Chapter 58
What was passing in that receptive childlike soul that so eagerly caught and assimilated all the diverse impressions of life? How did they all find place in her? But she was very happy. As they were nearing home she suddenly struck up the air of As ‘twas growing dark last night—the tune of which she had all the way been trying to get and had at last caught.
“Got it?” said Nicholas.
“What were you thinking about just now, Nicholas?” inquired Natásha.
They were fond of asking one another that question.
“I?” said Nicholas, trying to remember. “Well, you see, first I thought that Rugáy, the red hound, was like Uncle, and that if he were a man he would always keep Uncle near him, if not for his riding, then for his manner. What a good fellow Uncle is! Don’t you think so?... Well, and you?”
“I? Wait a bit, wait.... Yes, first I thought that we are driving along and imagining that we are going home, but that heaven knows where we are really going in the darkness, and that we shall arrive and suddenly find that we are not in Otrádnoe, but in Fairyland. And then I thought... No, nothing else.”
“I know, I expect you thought of him,” said Nicholas, smiling as Natásha knew by the sound of his voice.
“No,” said Natásha, though she had in reality been thinking about Prince Andrew at the same time as of the rest, and of how he would have liked “Uncle.” “And then I was saying to myself all the way, ‘How well Anísya carried herself, how well!’” And Nicholas heard her spontaneous, happy, ringing laughter. “And do you know,” she suddenly said, “I know that I shall never again be as happy and tranquil as I am now.”
“Rubbish, nonsense, humbug!” exclaimed Nicholas, and he thought: “How charming this Natásha of mine is! I have no other friend like her and never shall have. Why should she marry? We might always drive about together!”
“What a darling this Nicholas of mine is!” thought Natásha.
“Ah, there are still lights in the drawing room!” she said, pointing to the windows of the house that gleamed invitingly in the moist velvety darkness of the night.
CHAPTER VIII
Count Ilyá Rostóv had resigned the position of Marshal of the Nobility because it involved him in too much expense, but still his affairs did not improve. Natásha and Nicholas often noticed their parents conferring together anxiously and privately and heard suggestions of selling the fine ancestral Rostóv house and estate near Moscow. It was not necessary to entertain so freely as when the count had been Marshal, and life at Otrádnoe was quieter than in former years, but still the enormous house and its lodges were full of people and more than twenty sat down to table every day. These were all their own people who had settled down in the house almost as members of the family, or persons who were, it seemed, obliged to live in the count’s house. Such were Dimmler the musician and his wife, Vogel the dancing master and his family, Belóva, an old maiden lady, an inmate of the house, and many others such as Pétya’s tutors, the girls’ former governess, and other people who simply found it preferable and more advantageous to live in the count’s house than at home. They had not as many visitors as before, but the old habits of life without which the count and countess could not conceive of existence remained unchanged. There was still the hunting establishment which Nicholas had even enlarged, the same fifty horses and fifteen grooms in the stables, the same expensive presents and dinner parties to the whole district on name days; there were still the count’s games of whist and boston, at which—spreading out his cards so that everybody could see them—he let himself be plundered of hundreds of rubles every day by his neighbors, who looked upon an opportunity to play a rubber with Count Rostóv as a most profitable source of income.
The count moved in his affairs as in a huge net, trying not to believe that he was entangled but becoming more and more so at every step, and feeling too feeble to break the meshes or to set to work carefully and patiently to disentangle them. The countess, with her loving heart, felt that her children were being ruined, that it was not the count’s fault for he could not help being what he was—that (though he tried to hide it) he himself suffered from the consciousness of his own and his children’s ruin, and she tried to find means of remedying the position. From her feminine point of view she could see only one solution, namely, for Nicholas to marry a rich heiress. She felt this to be their last hope and that if Nicholas refused the match she had found for him, she would have to abandon the hope of ever getting matters right. This match was with Julie Karágina, the daughter of excellent and virtuous parents, a girl the Rostóvs had known from childhood, and who had now become a wealthy heiress through the death of the last of her brothers.
The countess had written direct to Julie’s mother in Moscow suggesting a marriage between their children and had received a favorable answer from her. Karágina had replied that for her part she was agreeable, and everything depend on her daughter’s inclination. She invited Nicholas to come to Moscow.
Several times the countess, with tears in her eyes, told her son that now both her daughters were settled, her only wish was to see him married. She said she could lie down in her grave peacefully if that were accomplished. Then she told him that she knew of a splendid girl and tried to discover what he thought about marriage.
At other times she praised Julie to him and advised him to go to Moscow during the holidays to amuse himself. Nicholas guessed what his mother’s remarks were leading to and during one of these conversations induced her to speak quite frankly. She told him that her only hope of getting their affairs disentangled now lay in his marrying Julie Karágina.
“But, Mamma, suppose I loved a girl who has no fortune, would you expect me to sacrifice my feelings and my honor for the sake of money?” he asked his mother, not realizing the cruelty of his question and only wishing to show his noble-mindedness.
“No, you have not understood me,” said his mother, not knowing how to justify herself. “You have not understood me, Nikólenka. It is your happiness I wish for,” she added, feeling that she was telling an untruth and was becoming entangled. She began to cry.
“Mamma, don’t cry! Only tell me that you wish it, and you know I will give my life, anything, to put you at ease,” said Nicholas. “I would sacrifice anything for you—even my feelings.”
But the countess did not want the question put like that: she did not want a sacrifice from her son, she herself wished to make a sacrifice for him.
“No, you have not understood me, don’t let us talk about it,” she replied, wiping away her tears.
“Maybe I do love a poor girl,” said Nicholas to himself. “Am I to sacrifice my feelings and my honor for money? I wonder how Mamma could speak so to me. Because Sónya is poor I must not love her,” he thought, “must not respond to her faithful, devoted love? Yet I should certainly be happier with her than with some doll-like Julie. I can always sacrifice my feelings for my family’s welfare,” he said to himself, “but I can’t coerce my feelings. If I love Sónya, that feeling is for me stronger and higher than all else.”
Nicholas did not go to Moscow, and the countess did not renew the conversation with him about marriage. She saw with sorrow, and sometimes with exasperation, symptoms of a growing attachment between her son and the portionless Sónya. Though she blamed herself for it, she could not refrain from grumbling at and worrying Sónya, often pulling her up without reason, addressing her stiffly as “my dear,” and using the formal “you” instead of the intimate “thou” in speaking to her. The kindhearted countess was the more vexed with Sónya because that poor, dark-eyed niece of hers was so meek, so kind, so devotedly grateful to her benefactors, and so faithfully, unchangingly, and unselfishly in love with Nicholas, that there were no grounds for finding fault with her.
Nicholas was spending the last of his leave at home. A fourth letter had come from Prince Andrew, from Rome, in which he wrote that he would have been on his way back to Russia long ago had not his wound unexpectedly reopened in the warm climate, which obliged him to defer his return till the beginning of the new year. Natásha was still as much in love with her betrothed, found the same comfort in that love, and was still as ready to throw herself into all the pleasures of life as before; but at the end of the fourth month of their separation she began to have fits of depression which she could not master. She felt sorry for herself: sorry that she was being wasted all this time and of no use to anyone—while she felt herself so capable of loving and being loved.
Things were not cheerful in the Rostóvs’ home.
CHAPTER IX
Christmas came and except for the ceremonial Mass, the solemn and wearisome Christmas congratulations from neighbors and servants, and the new dresses everyone put on, there were no special festivities, though the calm frost of twenty degrees Réaumur, the dazzling sunshine by day, and the starlight of the winter nights seemed to call for some special celebration of the season.
On the third day of Christmas week, after the midday dinner, all the inmates of the house dispersed to various rooms. It was the dullest time of the day. Nicholas, who had been visiting some neighbors that morning, was asleep on the sitting-room sofa. The old count was resting in his study. Sónya sat in the drawing room at the round table, copying a design for embroidery. The countess was playing patience. Nastásya Ivánovna the buffoon sat with a sad face at the window with two old ladies. Natásha came into the room, went up to Sónya, glanced at what she was doing, and then went up to her mother and stood without speaking.
“Why are you wandering about like an outcast?” asked her mother. “What do you want?”
“Him... I want him... now, this minute! I want him!” said Natásha, with glittering eyes and no sign of a smile.
The countess lifted her head and looked attentively at her daughter.
“Don’t look at me, Mamma! Don’t look; I shall cry directly.”
“Sit down with me a little,” said the countess.
“Mamma, I want him. Why should I be wasted like this, Mamma?”
Her voice broke, tears gushed from her eyes, and she turned quickly to hide them and left the room.
She passed into the sitting room, stood there thinking awhile, and then went into the maids’ room. There an old maidservant was grumbling at a young girl who stood panting, having just run in through the cold from the serfs’ quarters.
“Stop playing—there’s a time for everything,” said the old woman.
“Let her alone, Kondrátevna,” said Natásha. “Go, Mavrúshka, go.”
Having released Mavrúshka, Natásha crossed the dancing hall and went to the vestibule. There an old footman and two young ones were playing cards. They broke off and rose as she entered.
“What can I do with them?” thought Natásha.
“Oh, Nikíta, please go... where can I send him?... Yes, go to the yard and fetch a fowl, please, a cock, and you, Misha, bring me some oats.”
“Just a few oats?” said Misha, cheerfully and readily.
“Go, go quickly,” the old man urged him.
“And you, Theodore, get me a piece of chalk.”
On her way past the butler’s pantry she told them to set a samovar, though it was not at all the time for tea.
Fóka, the butler, was the most ill-tempered person in the house. Natásha liked to test her power over him. He distrusted the order and asked whether the samovar was really wanted.
“Oh dear, what a young lady!” said Fóka, pretending to frown at Natásha.
No one in the house sent people about or gave them as much trouble as Natásha did. She could not see people unconcernedly, but had to send them on some errand. She seemed to be trying whether any of them would get angry or sulky with her; but the serfs fulfilled no one’s orders so readily as they did hers. “What can I do, where can I go?” thought she, as she went slowly along the passage.
“Nastásya Ivánovna, what sort of children shall I have?” she asked the buffoon, who was coming toward her in a woman’s jacket.
“Why, fleas, crickets, grasshoppers,” answered the buffoon.
“O Lord, O Lord, it’s always the same! Oh, where am I to go? What am I to do with myself?” And tapping with her heels, she ran quickly upstairs to see Vogel and his wife who lived on the upper story.
Two governesses were sitting with the Vogels at a table, on which were plates of raisins, walnuts, and almonds. The governesses were discussing whether it was cheaper to live in Moscow or Odessa. Natásha sat down, listened to their talk with a serious and thoughtful air, and then got up again.
“The island of Madagascar,” she said, “Ma-da-gas-car,” she repeated, articulating each syllable distinctly, and, not replying to Madame Schoss who asked her what she was saying, she went out of the room.
Her brother Pétya was upstairs too; with the man in attendance on him he was preparing fireworks to let off that night.
“Pétya! Pétya!” she called to him. “Carry me downstairs.”
Pétya ran up and offered her his back. She jumped on it, putting her arms round his neck, and he pranced along with her.
“No, don’t... the island of Madagascar!” she said, and jumping off his back she went downstairs.
Having as it were reviewed her kingdom, tested her power, and made sure that everyone was submissive, but that all the same it was dull, Natásha betook herself to the ballroom, picked up her guitar, sat down in a dark corner behind a bookcase, and began to run her fingers over the strings in the bass, picking out a passage she recalled from an opera she had heard in Petersburg with Prince Andrew. What she drew from the guitar would have had no meaning for other listeners, but in her imagination a whole series of reminiscences arose from those sounds. She sat behind the bookcase with her eyes fixed on a streak of light escaping from the pantry door and listened to herself and pondered. She was in a mood for brooding on the past.
Sónya passed to the pantry with a glass in her hand. Natásha glanced at her and at the crack in the pantry door, and it seemed to her that she remembered the light falling through that crack once before and Sónya passing with a glass in her hand. “Yes it was exactly the same,” thought Natásha.
“Sónya, what is this?” she cried, twanging a thick string.
“Oh, you are there!” said Sónya with a start, and came near and listened. “I don’t know. A storm?” she ventured timidly, afraid of being wrong.
“There! That’s just how she started and just how she came up smiling timidly when all this happened before,” thought Natásha, “and in just the same way I thought there was something lacking in her.”
“No, it’s the chorus from The Water-Carrier, listen!” and Natásha sang the air of the chorus so that Sónya should catch it. “Where were you going?” she asked.
“To change the water in this glass. I am just finishing the design.”
“You always find something to do, but I can’t,” said Natásha. “And where’s Nicholas?”
“Asleep, I think.”
“Sónya, go and wake him,” said Natásha. “Tell him I want him to come and sing.”
She sat awhile, wondering what the meaning of it all having happened before could be, and without solving this problem, or at all regretting not having done so, she again passed in fancy to the time when she was with him and he was looking at her with a lover’s eyes.
“Oh, if only he would come quicker! I am so afraid it will never be! And, worst of all, I am growing old—that’s the thing! There won’t then be in me what there is now. But perhaps he’ll come today, will come immediately. Perhaps he has come and is sitting in the drawing room. Perhaps he came yesterday and I have forgotten it.” She rose, put down the guitar, and went to the drawing room.
All the domestic circle, tutors, governesses, and guests, were already at the tea table. The servants stood round the table—but Prince Andrew was not there and life was going on as before.
“Ah, here she is!” said the old count, when he saw Natásha enter. “Well, sit down by me.” But Natásha stayed by her mother and glanced round as if looking for something.
“Mamma!” she muttered, “give him to me, give him, Mamma, quickly, quickly!” and she again had difficulty in repressing her sobs.
She sat down at the table and listened to the conversation between the elders and Nicholas, who had also come to the table. “My God, my God! The same faces, the same talk, Papa holding his cup and blowing in the same way!” thought Natásha, feeling with horror a sense of repulsion rising up in her for the whole household, because they were always the same.
After tea, Nicholas, Sónya, and Natásha went to the sitting room, to their favorite corner where their most intimate talks always began.
CHAPTER X
“Does it ever happen to you,” said Natásha to her brother, when they settled down in the sitting room, “does it ever happen to you to feel as if there were nothing more to come—nothing; that everything good is past? And to feel not exactly dull, but sad?”
“I should think so!” he replied. “I have felt like that when everything was all right and everyone was cheerful. The thought has come into my mind that I was already tired of it all, and that we must all die. Once in the regiment I had not gone to some merrymaking where there was music... and suddenly I felt so depressed...”
“Oh yes, I know, I know, I know!” Natásha interrupted him. “When I was quite little that used to be so with me. Do you remember when I was punished once about some plums? You were all dancing, and I sat sobbing in the schoolroom? I shall never forget it: I felt sad and sorry for everyone, for myself, and for everyone. And I was innocent—that was the chief thing,” said Natásha. “Do you remember?”
“I remember,” answered Nicholas. “I remember that I came to you afterwards and wanted to comfort you, but do you know, I felt ashamed to. We were terribly absurd. I had a funny doll then and wanted to give it to you. Do you remember?”
“And do you remember,” Natásha asked with a pensive smile, “how once, long, long ago, when we were quite little, Uncle called us into the study—that was in the old house—and it was dark—we went in and suddenly there stood...”
“A Negro,” chimed in Nicholas with a smile of delight. “Of course I remember. Even now I don’t know whether there really was a Negro, or if we only dreamed it or were told about him.”
“He was gray, you remember, and had white teeth, and stood and looked at us....”
“Sónya, do you remember?” asked Nicholas.
“Yes, yes, I do remember something too,” Sónya answered timidly.
“You know I have asked Papa and Mamma about that Negro,” said Natásha, “and they say there was no Negro at all. But you see, you remember!”
“Of course I do, I remember his teeth as if I had just seen them.”
“How strange it is! It’s as if it were a dream! I like that.”
“And do you remember how we rolled hard-boiled eggs in the ballroom, and suddenly two old women began spinning round on the carpet? Was that real or not? Do you remember what fun it was?”
“Yes, and you remember how Papa in his blue overcoat fired a gun in the porch?”
So they went through their memories, smiling with pleasure: not the sad memories of old age, but poetic, youthful ones—those impressions of one’s most distant past in which dreams and realities blend—and they laughed with quiet enjoyment.
Sónya, as always, did not quite keep pace with them, though they shared the same reminiscences.
Much that they remembered had slipped from her mind, and what she recalled did not arouse the same poetic feeling as they experienced. She simply enjoyed their pleasure and tried to fit in with it.
She only really took part when they recalled Sónya’s first arrival. She told them how afraid she had been of Nicholas because he had on a corded jacket and her nurse had told her that she, too, would be sewn up with cords.
“And I remember their telling me that you had been born under a cabbage,” said Natásha, “and I remember that I dared not disbelieve it then, but knew that it was not true, and I felt so uncomfortable.”
While they were talking a maid thrust her head in at the other door of the sitting room.
“They have brought the cock, Miss,” she said in a whisper.
“It isn’t wanted, Pólya. Tell them to take it away,” replied Natásha.
In the middle of their talk in the sitting room, Dimmler came in and went up to the harp that stood there in a corner. He took off its cloth covering, and the harp gave out a jarring sound.
“Mr. Dimmler, please play my favorite nocturne by Field,” came the old countess’ voice from the drawing room.
Dimmler struck a chord and, turning to Natásha, Nicholas, and Sónya, remarked: “How quiet you young people are!”
“Yes, we’re philosophizing,” said Natásha, glancing round for a moment and then continuing the conversation. They were now discussing dreams.
Dimmler began to play; Natásha went on tiptoe noiselessly to the table, took up a candle, carried it out, and returned, seating herself quietly in her former place. It was dark in the room especially where they were sitting on the sofa, but through the big windows the silvery light of the full moon fell on the floor. Dimmler had finished the piece but still sat softly running his fingers over the strings, evidently uncertain whether to stop or to play something else.
“Do you know,” said Natásha in a whisper, moving closer to Nicholas and Sónya, “that when one goes on and on recalling memories, one at last begins to remember what happened before one was in the world....”
“That is metempsychosis,” said Sónya, who had always learned well, and remembered everything. “The Egyptians believed that our souls have lived in animals, and will go back into animals again.”
“No, I don’t believe we ever were in animals,” said Natásha, still in a whisper though the music had ceased. “But I am certain that we were angels somewhere there, and have been here, and that is why we remember....”
“May I join you?” said Dimmler who had come up quietly, and he sat down by them.
“If we have been angels, why have we fallen lower?” said Nicholas. “No, that can’t be!”
“Not lower, who said we were lower?... How do I know what I was before?” Natásha rejoined with conviction. “The soul is immortal—well then, if I shall always live I must have lived before, lived for a whole eternity.”
“Yes, but it is hard for us to imagine eternity,” remarked Dimmler, who had joined the young folk with a mildly condescending smile but now spoke as quietly and seriously as they.
“Why is it hard to imagine eternity?” said Natásha. “It is now today, and it will be tomorrow, and always; and there was yesterday, and the day before....”
“Natásha! Now it’s your turn. Sing me something,” they heard the countess say. “Why are you sitting there like conspirators?”
“Mamma, I don’t at all want to,” replied Natásha, but all the same she rose.
None of them, not even the middle-aged Dimmler, wanted to break off their conversation and quit that corner in the sitting room, but Natásha got up and Nicholas sat down at the clavichord. Standing as usual in the middle of the hall and choosing the place where the resonance was best, Natásha began to sing her mother’s favorite song.