An excerpt from the original text.(complete · 1123 words)
t the men’s end of the table the talk grew more and more animated.
The colonel told them that the declaration of war had already appeared
in Petersburg and that a copy, which he had himself seen, had that day
been forwarded by courier to the commander in chief.
“And why the deuce are we going to fight Bonaparte?” remarked
Shinshín. “He has stopped Austria’s cackle and I fear it will be
our turn next.”
The colonel was a stout, tall, plethoric German, evidently devoted to
the service and patriotically Russian. He resented Shinshín’s remark.
“It is for the reasson, my goot sir,” said he, speaking with a
German accent, “for the reasson zat ze Emperor knows zat. He
declares in ze manifessto zat he cannot fiew wiz indifference ze danger
vreatening Russia and zat ze safety and dignity of ze Empire as vell
as ze sanctity of its alliances...” he spoke this last word with
particular emphasis as if in it lay the gist of the matter.
Then with the unerring official memory that characterized him he
repeated from the opening words of the manifesto:
... and the wish, which constitutes the Emperor’s sole and absolute
aim—to establish peace in Europe on firm foundations—has now decided
him to despatch part of the army abroad and to create a new condition
for the attainment of that purpose.
“Zat, my dear sir, is vy...” he concluded, drinking a tumbler of
wine with dignity and looking to the count for approval.
“Connaissez-vous le Proverbe:* ‘Jerome, Jerome, do not roam, but
turn spindles at home!’?” said Shinshín, puckering his brows and
smiling. “Cela nous convient à merveille.*(2) Suvórov now—he knew
what he was about; yet they beat him à plate couture,*(3) and where
are we to find Suvórovs now? Je vous demande un peu,” *(4) said he,
continually changing from French to Russian.
*Do you know the proverb?
*(2) That suits us down to the ground.
*(3) Hollow.
*(4) I just ask you that.
“Ve must vight to the last tr-r-op of our plood!” said the colonel,
thumping the table; “and ve must tie for our Emperor, and zen all vill
pe vell. And ve must discuss it as little as po-o-ossible”... he dwelt
particularly on the word possible... “as po-o-ossible,” he ended,
again turning to the count. “Zat is how ve old hussars look at it, and
zere’s an end of it! And how do you, a young man and a young hussar,
how do you judge of it?” he added, addressing Nicholas, who when he
heard that the war was being discussed had turned from his partner with
eyes and ears intent on the colonel.
“I am quite of your opinion,” replied Nicholas, flaming up, turning
his plate round and moving his wineglasses about with as much decision
and desperation as though he were at that moment facing some great
danger. “I am convinced that we Russians must die or conquer,” he
concluded, conscious—as were others—after the words were uttered
that his remarks were too enthusiastic and emphatic for the occasion and
were therefore awkward.
“What you said just now was splendid!” said his partner Julie.
Sónya trembled all over and blushed to her ears and behind them and
down to her neck and shoulders while Nicholas was speaking.
Pierre listened to the colonel’s speech and nodded approvingly.
“That’s fine,” said he.
“The young man’s a real hussar!” shouted the colonel, again
thumping the table.
“What are you making such a noise about over there?” Márya
Dmítrievna’s deep voice suddenly inquired from the other end of the
table. “What are you thumping the table for?” she demanded of the
hussar, “and why are you exciting yourself? Do you think the French
are here?”
“I am speaking ze truce,” replied the hussar with a smile.
“It’s all about the war,” the count shouted down the table. “You
know my son’s going, Márya Dmítrievna? My son is going.”
“I have four sons in the army but still I don’t fret. It is all
in God’s hands. You may die in your bed or God may spare you in a
battle,” replied Márya Dmítrievna’s deep voice, which easily
carried the whole length of the table.
“That’s true!”
Once more the conversations concentrated, the ladies’ at the one end
and the men’s at the other.
“You won’t ask,” Natásha’s little brother was saying; “I know
you won’t ask!”
“I will,” replied Natásha.
Her face suddenly flushed with reckless and joyous resolution. She half
rose, by a glance inviting Pierre, who sat opposite, to listen to what
was coming, and turning to her mother:
“Mamma!” rang out the clear contralto notes of her childish voice,
audible the whole length of the table.
“What is it?” asked the countess, startled; but seeing by her
daughter’s face that it was only mischief, she shook a finger at her
sternly with a threatening and forbidding movement of her head.
The conversation was hushed.
“Mamma! What sweets are we going to have?” and Natásha’s voice
sounded still more firm and resolute.
The countess tried to frown, but could not. Márya Dmítrievna shook her
fat finger.
“Cossack!” she said threateningly.
Most of the guests, uncertain how to regard this sally, looked at the
elders.
“You had better take care!” said the countess.
“Mamma! What sweets are we going to have?” Natásha again cried
boldly, with saucy gaiety, confident that her prank would be taken in
good part.
Sónya and fat little Pétya doubled up with laughter.
“You see! I have asked,” whispered Natásha to her little brother
and to Pierre, glancing at him again.
“Ice pudding, but you won’t get any,” said Márya Dmítrievna.
Natásha saw there was nothing to be afraid of and so she braved even
Márya Dmítrievna.
“Márya Dmítrievna! What kind of ice pudding? I don’t like ice
cream.”
“Carrot ices.”
“No! What kind, Márya Dmítrievna? What kind?” she almost screamed;
“I want to know!”
Márya Dmítrievna and the countess burst out laughing, and all the
guests joined in. Everyone laughed, not at Márya Dmítrievna’s answer
but at the incredible boldness and smartness of this little girl who had
dared to treat Márya Dmítrievna in this fashion.
Natásha only desisted when she had been told that there would be
pineapple ice. Before the ices, champagne was served round. The band
again struck up, the count and countess kissed, and the guests, leaving
their seats, went up to “congratulate” the countess, and reached
across the table to clink glasses with the count, with the children, and
with one another. Again the footmen rushed about, chairs scraped, and
in the same order in which they had entered but with redder faces, the
guests returned to the drawing room and to the count’s study.
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Let's Analyse the Pattern
When feeling pressure to prove ourselves, we often perform borrowed roles rather than act from authentic conviction.
Why This Matters
Connect literature to life
This chapter teaches how to distinguish between people speaking from genuine experience versus those performing expertise with borrowed language.
Practice This Today
This week, notice when someone uses impressive-sounding phrases that could have come from anywhere—then ask yourself what their actual experience might be.
Now let's explore the literary elements.
Key Quotes & Analysis
"And why the deuce are we going to fight Bonaparte?"
Context: He questions the wisdom of going to war while others recite patriotic rhetoric
This simple question cuts through all the official propaganda and patriotic posturing to the heart of the matter. Shinshín dares to voice what others might be thinking but won't say - that this war might not be in Russia's best interests.
In Today's Words:
Why are we getting involved in this mess?
"It is for the reasson, my goot sir, for the reasson zat ze Emperor knows zat"
Context: His response to Shinshín's skeptical question about the war
The colonel's broken English and appeal to imperial authority show how he deflects difficult questions with official doctrine. He can't really answer why the war is necessary, so he falls back on 'the Emperor knows best.'
In Today's Words:
Because that's what the boss decided, and the boss knows what's best
"We must die or conquer"
Context: His dramatic declaration of patriotic resolve during the dinner conversation
These grand words sound heroic but reveal Nicholas's inexperience and romantic view of war. He's performing the role of a brave soldier without understanding what death or conquest actually mean.
In Today's Words:
We'll give it everything we've got, no matter what it takes
Thematic Threads
Social Performance
In This Chapter
Nicholas performs patriotic fervor with borrowed phrases while Natasha shows genuine boldness through simple directness
Development
Introduced here
In Your Life:
You might recognize this when you catch yourself using language that sounds impressive but doesn't reflect your actual thoughts or experience.
Class Expectations
In This Chapter
Dinner party conversation follows predictable scripts based on social roles—men discuss war, women manage social harmony
Development
Building from earlier social gatherings
In Your Life:
You see this in how different groups at work or family gatherings have unspoken rules about what topics are acceptable for whom.
Authentic Rebellion
In This Chapter
Natasha's dessert demands break social protocol but reveal genuine personality, unlike the men's scripted war talk
Development
Continues Natasha's pattern of authentic self-expression
In Your Life:
You might notice how small, genuine acts of self-assertion often feel more risky but more satisfying than grand gestures.
Hidden Anxiety
In This Chapter
Adults speak confidently about war while privately uncertain, using familiar social roles to mask deeper fears
Development
Introduced here
In Your Life:
You see this when people become more formal or use more jargon when they're actually feeling most uncertain about a situation.
You now have the context. Time to form your own thoughts.
Discussion Questions
- 1
What's the difference between how Nicholas talks about war and how Natasha approaches getting dessert information?
analysis • surface - 2
Why does Nicholas use grand phrases like 'die or conquer' when he's never been in battle?
analysis • medium - 3
Where do you see people using borrowed impressive language instead of speaking from their own experience?
application • medium - 4
How can you tell when someone (including yourself) is performing confidence versus actually feeling confident?
application • deep - 5
What does this chapter suggest about the relationship between real courage and social approval?
reflection • deep
Critical Thinking Exercise
Script vs. Authentic Response Audit
Think of three situations where you regularly speak or act: work meetings, family discussions, social media, parenting, etc. For each situation, write down one thing you typically say that sounds good but might be borrowed from others, and one thing you'd say if you spoke purely from your own experience. Notice the difference in how each feels to write.
Consider:
- •Borrowed language often sounds more impressive but feels hollow when you examine it
- •Authentic responses might seem smaller but usually contain more practical wisdom
- •The gap between performed and genuine responses reveals where you feel most pressure to impress others
Journaling Prompt
Write about a time when you used impressive-sounding words or actions to cover uncertainty. What were you actually feeling? What would have happened if you'd been more authentic about not knowing?
Coming Up Next...
Chapter 20: When Family Drama Crashes the Party
The evening continues as the guests move to other rooms, but the war preparations that dominated dinner conversation are about to become much more personal and immediate for the Rostov family.
