An excerpt from the original text.(complete · 706 words)
fter Anna Mikháylovna had driven off with her son to visit Count Cyril
Vladímirovich Bezúkhov, Countess Rostóva sat for a long time all
alone applying her handkerchief to her eyes. At last she rang.
“What is the matter with you, my dear?” she said crossly to the maid
who kept her waiting some minutes. “Don’t you wish to serve me? Then
I’ll find you another place.”
The countess was upset by her friend’s sorrow and humiliating poverty,
and was therefore out of sorts, a state of mind which with her always
found expression in calling her maid “my dear” and speaking to her
with exaggerated politeness.
“I am very sorry, ma’am,” answered the maid.
“Ask the count to come to me.”
The count came waddling in to see his wife with a rather guilty look as
usual.
“Well, little countess? What a sauté of game au madère we are to
have, my dear! I tasted it. The thousand rubles I paid for Tarás were
not ill-spent. He is worth it!”
He sat down by his wife, his elbows on his knees and his hands ruffling
his gray hair.
“What are your commands, little countess?”
“You see, my dear... What’s that mess?” she said, pointing to his
waistcoat. “It’s the sauté, most likely,” she added with a smile.
“Well, you see, Count, I want some money.”
Her face became sad.
“Oh, little countess!” ... and the count began bustling to get out
his pocketbook.
“I want a great deal, Count! I want five hundred rubles,” and taking
out her cambric handkerchief she began wiping her husband’s waistcoat.
“Yes, immediately, immediately! Hey, who’s there?” he called out
in a tone only used by persons who are certain that those they call will
rush to obey the summons. “Send Dmítri to me!”
Dmítri, a man of good family who had been brought up in the count’s
house and now managed all his affairs, stepped softly into the room.
“This is what I want, my dear fellow,” said the count to the
deferential young man who had entered. “Bring me...” he reflected
a moment, “yes, bring me seven hundred rubles, yes! But mind, don’t
bring me such tattered and dirty notes as last time, but nice clean ones
for the countess.”
“Yes, Dmítri, clean ones, please,” said the countess, sighing
deeply.
“When would you like them, your excellency?” asked Dmítri. “Allow
me to inform you... But, don’t be uneasy,” he added, noticing that
the count was beginning to breathe heavily and quickly which was always
a sign of approaching anger. “I was forgetting... Do you wish it
brought at once?”
“Yes, yes; just so! Bring it. Give it to the countess.”
“What a treasure that Dmítri is,” added the count with a smile when
the young man had departed. “There is never any ‘impossible’ with
him. That’s a thing I hate! Everything is possible.”
“Ah, money, Count, money! How much sorrow it causes in the world,”
said the countess. “But I am in great need of this sum.”
“You, my little countess, are a notorious spendthrift,” said the
count, and having kissed his wife’s hand he went back to his study.
When Anna Mikháylovna returned from Count Bezúkhov’s the money, all
in clean notes, was lying ready under a handkerchief on the countess’
little table, and Anna Mikháylovna noticed that something was agitating
her.
“Well, my dear?” asked the countess.
“Oh, what a terrible state he is in! One would not know him, he is so
ill! I was only there a few moments and hardly said a word...”
“Annette, for heaven’s sake don’t refuse me,” the countess
began, with a blush that looked very strange on her thin, dignified,
elderly face, and she took the money from under the handkerchief.
Anna Mikháylovna instantly guessed her intention and stooped to be
ready to embrace the countess at the appropriate moment.
“This is for Borís from me, for his outfit.”
Anna Mikháylovna was already embracing her and weeping. The countess
wept too. They wept because they were friends, and because they were
kindhearted, and because they—friends from childhood—had to think
about such a base thing as money, and because their youth was over....
But those tears were pleasant to them both.
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Let's Analyse the Pattern
When overwhelmed by problems we can't control, we take out our frustration on safer, less powerful targets instead of addressing the real source.
Why This Matters
Connect literature to life
This chapter teaches how stress about one problem often gets taken out on unrelated, safer targets.
Practice This Today
This week, notice when you feel irritated—ask yourself 'What am I really upset about?' and redirect your energy toward the actual source instead of innocent bystanders.
Now let's explore the literary elements.
Key Quotes & Analysis
"Don't you wish to serve me? Then I'll find you another place."
Context: She's taking out her frustration about Anna's poverty on her innocent maid
This shows how stress and guilt travel downward through social hierarchies. The Countess can't fix her friend's problems, so she creates problems for someone with even less power.
In Today's Words:
When you can't control the big stuff, you micromanage the small stuff.
"The thousand rubles I paid for Tarás were not ill-spent. He is worth it!"
Context: Bragging about his expensive cook right before his wife asks for money to help their struggling friend
The timing reveals how disconnected wealthy people can be from others' financial reality. He's proud of spending twice what Anna needs on a cook.
In Today's Words:
Complaining about gas prices while posting vacation photos from Europe.
"I want a great deal, Count. I want five hundred rubles."
Context: Asking her husband for money to help Anna, but framing it as her own need
She can't directly say it's for Anna because that would highlight the awkwardness of their financial inequality. She has to make it about herself first.
In Today's Words:
When you ask your partner for money to help a friend but don't want to admit how often you're helping them.
Thematic Threads
Class
In This Chapter
The stark contrast between Rostov wealth (casually ordering 700 rubles) and Anna Mikhaylovna's desperate poverty creates tension and awkwardness in their friendship
Development
Introduced here as a source of relationship strain
In Your Life:
You might feel this tension when friends have very different financial situations—success can create distance even in loving relationships.
Power Dynamics
In This Chapter
The Countess displaces her stress onto servants who cannot fight back, while being deferential to her wealthy husband
Development
Introduced here as unconscious behavior
In Your Life:
You might catch yourself being short with people who can't push back when you're really frustrated with someone who can.
Money and Relationships
In This Chapter
Financial inequality intrudes into the friendship between the two women, creating obligation and awkwardness where there should be simple affection
Development
Introduced here as a corrupting force
In Your Life:
You might notice how money—having it or needing it—can complicate even your closest relationships.
Emotional Displacement
In This Chapter
Both women cry 'pleasant tears' that allow them to express complex feelings about the uncomfortable financial transaction disguised as generosity
Development
Introduced here as a coping mechanism
In Your Life:
You might find yourself having emotional reactions that are really about something else entirely—the tears aren't always about what just happened.
Privilege Blindness
In This Chapter
Count Rostov's comment that 'everything is possible' with their steward reveals how wealth creates a bubble where money problems simply don't exist
Development
Introduced here as unconscious assumption
In Your Life:
You might not realize how your own advantages—financial, social, or otherwise—make certain problems invisible to you.
You now have the context. Time to form your own thoughts.
Discussion Questions
- 1
Why does the Countess become irritable with her servants after Anna Mikhaylovna leaves?
analysis • surface - 2
What does the Count's casual offer of 700 rubles (when asked for 500) reveal about the Rostovs' relationship with money?
analysis • medium - 3
Think about a time when you were stressed about something you couldn't control. Who did you end up taking it out on, and why?
application • medium - 4
How could the Countess have handled her anxiety about Anna Mikhaylovna's situation without displacing it onto her servants?
application • deep - 5
Why do both women cry at the end, and what does this reveal about how money affects friendships?
reflection • deep
Critical Thinking Exercise
Track Your Stress Displacement
For the next week, notice when you feel irritated or short with someone. Before reacting, pause and ask: 'What am I really upset about?' Write down three instances where you caught yourself about to take stress out on the wrong person. What was the real source of your frustration in each case?
Consider:
- •Look for patterns in who you target when stressed (family, coworkers, service workers)
- •Notice if the real source of stress feels too risky or overwhelming to confront directly
- •Pay attention to how power dynamics influence where you direct frustration
Journaling Prompt
Write about a time when someone took their stress out on you unfairly. How did it feel? What do you wish they had done instead? How can this memory help you break the displacement pattern in your own life?
Coming Up Next...
Chapter 18: The Art of Social Performance
The focus shifts to the Bezukhov household, where the dying count's condition creates a tense atmosphere of waiting and scheming among potential heirs.
