How we cite our quotes: (Volume.Part.Chapter.Paragraph). We used Richard Pevear and Larissa Volokhonsky's translation.
Quote #1
The count jumped up and, swaying, spread his arms wide around the running girl.
"Ah, here she is!" he shouted, laughing. "The name-day girl! Ma chère [My dear] name-day girl!'
"Ma chère, il y a un temps pour tout [My dear, there is a time for everything]" said the countess, feigning sternness. "You always spoil her, Ilie," she added to her husband. [...] Wriggling out of her father's arms, she ran to her mother and, paying no attention to her stern remark, buried her flushed face in her mother's lace mantilla and laughed. (1.1.8.3-5)
Aw, guys, how sweet is this little scene? This family just loves each other, without any hidden disturbing undertones. That's really pretty unusual in literature, don't you think?
Quote #2
[Prince Bolkonsky] used to say that there were only two sources of human vice: idleness and superstition; and that there were only two virtues: activity and intelligence. He occupied himself personally with his daughter's upbringing, and to develop the two chief virtues in her, gave her lessons in algebra and geometry and portioned out her whole life among constant studies. [...] "Well, ma'am," the old man began, bending close to his daughter [...] so that the princess felt herself surrounded on all sides by her father's smell of tobacco and pungent old age, which she had known for so long. "Well, ma'am, these triangles are similar; kindly look, the angle ABC..."
The princess glanced fearfully at her father's bright eyes, so near to her; red blotches came over her face, and it was obvious that she understood nothing, and was so afraid that fear would prevent her from understanding all of her father's further explanations, however clear they were. Whether it was the teacher or the pupil who was at fault, the same thing repeated itself each day: the princess felt giddy, saw nothing, heard nothing, but only felt the lean face of her stern father near her, felt his breathing and his smell, and thought only of how to get out of the study as quickly as possible and work out the problem in the freedom of her own room. The old man would get beside himself: he would noisily move the chair he was sitting in back and forth, try hard to keep himself from flying into a rage, and almost always flew into a rage, poured out abuse, and sometimes flung the notebook away. (1.1.22.1-17)
Right. So on the one hand, go Bolkonsky for thinking that girls should be taught about math and stuff. But on the other hand, fear isn't really the best teaching tool. Maybe it would be better to hire a tutor?
Quote #3
"Well, Lelya?" he at once addressed his daughter in that careless tone of habitual tenderness which is adopted by parents who have been affectionate with their children since childhood, but which Prince Vassily only approximated by means of imitating other parents. (1.3.2.27)
Wow, that's a sharp characterization. Vassily can only be a normal-ish father by imitating what he's seen other parents do. And presumably he's never observed normal familial relationships in private. No wonder Helene and Anatole are a tad screwed up, eh?
Quote #4
How strange, extraordinary, joyful it was that her son—that son who twenty years ago had moved his tiny limbs barely perceptibly inside her, that son over whom she had quarreled with the too indulgent count, that son who had first learned to say "brush," and then "mama," that this son was now there, in a foreign land, in foreign surroundings, a manly warrior, alone, with no help or guidance, and doing there some manly business of his own. All the worldwide, age-old experience showing that children grow in an imperceptible way from the cradle to manhood, did not exist for the countess. Her son's maturing had been at every point as extraordinary for her as if there had not been millions upon millions of men who had matured in just the same way. As it was hard to believe twenty years ago that the little being who lived somewhere under her heart would start crying, and suck her breast, and begin to talk, so now it was hard to believe that this same being could be the strong, brave man, an example to sons and people, that he was now, judging by this letter. (1.3.6.61)
OK, hang on a sec. Shmoop has something in its eye. Wow, that's just such a tender and beautiful description. It's also really great how the text points out that just because we know all kids grow up, that doesn't make watching our own kids growing up any less magical or special. It may be corny, but it's true.
Quote #5
Natasha, taking her brother under the arm, led him to the sitting room, and started talking with him. They hastened to ask and answer each other about a thousand little things that could interest only them. [...] Rostov felt how his face and soul expanded under the influence of these hot rays of Natasha's love, for the first time in a year and a half, into that childish and pure smile which he had not once smiled since he left home. [...] Sitting in his former schoolroom, on the sofa with padded armrests, and looking into Natasha's desperately lively eyes, Rostov again entered that world of his family and childhood, which had no meaning for anyone but him, but which had provided him with one of the best enjoyments in life; (2.1.1.49-59)
How often do you get sibling relationships this complex yet loving, friendly, and normal in literature? This kind of relationship gives the reader something to compare other siblings to. Sure, Helene and Anatole are close too, but they're way, way too close. And Marya and Andrei clearly care about each other, but there's obviously something missing there.
Quote #6
She and all the Rostov family welcomed him as an old friend, simply and cordially. The whole family, whom he had formerly judged severely, now seemed to him to consist of excellent, simple, and kindly people. The old count's hospitality and good nature, which struck one especially in Petersburg as a pleasant surprise, were such that Andrei could not refuse to stay to dinner. "Yes," he thought, "they are capital people, who of course have not the slightest idea what a treasure they possess in Natasha; but they are kindly folk and form the best possible setting for this strikingly poetic, charming girl, overflowing with life!" (2.3.19.2)
It's interesting how Andrei reacts to this warm family, considering he comes from such a cold and dysfunctional one. It feels telling that even though he registers that the Rostovs are "kindly," he views them as "simple." His big emotional hurdle to overcome is his tendency to look down on everyone.
Quote #7
Sonya burst into hysterical tears and replied through her sobs that she would do anything and was prepared for anything, but gave no actual promise and could not bring herself to decide to do what was demanded of her. She must sacrifice herself for the family that had reared and brought her up. To sacrifice herself for others was Sonya's habit. Her position in the house was such that only by sacrifice could she show her worth, and she was accustomed to this and loved doing it. But in all her former acts of self-sacrifice she had been happily conscious that they raised her in her own esteem and in that of others, and so made her more worthy of Nikolai whom she loved more than anything in the world. But now they wanted her to sacrifice the very thing that constituted the whole reward for her self-sacrifice and the whole meaning of her life. And for the first time she felt bitterness against those who had been her benefactors only to torture her the more painfully; she felt jealous of Natasha who had never experienced anything of this sort, had never needed to sacrifice herself, but made others sacrifice themselves for her and yet was beloved by everybody. And for the first time Sonya felt that out of her pure, quiet love for Nikolai a passionate feeling was beginning to grow up which was stronger than principle, virtue, or religion. Under the influence of this feeling Sonya, whose life of dependence had taught her involuntarily to be secretive, having answered the countess in vague general terms, avoided talking with her and resolved to wait till she should see Nicholas, not in order to set him free but on the contrary at that meeting to bind him to her forever. (4.1.8.4)
Wow, that's like a little self-contained novel of its own right there. And an insightful summary of what it must have been like to be a dependent in someone else's family. Sonya is related to the Rostovs, but she's a poor orphan who relies on them for everything. She ends up staying in this position of self-sacrifice and being taken for granted forever. How does this bode for Nikolenka, the other orphan character taken in by relatives? Is it different because he's a boy, or because he has an inheritance from his father?
Quote #8
Countess Marya remained in the sitting room.
"I should never, never have believed that one could be so happy," she whispered to herself. A smile lit up her face but at the same time she sighed, and her deep eyes expressed a quiet sadness as though she felt, through her happiness, that there is another sort of happiness unattainable in this life and of which she involuntarily thought at that instant. (Epilogue.1.9.53-54)
This is Marya thinking about the difference between the happy family life she has now and the spiritually secluded life she gave up in exchange for it. (At one point she wanted to be a holy wanderer, remember?) It's a nice little bittersweet thought about what might have been. Mostly we just love how in tune Tolstoy is with the kind of things that run through people's minds. Who hasn't had a daydream about the way life might have been if not for x, y, or z?
Quote #9
The subject which wholly engrossed Natasha's attention was her family [...]. And the deeper she penetrated, not with her mind only but with her whole soul, her whole being, into the subject that absorbed her, the larger did that subject grow and the weaker and more inadequate did her powers appear, so that she concentrated them wholly on that one thing and yet was unable to accomplish all that she considered necessary. [...] If the purpose of dinner is to nourish the body, a man who eats two dinners at once may perhaps get more enjoyment but will not attain his purpose, for his stomach will not digest the two dinners.
If the purpose of marriage is the family, the person who wishes to have many wives or husbands may perhaps obtain much pleasure, but in that case will not have a family.
If the purpose of food is nourishment and the purpose of marriage is the family, the whole question resolves itself into not eating more than one can digest, and not having more wives or husbands than are needed for the family – that is, one wife or one husband. Natasha needed a husband. A husband was given her and he gave her a family. And she not only saw no need of any other or better husband, but as all the powers of her soul were intent on serving that husband and family, she could not imagine and saw no interest in imagining how it would be if things were different. (Epilogue.1.10.6-14)
This is a nice contrast to the previous quote. What do you think about this theory of love – that the point isn't romance for its own sake, but to create a family? Is there something appealing about this idea? This may explain why the book extends into the marriages and parenting lives of the characters, rather than just ending with a big happy wedding like most 19th century novels. (And it's still the case in most modern romantic comedies and other movie genres.) Instead of the false finality and satisfaction of a wedding, we get the messier, more demanding, and much more realistic description of what happens afterwards.
Quote #10
From the time that Pierre began life as a family man on a footing entailing heavy expenditure, he had noticed to his surprise that he spent only half as much as before, and that his affairs – which had been in disorder of late, chiefly because of his first wife's debts – had begun to improve.
Life was cheaper because it was circumscribed: that most expensive luxury, the kind of life that can be changed at any moment, was no longer his nor did he wish for it. He felt that his way of life had now been settled once for all till death and that to change it was not in his power, and so that way of life proved economical. (Epilogue.1.12.12-13)
This ties in interestingly with the previous quotation. If the point of romantic love is family, then it makes sense that society is organized in a way that makes family life more economically efficient than bachelorhood. On the other hand, this kind of contradicts our notion that it's expensive to raise a family. Why might a single guy spend more?