War and Peace Leo Tolstoy (best e books to read .TXT) 📖

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 Sónya and pointed to her former adorer.

“Do you recognize him?” said he. “And where has he sprung from?” he asked, turning to Shinshín. “Didn’t he vanish somewhere?”

“He did,” replied Shinshín. “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 ‘Dolochoff the Persian’ that does it! We never hear a word but Dólokhov is mentioned. They swear by him, they offer him to you as they would a dish of choice sterlet. Dólokhov and Anatole Kurágin 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.

Natásha involuntarily gazed at that neck, those shoulders, and pearls and coiffure, and admired the beauty of the shoulders and the pearls. While Natásha 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 Bezúkhova, 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 Semënova acts marvelously. Count Pyotr Kirílovich never used to forget us. Is he here?”

“Yes, he meant to look in,” answered Elèn, and glanced attentively at Natásha.

Count Ilyá Andréevich resumed his seat.

“Handsome, isn’t she?” he whispered to Natásha.

“Wonderful!” answered Natásha. “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. Natásha too began to look at it.

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 Natásha. 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 Natásha 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 Elèn 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, Natásha 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 aria 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 Elèn 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 Rostóvs’ box creaked, and the steps of a belated arrival were heard. “There’s Kurágin!” whispered Shinshín. Countess Bezúkhova turned smiling to the newcomer, and Natásha, following the direction of that look, saw an exceptionally handsome adjutant approaching their box with a self-assured yet courteous bearing. This was Anatole Kurágin whom she had seen and noticed long ago at the ball in Petersburg. He was now in an adjutant’s