An excerpt from the original text.(complete · 1355 words)
he only young people remaining in the drawing room, not counting the
young lady visitor and the countess’ eldest daughter (who was four
years older than her sister and behaved already like a grown-up person),
were Nicholas and Sónya, the niece. Sónya was a slender little
brunette with a tender look in her eyes which were veiled by long
lashes, thick black plaits coiling twice round her head, and a tawny
tint in her complexion and especially in the color of her slender but
graceful and muscular arms and neck. By the grace of her movements,
by the softness and flexibility of her small limbs, and by a certain
coyness and reserve of manner, she reminded one of a pretty, half-grown
kitten which promises to become a beautiful little cat. She evidently
considered it proper to show an interest in the general conversation by
smiling, but in spite of herself her eyes under their thick long lashes
watched her cousin who was going to join the army, with such passionate
girlish adoration that her smile could not for a single instant impose
upon anyone, and it was clear that the kitten had settled down only to
spring up with more energy and again play with her cousin as soon as
they too could, like Natásha and Borís, escape from the drawing room.
“Ah yes, my dear,” said the count, addressing the visitor and
pointing to Nicholas, “his friend Borís has become an officer, and
so for friendship’s sake he is leaving the university and me, his
old father, and entering the military service, my dear. And there was a
place and everything waiting for him in the Archives Department! Isn’t
that friendship?” remarked the count in an inquiring tone.
“But they say that war has been declared,” replied the visitor.
“They’ve been saying so a long while,” said the count, “and
they’ll say so again and again, and that will be the end of it. My
dear, there’s friendship for you,” he repeated. “He’s joining
the hussars.”
The visitor, not knowing what to say, shook her head.
“It’s not at all from friendship,” declared Nicholas, flaring
up and turning away as if from a shameful aspersion. “It is not from
friendship at all; I simply feel that the army is my vocation.”
He glanced at his cousin and the young lady visitor; and they were both
regarding him with a smile of approbation.
“Schubert, the colonel of the Pávlograd Hussars, is dining with us
today. He has been here on leave and is taking Nicholas back with him.
It can’t be helped!” said the count, shrugging his shoulders and
speaking playfully of a matter that evidently distressed him.
“I have already told you, Papa,” said his son, “that if you
don’t wish to let me go, I’ll stay. But I know I am no use anywhere
except in the army; I am not a diplomat or a government clerk.—I
don’t know how to hide what I feel.” As he spoke he kept glancing
with the flirtatiousness of a handsome youth at Sónya and the young
lady visitor.
The little kitten, feasting her eyes on him, seemed ready at any moment
to start her gambols again and display her kittenish nature.
“All right, all right!” said the old count. “He always flares up!
This Buonaparte has turned all their heads; they all think of how he
rose from an ensign and became Emperor. Well, well, God grant it,” he
added, not noticing his visitor’s sarcastic smile.
The elders began talking about Bonaparte. Julie Karágina turned to
young Rostóv.
“What a pity you weren’t at the Arkhárovs’ on Thursday. It was so
dull without you,” said she, giving him a tender smile.
The young man, flattered, sat down nearer to her with a coquettish
smile, and engaged the smiling Julie in a confidential conversation
without at all noticing that his involuntary smile had stabbed the heart
of Sónya, who blushed and smiled unnaturally. In the midst of his talk
he glanced round at her. She gave him a passionately angry glance, and
hardly able to restrain her tears and maintain the artificial smile
on her lips, she got up and left the room. All Nicholas’ animation
vanished. He waited for the first pause in the conversation, and then
with a distressed face left the room to find Sónya.
“How plainly all these young people wear their hearts on their
sleeves!” said Anna Mikháylovna, pointing to Nicholas as he went out.
“Cousinage—dangereux voisinage,” * she added.
* Cousinhood is a dangerous neighborhood.
“Yes,” said the countess when the brightness these young people had
brought into the room had vanished; and as if answering a question no
one had put but which was always in her mind, “and how much suffering,
how much anxiety one has had to go through that we might rejoice in
them now! And yet really the anxiety is greater now than the joy. One is
always, always anxious! Especially just at this age, so dangerous both
for girls and boys.”
“It all depends on the bringing up,” remarked the visitor.
“Yes, you’re quite right,” continued the countess. “Till now I
have always, thank God, been my children’s friend and had their full
confidence,” said she, repeating the mistake of so many parents who
imagine that their children have no secrets from them. “I know I shall
always be my daughters’ first confidante, and that if Nicholas, with
his impulsive nature, does get into mischief (a boy can’t help it), he
will all the same never be like those Petersburg young men.”
“Yes, they are splendid, splendid youngsters,” chimed in the count,
who always solved questions that seemed to him perplexing by deciding
that everything was splendid. “Just fancy: wants to be an hussar.
What’s one to do, my dear?”
“What a charming creature your younger girl is,” said the visitor;
“a little volcano!”
“Yes, a regular volcano,” said the count. “Takes after me! And
what a voice she has; though she’s my daughter, I tell the truth
when I say she’ll be a singer, a second Salomoni! We have engaged an
Italian to give her lessons.”
“Isn’t she too young? I have heard that it harms the voice to train
it at that age.”
“Oh no, not at all too young!” replied the count. “Why, our
mothers used to be married at twelve or thirteen.”
“And she’s in love with Borís already. Just fancy!” said the
countess with a gentle smile, looking at Borís and went on, evidently
concerned with a thought that always occupied her: “Now you see if I
were to be severe with her and to forbid it ... goodness knows what they
might be up to on the sly” (she meant that they would be kissing),
“but as it is, I know every word she utters. She will come running to
me of her own accord in the evening and tell me everything. Perhaps I
spoil her, but really that seems the best plan. With her elder sister I
was stricter.”
“Yes, I was brought up quite differently,” remarked the handsome
elder daughter, Countess Véra, with a smile.
But the smile did not enhance Véra’s beauty as smiles generally do;
on the contrary it gave her an unnatural, and therefore unpleasant,
expression. Véra was good-looking, not at all stupid, quick at
learning, was well brought up, and had a pleasant voice; what she said
was true and appropriate, yet, strange to say, everyone—the visitors
and countess alike—turned to look at her as if wondering why she had
said it, and they all felt awkward.
“People are always too clever with their eldest children and try to
make something exceptional of them,” said the visitor.
“What’s the good of denying it, my dear? Our dear countess was too
clever with Véra,” said the count. “Well, what of that? She’s
turned out splendidly all the same,” he added, winking at Véra.
The guests got up and took their leave, promising to return to dinner.
“What manners! I thought they would never go,” said the countess,
when she had seen her guests out.
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Let's Analyse the Pattern
The Transparency Trap - When Hearts Show What Minds Try to Hide
The harder we try to hide what matters most to us, the more obvious our true feelings become to everyone watching.
Why This Matters
Connect literature to life
This chapter teaches how people's strongest feelings show through their attempts to hide them.
Practice This Today
This week, notice when someone claims they're 'fine' but their body language suggests otherwise—the real conversation often lies in what they're not saying directly.
Now let's explore the literary elements.
Key Quotes & Analysis
"She evidently considered it proper to show an interest in the general conversation by smiling, but in spite of herself her eyes under their thick long lashes watched her cousin who was going to join the army, with such passionate girlish adoration that her smile could not for a single instant impose upon anyone."
Context: Describing Sonya's attempt to hide her feelings for Nicholas while he's in the drawing room
This reveals how social expectations force young people to perform emotions they don't feel while failing to hide what they actually feel. Sonya's struggle between propriety and passion shows the impossible position of young women in love.
In Today's Words:
She tried to act normal and interested in the conversation, but everyone could tell she was completely obsessed with watching her cousin.
"I always was mother and confessor to my children, and I am proud of it."
Context: Explaining her parenting philosophy to the other adults
This shows the Countess's belief that friendship-style parenting prevents children from keeping secrets. However, the dramatic irony is that her children are clearly hiding plenty from her, suggesting her approach may be less effective than she thinks.
In Today's Words:
I've always been my kids' best friend, and I think that's why they tell me everything.
"The kitten had settled down only to spring up with more energy and again play with her cousin as soon as they too could escape from the drawing room."
Context: Describing Sonya's barely contained energy and desire to be alone with Nicholas
The kitten metaphor captures both Sonya's youth and her predatory focus on Nicholas. It suggests that beneath her proper behavior lies intense, almost animal passion that's waiting to be unleashed when social constraints are removed.
In Today's Words:
She was just waiting for the chance to get him alone so she could drop the act and be herself with him.
Thematic Threads
Emotional Transparency
In This Chapter
Sonya's obvious love for Nicholas despite her attempts to hide it behind forced smiles
Development
Introduced here
In Your Life:
You might recognize this when you're trying to act casual about something that actually means everything to you.
Generational Wisdom
In This Chapter
Adults watching young people's romantic drama with knowing smiles and understanding
Development
Builds on earlier scenes of older characters observing younger ones
In Your Life:
You see this when you watch younger colleagues or family members repeat patterns you've already lived through.
Social Performance
In This Chapter
Everyone playing roles - Sonya the composed cousin, Nicholas the decisive soldier, Julie the charming guest
Development
Continues from salon scenes, showing how performance extends to family settings
In Your Life:
You perform this when you put on your 'everything's fine' face at family gatherings or work meetings.
Family Dynamics
In This Chapter
The Countess's philosophy of being a confidante rather than strict parent, Vera's uncomfortable but appropriate comments
Development
Introduced here
In Your Life:
You navigate this in deciding how much to share with your own family or how to parent your children.
Duty vs. Desire
In This Chapter
Nicholas joining the army while romantic entanglements complicate his departure
Development
Builds on earlier themes of social obligation
In Your Life:
You face this when career demands conflict with personal relationships or family needs.
You now have the context. Time to form your own thoughts.
Discussion Questions
- 1
What signals did Sonya give away that revealed her true feelings for Nicholas, even though she was trying to hide them?
analysis • surface - 2
Why do you think the adults in the room found Sonya's attempts to hide her emotions amusing rather than concerning?
analysis • medium - 3
Where have you seen this same pattern - someone trying to hide strong feelings but actually making them more obvious - in your workplace, family, or social circles?
application • medium - 4
If you were Nicholas in this situation, how would you handle knowing that everyone can see Sonya's feelings while she thinks she's hiding them?
application • deep - 5
What does this scene teach us about the difference between what we think we're communicating and what others actually receive from us?
reflection • deep
Critical Thinking Exercise
Read the Room: Decode the Hidden Messages
Think of a recent situation where someone claimed they were 'fine' or 'didn't care' about something, but their behavior suggested otherwise. Write down three specific actions or reactions that revealed their true feelings. Then consider: what were they actually trying to communicate, and why might they have felt the need to hide it?
Consider:
- •Look for physical tells - changes in posture, voice, or facial expressions
- •Notice what they pay attention to or avoid, not just what they say
- •Consider what social pressures might make them feel they need to hide their true feelings
Journaling Prompt
Write about a time when you tried to hide strong feelings but suspect others could see right through you. What were you protecting by hiding those feelings, and what might have happened if you'd been more direct?
Coming Up Next...
Chapter 13: First Kiss in the Conservatory
With the guests departed and emotions still raw from the drawing room drama, the family must face the reality of Nicholas's departure. The private conversations that follow will reveal deeper truths about duty, love, and the sacrifices war demands.




