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War and Peace - Unspoken Love and Patriotic Fervor

Leo Tolstoy

War and Peace

Unspoken Love and Patriotic Fervor

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Summary

Pierre visits the Rostov family on a Sunday, finding Natasha singing again for the first time since her illness—a sign of her emotional recovery. Their interaction crackles with unspoken attraction as she seeks his approval and confides her worries about Prince Andrei potentially harboring resentment toward her. Pierre nearly confesses his love but holds back, leaving both of them emotionally charged and confused. Meanwhile, young Petya desperately wants to join the military like his older brother Nicholas, but his parents refuse, seeing him as too young. The family gathers to hear the Tsar's manifesto calling for sacrifice to defend Russia against Napoleon's invasion. Count Rostov responds with patriotic fervor, while others react with varying degrees of sincerity and skepticism. The evening ends with Pierre fleeing the house after an emotionally intense moment with Natasha, resolving never to return because his feelings have become too overwhelming. This chapter captures the collision of personal desires with larger historical forces—Pierre's suppressed love, Petya's thwarted military ambitions, and a nation bracing for war. Tolstoy shows how private emotions don't pause for public crises; instead, they become more intense under pressure. The domestic scene reveals different responses to patriotic duty, from genuine sacrifice to empty rhetoric, while the younger generation chafes against protective parents who can't shield them from history's demands.

Coming Up in Chapter 188

As Pierre struggles with his resolve to avoid the Rostovs, Moscow buzzes with war preparations and rumors. The approaching conflict will soon force everyone to confront what they're truly willing to sacrifice.

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An excerpt from the original text.(complete · 2215 words)

A

few intimate friends were dining with the Rostóvs that day, as usual
on Sundays.

Pierre came early so as to find them alone.

He had grown so stout this year that he would have been abnormal had he
not been so tall, so broad of limb, and so strong that he carried his
bulk with evident ease.

He went up the stairs, puffing and muttering something. His coachman did
not even ask whether he was to wait. He knew that when his master was
at the Rostóvs’ he stayed till midnight. The Rostóvs’ footman rushed
eagerly forward to help him off with his cloak and take his hat and
stick. Pierre, from club habit, always left both hat and stick in the
anteroom.

The first person he saw in the house was Natásha. Even before he saw
her, while taking off his cloak, he heard her. She was practicing solfa
exercises in the music room. He knew that she had not sung since her
illness, and so the sound of her voice surprised and delighted him. He
opened the door softly and saw her, in the lilac dress she had worn at
church, walking about the room singing. She had her back to him when he
opened the door, but when, turning quickly, she saw his broad, surprised
face, she blushed and came rapidly up to him.

“I want to try to sing again,” she said, adding as if by way of excuse,
“it is, at least, something to do.”

“That’s capital!”

“How glad I am you’ve come! I am so happy today,” she said, with the old
animation Pierre had not seen in her for a long time. “You know Nicholas
has received a St. George’s Cross? I am so proud of him.”

“Oh yes, I sent that announcement. But I don’t want to interrupt you,”
he added, and was about to go to the drawing room.

Natásha stopped him.

“Count, is it wrong of me to sing?” she said blushing, and fixing her
eyes inquiringly on him.

“No... Why should it be? On the contrary... But why do you ask me?”

“I don’t know myself,” Natásha answered quickly, “but I should not like
to do anything you disapproved of. I believe in you completely. You
don’t know how important you are to me, how much you’ve done for me....”
She spoke rapidly and did not notice how Pierre flushed at her words. “I
saw in that same army order that he, Bolkónski” (she whispered the name
hastily)
, “is in Russia, and in the army again. What do you think?”—she
was speaking hurriedly, evidently afraid her strength might fail
her—“Will he ever forgive me? Will he not always have a bitter feeling
toward me? What do you think? What do you think?”

“I think...” Pierre replied, “that he has nothing to forgive.... If I
were in his place...”

By association of ideas, Pierre was at once carried back to the day
when, trying to comfort her, he had said that if he were not himself but
the best man in the world and free, he would ask on his knees for her
hand; and the same feeling of pity, tenderness, and love took possession
of him and the same words rose to his lips. But she did not give him
time to say them.

“Yes, you... you...” she said, uttering the word you rapturously—“that’s
a different thing. I know no one kinder, more generous, or better than
you; nobody could be! Had you not been there then, and now too, I don’t
know what would have become of me, because...”

Tears suddenly rose in her eyes, she turned away, lifted her music
before her eyes, began singing again, and again began walking up and
down the room.

Just then Pétya came running in from the drawing room.

Pétya was now a handsome rosy lad of fifteen with full red lips and
resembled Natásha. He was preparing to enter the university, but he and
his friend Obolénski had lately, in secret, agreed to join the hussars.

Pétya had come rushing out to talk to his namesake about this affair.
He had asked Pierre to find out whether he would be accepted in the
hussars.

Pierre walked up and down the drawing room, not listening to what Pétya
was saying.

Pétya pulled him by the arm to attract his attention.

“Well, what about my plan? Peter Kirílych, for heaven’s sake! You are my
only hope,” said Pétya.

“Oh yes, your plan. To join the hussars? I’ll mention it, I’ll bring it
all up today.”

“Well, mon cher, have you got the manifesto?” asked the old count. “The
countess has been to Mass at the Razumóvskis’ and heard the new prayer.
She says it’s very fine.”

“Yes, I’ve got it,” said Pierre. “The Emperor is to be here tomorrow...
there’s to be an Extraordinary Meeting of the nobility, and they are
talking of a levy of ten men per thousand. Oh yes, let me congratulate
you!”

“Yes, yes, thank God! Well, and what news from the army?”

“We are again retreating. They say we’re already near Smolénsk,” replied
Pierre.

“O Lord, O Lord!” exclaimed the count. “Where is the manifesto?”

“The Emperor’s appeal? Oh yes!”

Pierre began feeling in his pockets for the papers, but could not find
them. Still slapping his pockets, he kissed the hand of the countess
who entered the room and glanced uneasily around, evidently expecting
Natásha, who had left off singing but had not yet come into the drawing
room.

“On my word, I don’t know what I’ve done with it,” he said.

“There he is, always losing everything!” remarked the countess.

Natásha entered with a softened and agitated expression of face and
sat down looking silently at Pierre. As soon as she entered, Pierre’s
features, which had been gloomy, suddenly lighted up, and while still
searching for the papers he glanced at her several times.

“No, really! I’ll drive home, I must have left them there. I’ll
certainly...”

“But you’ll be late for dinner.”

“Oh! And my coachman has gone.”

But Sónya, who had gone to look for the papers in the anteroom, had
found them in Pierre’s hat, where he had carefully tucked them under the
lining. Pierre was about to begin reading.

“No, after dinner,” said the old count, evidently expecting much
enjoyment from that reading.

At dinner, at which champagne was drunk to the health of the new
chevalier of St. George, Shinshín told them the town news, of the
illness of the old Georgian princess, of Métivier’s disappearance from
Moscow, and of how some German fellow had been brought to Rostopchín
and accused of being a French “spyer” (so Count Rostopchín had told the
story)
, and how Rostopchín let him go and assured the people that he was
“not a spire at all, but only an old German ruin.”

“People are being arrested...” said the count. “I’ve told the countess
she should not speak French so much. It’s not the time for it now.”

“And have you heard?” Shinshín asked. “Prince Golítsyn has engaged a
master to teach him Russian. It is becoming dangerous to speak French in
the streets.”

“And how about you, Count Peter Kirílych? If they call up the militia,
you too will have to mount a horse,” remarked the old count, addressing
Pierre.

Pierre had been silent and preoccupied all through dinner, seeming not
to grasp what was said. He looked at the count.

“Oh yes, the war,” he said. “No! What sort of warrior should I make? And
yet everything is so strange, so strange! I can’t make it out. I don’t
know, I am very far from having military tastes, but in these times no
one can answer for himself.”

After dinner the count settled himself comfortably in an easy chair and
with a serious face asked Sónya, who was considered an excellent reader,
to read the appeal.

“To Moscow, our ancient Capital!

“The enemy has entered the borders of Russia with immense forces. He
comes to despoil our beloved country.”

Sónya read painstakingly in her high-pitched voice. The count listened
with closed eyes, heaving abrupt sighs at certain passages.

Natásha sat erect, gazing with a searching look now at her father and
now at Pierre.

Pierre felt her eyes on him and tried not to look round. The countess
shook her head disapprovingly and angrily at every solemn expression
in the manifesto. In all these words she saw only that the danger
threatening her son would not soon be over. Shinshín, with a sarcastic
smile on his lips, was evidently preparing to make fun of anything that
gave him the opportunity: Sónya’s reading, any remark of the count’s, or
even the manifesto itself should no better pretext present itself.

After reading about the dangers that threatened Russia, the hopes the
Emperor placed on Moscow and especially on its illustrious nobility,
Sónya, with a quiver in her voice due chiefly to the attention that was
being paid to her, read the last words:

“We ourselves will not delay to appear among our people in that Capital
and in other parts of our realm for consultation, and for the direction
of all our levies, both those now barring the enemy’s path and those
freshly formed to defeat him wherever he may appear. May the ruin he
hopes to bring upon us recoil on his own head, and may Europe delivered
from bondage glorify the name of Russia!”

“Yes, that’s it!” cried the count, opening his moist eyes and sniffing
repeatedly, as if a strong vinaigrette had been held to his nose; and he
added, “Let the Emperor but say the word and we’ll sacrifice everything
and begrudge nothing.”

Before Shinshín had time to utter the joke he was ready to make on the
count’s patriotism, Natásha jumped up from her place and ran to her
father.

“What a darling our Papa is!” she cried, kissing him, and she again
looked at Pierre with the unconscious coquetry that had returned to her
with her better spirits.

“There! Here’s a patriot for you!” said Shinshín.

“Not a patriot at all, but simply...” Natásha replied in an injured
tone. “Everything seems funny to you, but this isn’t at all a joke....”

“A joke indeed!” put in the count. “Let him but say the word and we’ll
all go.... We’re not Germans!”

“But did you notice, it says, ‘for consultation’?” said Pierre.

“Never mind what it’s for....”

At this moment, Pétya, to whom nobody was paying any attention, came up
to his father with a very flushed face and said in his breaking voice
that was now deep and now shrill:

“Well, Papa, I tell you definitely, and Mamma too, it’s as you please,
but I say definitely that you must let me enter the army, because I
can’t... that’s all....”

The countess, in dismay, looked up to heaven, clasped her hands, and
turned angrily to her husband.

“That comes of your talking!” said she.

But the count had already recovered from his excitement.

“Come, come!” said he. “Here’s a fine warrior! No! Nonsense! You must
study.”

“It’s not nonsense, Papa. Fédya Obolénski is younger than I, and he’s
going too. Besides, all the same I can’t study now when...” Pétya
stopped short, flushed till he perspired, but still got out the words,
“when our Fatherland is in danger.”

“That’ll do, that’ll do—nonsense....”

“But you said yourself that we would sacrifice everything.”

“Pétya! Be quiet, I tell you!” cried the count, with a glance at his
wife, who had turned pale and was staring fixedly at her son.

“And I tell you—Peter Kirílych here will also tell you...”

“Nonsense, I tell you. Your mother’s milk has hardly dried on your lips
and you want to go into the army! There, there, I tell you,” and the
count moved to go out of the room, taking the papers, probably to reread
them in his study before having a nap.

“Well, Peter Kirílych, let’s go and have a smoke,” he said.

Pierre was agitated and undecided. Natásha’s unwontedly brilliant eyes,
continually glancing at him with a more than cordial look, had reduced
him to this condition.

“No, I think I’ll go home.”

“Home? Why, you meant to spend the evening with us.... You don’t
often come nowadays as it is, and this girl of mine,” said the count
good-naturedly, pointing to Natásha, “only brightens up when you’re
here.”

“Yes, I had forgotten... I really must go home... business...” said
Pierre hurriedly.

“Well, then, au revoir!” said the count, and went out of the room.

“Why are you going? Why are you upset?” asked Natásha, and she looked
challengingly into Pierre’s eyes.

“Because I love you!” was what he wanted to say, but he did not say it,
and only blushed till the tears came, and lowered his eyes.

“Because it is better for me to come less often... because... No, simply
I have business....”

“Why? No, tell me!” Natásha began resolutely and suddenly stopped.

They looked at each other with dismayed and embarrassed faces. He tried
to smile but could not: his smile expressed suffering, and he silently
kissed her hand and went out.

Pierre made up his mind not to go to the Rostóvs’ any more.

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Let's Analyse the Pattern

Pattern: The Suppressed Truth Spiral
This chapter reveals a destructive pattern: when we suppress our deepest truths to protect others or ourselves, we create emotional pressure that eventually becomes unbearable. Pierre loves Natasha but won't speak it. Petya wants to serve but can't express his readiness. The family performs patriotism while harboring private doubts. Everyone is holding back their real feelings. The mechanism works like this: we convince ourselves that silence protects—Pierre thinks confessing would burden Natasha, parents think refusing protects Petya, people think questioning patriotism protects their reputation. But suppressed truth doesn't disappear. It builds pressure. The more important the truth, the more energy it takes to contain it, until the effort becomes exhausting and the relationships become strained. This pattern dominates modern life. At work, you don't tell your boss their new policy is failing because you want to protect your job—but the problems compound. In healthcare, families don't discuss end-of-life wishes to avoid difficult conversations—but the silence creates more suffering later. In relationships, you don't address growing resentments to keep peace—but the distance grows. Parents don't discuss real financial struggles with teenagers to protect them—but kids sense the stress anyway. When you recognize this pattern, ask: What truth am I avoiding? Who am I supposedly protecting? What's the real cost of this silence? Start with low-stakes practice—express one small truth you've been holding back. Notice that most people can handle more honesty than you think. Build your truth-telling muscles gradually. Create safe spaces for others to share their suppressed truths too. When you can name the pattern of suppressed truth, predict where silence leads to suffering, and navigate toward appropriate honesty—that's amplified intelligence.

When we withhold important truths to protect others or ourselves, we create emotional pressure that eventually damages the very relationships we're trying to preserve.

Why This Matters

Connect literature to life

Skill: Recognizing When Silence Becomes Harmful

This chapter teaches how to distinguish between helpful discretion and destructive suppression by examining the emotional cost of holding back important truths.

Practice This Today

This week, notice when you're avoiding a conversation to 'protect' someone—ask yourself if the silence is actually creating more problems than honesty would.

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Now let's explore the literary elements.

Key Quotes & Analysis

"I want to try to sing again"

— Natasha

Context: Natasha explains to Pierre why she's practicing music after months of silence following her breakdown

This simple statement marks a crucial turning point in Natasha's recovery. Music represents life and joy returning to her after trauma. Her need to explain it to Pierre shows she values his opinion and wants his approval.

In Today's Words:

I'm finally ready to do the things I used to love again

"He knew that when his master was at the Rostovs' he stayed till midnight"

— Narrator

Context: Describing how Pierre's coachman knows his routine at the Rostov house

This detail reveals how comfortable and at home Pierre feels with the Rostov family. It shows this is his emotional refuge, the place where he can be himself, which makes his final decision to flee even more painful.

In Today's Words:

Everyone knew he'd be there all night - that's just how it was with this family

"The sound of her voice surprised and delighted him"

— Narrator

Context: Pierre's reaction to hearing Natasha sing for the first time since her illness

Pierre's joy at this sign of Natasha's recovery reveals the depth of his feelings for her. He's been watching and waiting for signs that she's healing, showing how much her wellbeing matters to him.

In Today's Words:

Hearing her laugh again after so long just made his whole day

Thematic Threads

Unspoken Love

In This Chapter

Pierre's overwhelming feelings for Natasha that he cannot express, creating tension and confusion for both

Development

Evolved from his earlier admiration to desperate, consuming love that threatens his emotional stability

In Your Life:

You might recognize this in harboring feelings for someone unavailable, or not expressing appreciation to people who matter to you.

Generational Conflict

In This Chapter

Petya's desperate desire to join the military clashing with his parents' protective refusal

Development

Introduced here as a new dimension of how war affects families beyond just those who serve

In Your Life:

You see this when aging parents need help but resist it, or when adult children want independence their parents aren't ready to grant.

Performed Patriotism

In This Chapter

The family's varying degrees of genuine versus theatrical response to the Tsar's manifesto

Development

Builds on earlier themes of social performance, now applied to national crisis

In Your Life:

You encounter this in workplace meetings where everyone performs enthusiasm for initiatives they privately doubt.

Emotional Recovery

In This Chapter

Natasha singing again as a sign of healing from her earlier breakdown and betrayal

Development

Continues her journey from the depths of shame toward renewed capacity for joy and connection

In Your Life:

You might see this in your own healing from loss, betrayal, or failure—the small signs that you're ready to engage with life again.

Overwhelming Desire

In This Chapter

Pierre's feelings becoming so intense he must flee the house and resolve never to return

Development

Escalates from his earlier controlled admiration to desperate, disruptive passion

In Your Life:

You recognize this in any situation where your wants become so strong they threaten your judgment or relationships.

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You now have the context. Time to form your own thoughts.

Discussion Questions

  1. 1

    What prevents Pierre from telling Natasha how he feels, and what prevents Petya from convincing his parents to let him join the military?

    analysis • surface
  2. 2

    Why does Pierre believe that staying silent protects Natasha, and why do the Rostov parents believe refusing Petya protects him? What do these protective silences actually accomplish?

    analysis • medium
  3. 3

    Where do you see this pattern of 'protective silence' in modern workplaces, families, or relationships? What truths do people avoid sharing to supposedly protect others?

    application • medium
  4. 4

    Think about a situation where you're holding back an important truth to protect someone. What would happen if you found a way to share it honestly but kindly? What's the real cost of continued silence?

    application • deep
  5. 5

    What does this chapter reveal about the difference between protection and control? When does shielding others from truth actually serve our own comfort more than their wellbeing?

    reflection • deep

Critical Thinking Exercise

10 minutes

Map Your Suppressed Truths

Create three columns: 'Truth I'm Not Sharing,' 'Who I'm Protecting,' and 'Real Cost of Silence.' Fill in 3-5 situations where you're holding back important information. Look for patterns in who you're supposedly protecting and what the silence actually costs everyone involved.

Consider:

  • •Notice whether you're protecting others or protecting yourself from uncomfortable conversations
  • •Consider whether the people you're 'protecting' might actually prefer honesty
  • •Look for situations where your silence creates more problems than truth-telling would

Journaling Prompt

Write about one truth you've been avoiding. What would it look like to share this honestly but kindly? What small step could you take toward that conversation this week?

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Coming Up Next...

Chapter 188: Pétya's Imperial Encounter

As Pierre struggles with his resolve to avoid the Rostovs, Moscow buzzes with war preparations and rumors. The approaching conflict will soon force everyone to confront what they're truly willing to sacrifice.

Continue to Chapter 188
Previous
Finding Purpose Through Love and Prophecy
Contents
Next
Pétya's Imperial Encounter

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