping his voice, he added, "You will be the
prettiest there. Do come, dear countess, and give me this flower as
a pledge!"
*Are the pretty women.
Natasha did not understand what he was saying any more than he did
himself, but she felt that his incomprehensible words had an
improper intention. She did not know what to say and turned away as if
she had not heard his remark. But as soon as she had turned away she
felt that he was there, behind, so close behind her.
"How is he now? Confused? Angry? Ought I to put it right?" she asked
herself, and she could not refrain from turning round. She looked
straight into his eyes, and his nearness, self-assurance, and the
good-natured tenderness of his smile vanquished her. She smiled just
as he was doing, gazing straight into his eyes. And again she felt
with horror that no barrier lay between him and her.
The curtain rose again. Anatole left the box, serene and gay.
Natasha went back to her father in the other box, now quite submissive
to the world she found herself in. All that was going on before her
now seemed quite natural, but on the other hand all her previous
thoughts of her betrothed, of Princess Mary, or of life in the country
did not once recur to her mind and were as if belonging to a remote
past.
In the fourth act there was some sort of devil who sang waving his
arm about, till the boards were withdrawn from under him and he
disappeared down below. That was the only part of the fourth act
that Natasha saw. She felt agitated and tormented, and the cause of
this was Kuragin whom she could not help watching. As they were
leaving the theater Anatole came up to them, called their carriage,
and helped them in. As he was putting Natasha in he pressed her arm
above the elbow. Agitated and flushed she turned round. He was looking
at her with glittering eyes, smiling tenderly.
Only after she had reached home was Natasha able clearly to think
over what had happened to her, and suddenly remembering Prince
Andrew she was horrified, and at tea to which all had sat down after
the opera, she gave a loud exclamation, flushed, and ran out of the
room.
"O God! I am lost!" she said to herself. "How could I let him?"
She sat for a long time hiding her flushed face in her hands trying to
realize what had happened to her, but was unable either to
understand what had happened or what she felt. Everything seemed dark,
obscure, and terrible. There in that enormous, illuminated theater
where the bare-legged Duport, in a tinsel-decorated jacket, jumped
about to the music on wet boards, and young girls and old men, and the
nearly naked Helene with her proud, calm smile, rapturously cried
"bravo!" - there in the presence of that Helene it had all seemed clear
and simple; but now, alone by herself, it was incomprehensible.
"What is it? What was that terror I felt of him? What is this
gnawing of conscience I am feeling now?" she thought.
Only to the old countess at night in bed could Natasha have told all
she was feeling. She knew that Sonya with her severe and simple
views would either not understand it at all or would be horrified at
such a confession. So Natasha tried to solve what was torturing her by
herself.
"Am I spoiled for Andrew's love or not?" she asked herself, and with
soothing irony replied: "What a fool I am to ask that! What did happen
to me? Nothing! I have done nothing, I didn't lead him on at all.
Nobody will know and I shall never see him again," she told herself.
"So it is plain that nothing has happened and there is nothing to
repent of, and Andrew can love me still. But why 'still?' O God, why
isn't he here?" Natasha quieted herself for a moment, but again some
instinct told her that though all this was true, and though nothing
had happened, yet the former purity of her love for Prince Andrew
had perished. And again in imagination she went over her whole
conversation with Kuragin, and again saw the face, gestures, and
tender smile of that bold handsome man when he pressed her arm.
CHAPTER XI
Anatole Kuragin was staying in Moscow because his father had sent
him away from Petersburg, where he had been spending twenty thousand
rubles a year in cash, besides running up debts for as much more,
which his creditors demanded from his father.
His father announced to him that he would now pay half his debts for
the last time, but only on condition that he went to Moscow as
adjutant to the commander in chief - a post his father had procured for
him - and would at last try to make a good match there. He indicated to
him Princess Mary and Julie Karagina.
Anatole consented and went to Moscow, where he put up at Pierre's
house. Pierre received him unwillingly at first, but got used to him
after a while, sometimes even accompanied him on his carousals, and
gave him money under the guise of loans.
As Shinshin had remarked, from the time of his arrival Anatole had
turned the heads of the Moscow ladies, especially by the fact that
he slighted them and plainly preferred the gypsy girls and French
actresses - with the chief of whom, Mademoiselle George, he was said to
be on intimate relations. He had never missed a carousal at
Danilov's or other Moscow revelers', drank whole nights through,
outvying everyone else, and was at all the balls and parties of the
best society. There was talk of his intrigues with some of the ladies,
and he flirted with a few of them at the balls. But he did not run
after the unmarried girls, especially the rich heiresses who were most
of them plain. There was a special reason for this, as he had got
married two years before - a fact known only to his most intimate
friends. At that time while with his regiment in Poland, a Polish
landowner of small means had forced him to marry his daughter. Anatole
had very soon abandoned his wife and, for a payment which he agreed to
send to his father-in-law, had arranged to be free to pass himself off
as a bachelor.
Anatole was always content with his position, with himself, and with
others. He was instinctively and thoroughly convinced that was
impossible for him to live otherwise than as he did and that he had
never in his life done anything base. He was incapable of
considering how his actions might affect others or what the
consequences of this or that action of his might be. He was
convinced that, as a duck is so made that it must live in water, so
God had made him such that he must spend thirty thousand rubles a year
and always occupy a prominent position in society. He believed this so
firmly that others, looking at him, were persuaded of it too and did
not refuse him either a leading place in society or money, which he
borrowed from anyone and everyone and evidently would not repay.
He was not a gambler, at any rate he did not care about winning.
He was not vain. He did not mind what people thought of him. Still
less could he be accused of ambition. More than once he had vexed
his father by spoiling his own career, and he laughed at
distinctions of all kinds. He was not mean, and did not refuse
anyone who asked of him. All he cared about was gaiety and women,
and as according to his ideas there was nothing dishonorable in
these tastes, and he was incapable of considering what the
gratification of his tastes entailed for others, he honestly
considered himself irreproachable, sincerely despised rogues and bad
people, and with a tranquil conscience carried his head high.
Rakes, those male Magdalenes, have a secret feeling of innocence
similar to that which female Magdalenes have, based on the same hope
of forgiveness. "All will be forgiven her, for she loved much; and all
will be forgiven him, for he enjoyed much."
Dolokhov, who had reappeared that year in Moscow after his exile and
his Persian adventures, and was leading a life of luxury, gambling,
and dissipation, associated with his old Petersburg comrade Kuragin
and made use of him for his own ends.
Anatole was sincerely fond of Dolokhov for his cleverness and
audacity. Dolokhov, who needed Anatole Kuragin's name, position, and
connections as a bait to draw rich young men into his gambling set,
made use of him and amused himself at his expense without letting
the other feel it. Apart from the advantage he derived from Anatole,
the very process of dominating another's will was in itself a
pleasure, a habit, and a necessity to Dolokhov.
Natasha had made a strong impression on Kuragin. At supper after the
opera he described to Dolokhov with the air of a connoisseur the
attractions of her arms, shoulders, feet, and hair and expressed his
intention of making love to her. Anatole had no notion and was
incapable of considering what might come of such love-making, as he
never had any notion of the outcome of any of his actions.
"She's first-rate, my dear fellow, but not for us," replied
Dolokhov.
"I will tell my sister to ask her to dinner," said Anatole. "Eh?"
"You'd better wait till she's married...."
"You know, I adore little girls, they lose their heads at once,"
pursued Anatole.
"You have been caught once already by a 'little girl,'" said
Dolokhov who knew of Kuragin's marriage. "Take care!"
"Well, that can't happen twice! Eh?" said Anatole, with a
good-humored laugh.
CHAPTER XII
The day after the opera the Rostovs went nowhere and nobody came
to see them. Marya Dmitrievna talked to the count about something
which they concealed from Natasha. Natasha guessed they were talking
about the old prince and planning something, and this disquieted and
offended her. She was expecting Prince Andrew any moment and twice
that day sent a manservant to the Vozdvizhenka to ascertain whether he
had come. He had not arrived. She suffered more now than during her
first days in Moscow. To her impatience and pining for him were now
added the unpleasant recollection of her interview with Princess
Mary and the old prince, and a fear and anxiety of which she did not
understand the cause. She continually fancied that either he would
never come or that something would happen to her before he came. She