The old prince is getting crankier and his health is declining. He teases Marya mercilessly, about religion and her nephew. She of course, believes to love is to suffer, so she's completely fine with it.
The second part of the chapter is her letter to Julie Karagin, speaking of loss and god, and believing she is now seeing the reason for losses. I love that even in her 'humble" piety she's thinking she's got it all figured out. What is apparent, addressing a rumor at the end of the letter, is that she doesn't believe Andrei would ever marry anyone like Natasha, and she does not wish it. Trouble.
Wednesday, June 30, 2010
Tuesday, June 29, 2010
Volume II, Book III, Chapter XXIV
Short, sweet chapter, describing the period of engagement before Andrei leaves. He spends time at the Rostov's, and everyone seems to sit in silence a lot, even he and Natasha alone. He gives advice on estates, etc from the count, and receives it about his son from the countess.
Before he leaves, he brings Pierre over, and Natasha tells funny stories about him. Andrei tells her that if they ever have any need of anything, to consult Pierre - though absent-minded he has a heart of gold.
Natasha doesn't cry when he leaves, though she moons about absently for two weeks saying things like "did he go?", but then she snaps out of it.
It's clear they care for each other deeply, but unclear whether it will stand the separation. Tolstoy is setting this up as deep, adult feeling for both of them, but it's a long book. I'm not even half way through. I'm not having high hopes for the engagement at this point, but we'll see.
Before he leaves, he brings Pierre over, and Natasha tells funny stories about him. Andrei tells her that if they ever have any need of anything, to consult Pierre - though absent-minded he has a heart of gold.
Natasha doesn't cry when he leaves, though she moons about absently for two weeks saying things like "did he go?", but then she snaps out of it.
It's clear they care for each other deeply, but unclear whether it will stand the separation. Tolstoy is setting this up as deep, adult feeling for both of them, but it's a long book. I'm not even half way through. I'm not having high hopes for the engagement at this point, but we'll see.
Monday, June 28, 2010
Volume II, Book III, Chapter XXIII
Andrei goes home to ask his father about proposing to Natasha. The old count doesn't like it (since it's change), and says it's a bad match for fortunes, etc. He asks why not wait a year.
Natasha meanwhile doesn't know why Andrei has stopped showing up. She is dejected, but one day gets up, puts on her happy dress and shoes and goes to sing to herself. I love how Tolstoy describes her talking to herself - "That morning she returned to again to her favorite state of love and admiration for herself. 'How lovely that Natasha is!' she said of herself again, in the words of some collective male third person. 'Pretty, a good voice, young, and doesn't bother anybody, just leave her in peace.' But however much she was left in peace, she could no longer be at peace, and she felt it at once.
Andrei comes at just that moment, and asks the countess for her hand, and Natasha. Natasha is so struck by him she doesn't hear the year, part, but then it sinks in "A whole ye-e-ear!" she says like a teenager. She bursts into tears, but then gets over it.
The engagement will be a secret. I love how no one has any simple emotions in this - they're carried on waves of complicated feelings. The countess seems almost sad and scared of the proposal, and is a little intimidated by Andrei. Andrei no longer feels the same youthful flush for Natasha, but suddenly feels how young she is and what weight there is in the proposal. It's a more serious and strong feeling. Everyone's emotions turn on a dime. So romantic - all stormy. Well, now we have to wait a year.
Natasha meanwhile doesn't know why Andrei has stopped showing up. She is dejected, but one day gets up, puts on her happy dress and shoes and goes to sing to herself. I love how Tolstoy describes her talking to herself - "That morning she returned to again to her favorite state of love and admiration for herself. 'How lovely that Natasha is!' she said of herself again, in the words of some collective male third person. 'Pretty, a good voice, young, and doesn't bother anybody, just leave her in peace.' But however much she was left in peace, she could no longer be at peace, and she felt it at once.
Andrei comes at just that moment, and asks the countess for her hand, and Natasha. Natasha is so struck by him she doesn't hear the year, part, but then it sinks in "A whole ye-e-ear!" she says like a teenager. She bursts into tears, but then gets over it.
The engagement will be a secret. I love how no one has any simple emotions in this - they're carried on waves of complicated feelings. The countess seems almost sad and scared of the proposal, and is a little intimidated by Andrei. Andrei no longer feels the same youthful flush for Natasha, but suddenly feels how young she is and what weight there is in the proposal. It's a more serious and strong feeling. Everyone's emotions turn on a dime. So romantic - all stormy. Well, now we have to wait a year.
Sunday, June 27, 2010
Sinus Furlough
Who knew that sinus surgery would be that intensive. I guess I did, but I thought I'd still be reading. To tell the truth, I have, but not concentrated enough to spend time with W & P. So tomorrow we're back. Sorry for the lapse, but hopefully now I will not have any further sinus issues. And hopefully no more surgeries!
Tuesday, June 22, 2010
Volume II, Book III, Chapter XXII
SO, it's official, Natasha and Andrei are in love.
The first half of the chapter is Andrei visiting Natasha, and then her just ecstatic with her mother. Her mother's kind of doleful, but also happy and scared, and knows what's happening. It all feels very important.
Pierre, on the other hand, is completely miserable thinking about it. Andrei bursts into his study to tell Pierre how he feels, though Pierre knows. Pierre is so unhappy, but Andrei's happiness blinds him to it. It's very sweet, even when Pierre tells him that Natasha loves him as well, Andrei is starry eyed to the point that Pierre gets angry and shouts, "She loves you! I know it". ""The brighter Prince Andrei's fate seemed to him, the gloomier his own."
Tolstoy does this so well. His characters are just so human - understandable but surprising. It's a beautiful relationship he's building, and I'm excited for it. Natasha and Andrei seem fated at this point. And you can't help but be excited for them. But I love how we're also seeing how it's effecting everyone around them. Great stuff.
The first half of the chapter is Andrei visiting Natasha, and then her just ecstatic with her mother. Her mother's kind of doleful, but also happy and scared, and knows what's happening. It all feels very important.
Pierre, on the other hand, is completely miserable thinking about it. Andrei bursts into his study to tell Pierre how he feels, though Pierre knows. Pierre is so unhappy, but Andrei's happiness blinds him to it. It's very sweet, even when Pierre tells him that Natasha loves him as well, Andrei is starry eyed to the point that Pierre gets angry and shouts, "She loves you! I know it". ""The brighter Prince Andrei's fate seemed to him, the gloomier his own."
Tolstoy does this so well. His characters are just so human - understandable but surprising. It's a beautiful relationship he's building, and I'm excited for it. Natasha and Andrei seem fated at this point. And you can't help but be excited for them. But I love how we're also seeing how it's effecting everyone around them. Great stuff.
Monday, June 21, 2010
Volume II, Book II, Chapter XXI
Really, Vera? Really? So unpleasant.
We begin with Pierre playing Boston, facing Natasha, and wondering what what is going on with her. She seems plain and all her fire is missing. Just then, Andrei arrives, and it's clear that he rekindles it. Pierre figures out something is going on.
Vera notices as well, and has decided that at a real soiree "it was necessary to have subtle allusions to feelings, and, seizing a moment when Prince Andrei was alone, began a conversation with him about feelings in general and about her sister. With such an intelligent guest (as she considered Prince Andrei to be), she has to employ her diplomatic art."
So condescending that last line, since Vera has no diplomatic art. Pierre notices that Andrei seems embarrassed, which he never is, and comes up to participate in the conversation. Vera is engaging Andrei in asking if it's possible for Natalie (Natasha) to be constant and "Can she, like other women" (Vera meant herself)"fall in love with a man and once and remain faithful." Andrei answers that in his experience the less attractive a woman the more faithful.
Then Vera brings up that there used to be something between Boris and Natasha, and even says "cousinage est un dangereux voisinage" (cousinhood is a dangerous neighborhood), which we heard way back in volume 1 from Anna Pavlovna, I think. Vera is parroting.
Tolstoy sets her up in this chapter, and Berg as well, to be almost insufferable. Climbing, self-involved, and mimicking all of the exteriors but with no charm or tact. There's certainly some German parody here with Berg. Vera comes across as uncomfortable, and the countess' thoughts still echoing about how Vera is annoying, and for some reason just says the wrong things. But it's not like she knows it. Both she and Berg are so self-involved and self-congratulatory it would not occur to them that they are anything but great successes and on their way. To us, though, they're buffonish, and without any self-knowledge that might make them sympathetic.
It's clear from this chapter, though, that there is something immensely serious happening between Andrei and Natasha.
We begin with Pierre playing Boston, facing Natasha, and wondering what what is going on with her. She seems plain and all her fire is missing. Just then, Andrei arrives, and it's clear that he rekindles it. Pierre figures out something is going on.
Vera notices as well, and has decided that at a real soiree "it was necessary to have subtle allusions to feelings, and, seizing a moment when Prince Andrei was alone, began a conversation with him about feelings in general and about her sister. With such an intelligent guest (as she considered Prince Andrei to be), she has to employ her diplomatic art."
So condescending that last line, since Vera has no diplomatic art. Pierre notices that Andrei seems embarrassed, which he never is, and comes up to participate in the conversation. Vera is engaging Andrei in asking if it's possible for Natalie (Natasha) to be constant and "Can she, like other women" (Vera meant herself)"fall in love with a man and once and remain faithful." Andrei answers that in his experience the less attractive a woman the more faithful.
Then Vera brings up that there used to be something between Boris and Natasha, and even says "cousinage est un dangereux voisinage" (cousinhood is a dangerous neighborhood), which we heard way back in volume 1 from Anna Pavlovna, I think. Vera is parroting.
Tolstoy sets her up in this chapter, and Berg as well, to be almost insufferable. Climbing, self-involved, and mimicking all of the exteriors but with no charm or tact. There's certainly some German parody here with Berg. Vera comes across as uncomfortable, and the countess' thoughts still echoing about how Vera is annoying, and for some reason just says the wrong things. But it's not like she knows it. Both she and Berg are so self-involved and self-congratulatory it would not occur to them that they are anything but great successes and on their way. To us, though, they're buffonish, and without any self-knowledge that might make them sympathetic.
It's clear from this chapter, though, that there is something immensely serious happening between Andrei and Natasha.
Saturday, June 19, 2010
Volume II, Book III, Chapter XX
This is the chapter in which Berg and Vera throw a party. It's too funny, and there's a lot that's quotable, but I'll try to keep it brief.
Mainly, Berg shows up to invite Pierre to a soiree, since Helene has turned him down, thinking it below her. Pierre, of course, sees how important it is, and accepts.
The time before the guests show up is great, with both Vera and Berg condescending to each other. Berg explains to her "one can and must have acquaintances among people above oneself, because only then can one find pleasure in one's acquaintances."
Berg thinks all women weak and stupid, while Vera thinks all men proud and egoistic, each judging by the other. Then he kisses her on the lips squarely so as not to rumple her lace he paid a lot for and says they shouldn't have children too soon. She agrees. He wants to do the talking, having a male conversation, while she wants to play the role of hostess. When Pierre arrives, they talk over each other and make no sense at all.
I love this, it's like an expressionist comedy. Other guests come, including the general, Boris, and the Rostov's. Tolstoy says several times that everything is like at everyone else's house, and everything is exactly the same as everyone else. It's precise without being condescending, and the voice is almost precious as well to go with the tone of the Bergs. His writing is wonderful that way - he's omniscient but his voice slightly shifts in tone with each chapter to illustrate the defining tone - in this case a kind of over-careful precious condescension. It's funny.
Mainly, Berg shows up to invite Pierre to a soiree, since Helene has turned him down, thinking it below her. Pierre, of course, sees how important it is, and accepts.
The time before the guests show up is great, with both Vera and Berg condescending to each other. Berg explains to her "one can and must have acquaintances among people above oneself, because only then can one find pleasure in one's acquaintances."
Berg thinks all women weak and stupid, while Vera thinks all men proud and egoistic, each judging by the other. Then he kisses her on the lips squarely so as not to rumple her lace he paid a lot for and says they shouldn't have children too soon. She agrees. He wants to do the talking, having a male conversation, while she wants to play the role of hostess. When Pierre arrives, they talk over each other and make no sense at all.
I love this, it's like an expressionist comedy. Other guests come, including the general, Boris, and the Rostov's. Tolstoy says several times that everything is like at everyone else's house, and everything is exactly the same as everyone else. It's precise without being condescending, and the voice is almost precious as well to go with the tone of the Bergs. His writing is wonderful that way - he's omniscient but his voice slightly shifts in tone with each chapter to illustrate the defining tone - in this case a kind of over-careful precious condescension. It's funny.
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