#war and peace part i: andrei bolkonsky

[orlaite]

WAR AND PEACE | война и мир dir. Sergey Bondarchuk PART I: ANDREI BOLKONSKY (1966)

[sneakydraws]

today i bring you another installment of real housewives of st. petersburg. tomorrow? who knows

[anotherfandomtrash]

SIX the musical but it’s Kuragins messing everything up as ghosts

[lalaboy]

everyone's SPECIAL little guy

[melinoyart]

i'm on yet another flight, i haven't slept since tuesday, and i no longer care if i alienate my entire audience so fuck it here's my magnum opus

HOTD Characters and their War and Peace Equivalents

Alicent - Andrei Bolkonsky

never been happy not even for a minute. lose their religion through a series of horrific events. bad marriages caused in no small part by the fact that they're gay and in love with their best friends. look at the sky one time and realise the war raging around them is meaningless and love is what life is truly about.

Rhaenyra - Count Rostopchin

my friend said this as a joke once and i haven't been able to stop thinking about it. chronically indecisive until they finally make a decision and it's emphatically not the correct one, fuck up massively at work one time and have to flee the city because of a baying mob, blamed for fire and destruction on an almost inconceivable scale but it was sort of inevitable anyway.

Aegon - Anatole Kuragin

start out as insufferable hedonists. fuck their sisters. like wearing a soldier's uniform but the whole 'fighting a war' thing is really cramping their style. become grievously injured and the things they say afterwards make you think oh this sucks actually maybe the human soul is redeemable whatever a person's past.

Viserys - Ilya Rostov

well-meaning and very very stupid. daughters who know what they want in life and what they want in life is TO FUCK. help my son is bankrupting me. make zero contingency plans for the future and die at the worst possible moment leaving their families in ruins.

Jacaerys - Boris Drubetskoy

desperately want to be important but are ultimately footnotes in other people's stories. i'm a MAN now MOTHER. in love with cool hot women who they fumble because they promise to marry them and then proceed to make them wait indefinite and unreasonable periods of time by which point it's out of their hands.

Helaena - Maria Bolkonskaya

sweet and gentle and generally considered to be weird outcasts by those around them. their fathers' least favourite children. have intense special interests that drive other people away. a little detached from the world. even when it seems like something good has happened to them it turns out to just be a fresh horror.

Daemon - Feodor Dolokhov

men who should be on a list. in love with teenagers and throw hissy fits when they don't get their way with them. meddled in foreign politics and are now super popular at home. go through a profoundly life-altering experience and for a minute you think they've redeemed themselves but it turns out they've learnt nothing.

thank you for reading i spent far too much time on this.

[shakespereansonnet]

when will my husband return from the war? (I say, while reading through the parts of war and peace that andrei bolkonsky is effectively not in)

[myths-tournaments]

Awful Characters Round 1 Part 3 (4/8)

Propaganda under the cut!'

STARSCREAM

Literal war criminal. The more evil dude in Transformers, Megatron, gets more redemption stories than Starscream. You can’t fix him. But he was born alone in a wet-cardboard box okay.

The character ever! He’s a terrorist. He constantly tries to overthrow his leader. He’s the second-in-command of an army that does war crimes for fun. Every word out of his mouth is a lie. He’s pathetic. He’s just a silly little guy. He’s killed thousands. He’s IMMORTAL.

ANDREI BOLKONSKY

right so i may have seen some hateish??? for him??? i mean he's kind of a prick. a lot of a prick. especially to his late wife. and also doesn't take care of his kid that he had with said wife. we as fandom celebrate when he dies. I do personally like him tho. not sure why exactly, I just think he's funky (and also he isn't here)

[storkmuffin]

How many times is Andrei Bolkonsky going to be reported as dead and turn out not to be? He's really not as lovable or important to me as Tolstoy seems to think he is, so I really wish he would either shit or get off the potty with this one, now that I've had to encounter a second in-canon misreporting of his death in war.

(War and Peace, Vol 3, Part 3, Ch. XIV, where there's a reveal that the VIP wounded person brought into the Rostov household is Prince Andrew Bolkonsky)

[orlaite]

War and Peace (part I: Andrei Bolkonsky) (1966) Czech movie-poster by Jiří Stach

[sneakydraws]

Any Andrei x Anatole or Danatole drabble? *holds out spare change can*

*panics as my wallet (procreate file) opens and random coins and loyalty cards and stickers (risque war and peace art) fall to the ground* oh god oh fuck uhh

here's an old thing where i contemplated the possibility of andrei being caught off guard by anatoles moment of charm post hookup. i think i have like three more drawings of the same scene cuz andrei + hand kisses is just. yeah man

and an old danatole thing i found in the same file (dolokhovs design is so inaccurate by now lmao) uhh you are entitled to financial compensation if you recognise (and can read) the text lol

[alleyskywalker]

this might be blasphemy to a war & peace fan such as yourself (in which case, i apologise) but the only war & peace content i've come into contact with is the bbc mini series from 2016 and i was just wondering what you thought of that? i remember thoroughly enjoying it (i do love james norton, aneurin barnard, and callum turner), but i have no idea how faithful/good the adaptation is. i was just curious about your thoughts :)

Oh boy. Ok, well first, I'm really flattered that you're asking, honestly. I'm just one person with an opinion after all lol. But ok, if you're up for a longer read (and don't mind negative reviews too much) I did reaction/review posts as I watched. That will give you a pretty detailed overview of my thoughts, though mind that they're definitely coming from the POV of someone who loves the book and is watching an adaptation as an adaptation not it's own independent thing.

I was always so into the book that I really couldn't imagine how watching this show as an independent thing would feel. As an adaptation...I didn't hate it entirely? But it my second-to-last favorite adaptation, maaaybe tied with the 1970s BBC adaptation. The only one I like less is the 1950s US movie. (The ones I always recommend are the Soviet one, if you want something super faithful but don't mind something very is Very Clearly An Old Movie In Every Way or the 2007, which takes a lot more liberties but is relatively modern and fun as it's own thing, and I think is faithful in spirit and characterizations for the most part let's not talk about 2007 Anatole despite not always being super plot-faithful.)

The 2016 does have it's virtues I suppose, but everything I can think of, I can think of another adaptation that did it better. Faithfulness to plot isn't really it's problem, granted. It's actually quite faithful to actual plot points/beats and has some minor characters other adaptations skip (Boris, Berg). But it's baffling to me in its many instances of re-writing canon scenes that didn't need to be at all. The casting is very meh. The only actors I think fit their parts truly well from the major characters are the ones for Pierre, NIkolai (despite being blonde), Sonya and Marya. Granted, Middleton wasn't so much a badly cast Helene as just the part was poorly written and maybe directed. I like Turner and he's not a bad Anatole either, tbf, but again....this was not the right casting decision, especially when you have Norton as Andrei Bolkonsky. But it's not just the casting. The characterizations also often felt off in a really weird way that can be hard to articulate and describe overall??

The pacing was way too fast. Let's not talk about the costumes.

hnjdgl So yea tl;dr: it's not the worst thing I've seen and if I hadn't read the book I'd probably enjoy it fine, but as an adaptation, while hitting a lot of plot points and being relatively accurate in terms of those, it leaves a lot to be desired imo.

[madwickedawesome]

So basically the plot is based on one section of War and Peace, where Natasha Rostova and her best friend (who she calls cousin) Sonya Alexandrova go to Moscow + live with Natasha's godmother Marya Dmitrievna. I'm going to vague some character relations so you know who they all are to each other because I understand how it can be confusing hsjdjsfjsk.

Natasha is engaged to Andrei Bolkonsky, who is currently away fighting in the war. Andrei is close friends with Pierre (you know pierre). Pierre is unhappily married to Hélène Kuragina, who is sister to Anatole Kuragin. Anatole, Fedya Dolokhov and Pierre are friends. Andrei's sister is Mary, and his father is Prince Bolkonsky. Sorry this is probably really confusing HELP

But yeah it's pretty centric around Natasha, Pierre and Anatole and their part of the plot. I'm not going to like. Spoil the entire story but if you're having a hard time working out a certain part!! I can help!!!!

NO THAT MAKES SO MUCH MORE SENSE THANK U 😭😭😭😭😭 i think ir was the relationships that was throwinf me off just. so bad. also i love the (you know pierre) i feel like ive been given a little medal i do know pierre!!!!!!!!!!!!!!!!!!!!

[byneddiedingo]

War and Peace (Sergey Bondarchuk, 1966)

Cast: Sergey Bondarchuk, Lyudmila Saveleva, Vyacheslav Tikhonov, Boris Zakhava, Anatoli Ktorov, Antonina Shuranova, Viktor Stanitsyn, Kira Golovko, Oleg Tabakov, Sergei Yermilov, Irina Skobtseva, Vasili Lanovoy, Vladislav Strzhelchik. Screenplay: Sergey Bondarchuk, Vasiliy Solovyov, based on a novel by Leo Tolstoy. Cinematography: Yu-Lan Chen, Anatoliy Petritskiy, Alexsandr Shelenkov. Production design: Mikhail Bogdanov, Aleksandr Dikhtyar, Said Menyalshchikov, Gennady Myasnikov. Film editing: Tatyana Likachyova. Music: Vyacheslav Ovchinnikov. No film adaptation of a great novel is going to satisfy admirers of that novel. The best we can hope for is a work that stands on its own, that supplies cinematic equivalents for some of the achievements of the prose work. But War and Peace, with its epic battles and accounts of the social lives and romantic entanglements of 19th-century Russians, cries out for filming on the grand and glamorous scale. And few films have assumed a grander scale than Sergey Bondarchuk's seven-hour-long version of Tolstoy's novel, particularly those moments when the camera soars away from the heat of the battle into what seems like the high heavens, or when it sails above the dancers at Natasha's first ball. But I've read the novel several times, and the best I can say, watching Bondarchuk's film again, is that his version is a magnificent failure. We get great gulps of the source material, sometimes in voiceover narration, and the performers are apt embodiments of the characters I see in my mind's eye as I read the book. But no film can capture the interiority of the novel, the psychological insights that make Prince Andrei, Natasha, and especially Pierre into people we feel like we know. Bondarchuk tries to supply some of this with voiceovers in which the characters speak their inner thoughts, but only succeeds in blurring the focus: The voiceovers are distractions from the drama that should be unfolding through action and dialogue. That said, watching the film over four successive nights is a unique experience. Part I: Andrei Bolkonsky The longest of the four parts of War and Peace, Andrei Bolkonsky is the expository vehicle, introducing the three major characters, though it gives the lion's share of exposition to the two men, Andrei ( Vyacheslav Tikhonov) and Pierre (Sergey Bondarchuk). Natasha (Lyudmila Saveleva), still a little girl, virtually bursts into the film when she flings open a door in a brilliant flash of light, but the narrative concentration is on the youthful indecision of Pierre and on Andrei's unhappy marriage. Why he's so unhappy with the pretty, pregnant Lise (Anastasiya Vertinskaya) is never made clear in the film -- and not much clearer in the book, other than that he's a man who hasn't found a direction in his life. Neither has Pierre, to be sure. He's still spending his time with boisterous companions. Vyacheslav Tikhonov and Bondarchuk are too old to be playing these characters -- Tikhonov was in his late 30s and Bondarchuk in his mid-40s -- but the war and the death of Andrei's wife allow Tikhonov to assume maturity swiftly, whereas Bondarchuk is stuck playing the naïf, railroaded into marriage with Hélène (Irina Skobtseva) and later into a foolish duel with Dolokhov (Oleg Efremov). Part II: Natasha Rostova Lyudmila Saveleva is an exquisite Natasha, but I think Bondarchuk does the character a disservice by not allowing her more time to fall into the clutches of Kuragin (Vasili Lanovoy). Tolstoy's novel delineates the gradual stages of Kuragin's seduction and Natasha's yielding to him. It also makes more clear that Kuragin really does fall in love with her -- as who wouldn't? The ball is the spectacular set piece of the installment, and the camera dances along with the people. Andrei's father (Anatoli Ktorov) is the real villain of the story, and I wish we had more of the torture he inflicts on his daughter, Maria (Antonina Shuranova), and on her retreat into religion to bolster the depiction of the old man's cruelty. But as Bondarchuk has chosen to eliminate the very interesting (but not essential) story of Nikolai Rostov's (Oleg Tabakov) throwing over his cousin Sonya (Irina Gubanova) for Maria, there doesn't really need to be much development of the character. Too bad, because Shuranova does a fine job with what's left of Maria in the film -- like Tolstoy's Maria, she really does have beautiful eyes, but unlike her, she could never be considered "ugly." Bondarchuk has also cut, perhaps wisely, Pierre's involvement with the Freemasons, which takes up many of the less interesting pages of Tolstoy's book. Part III: The Year 1812 There are no more spectacular battle scenes than the ones in this film, and probably never will be, even now that we have CGI to supplant the thousands of extras and borrowed Soviet soldiers that Bondarchuk employed for the film. I think the thunder and carnage of war is made more impressive by the presence of Pierre, immaculately garbed, with a white top hat, absurdly stumbling around as the soldiers go about their terrible business. As the narrator puts it, "On June 12, the forces of Western Europe crossed the frontiers of Russia and war began. In other words, an event took place that was contrary to all human reason and human nature." Bondarchuk pulls out all stops in proclaiming the love of Mother Russia that animates the soldiers, but when the icon of the Holy Mother of Smolensk is brought out for mass adoration, I was ironically reminded of the scene in Sergei Eisenstein's The Old and the New (1929) in which a procession of Orthodox clergy comes out to pray for rain and is mocked by cuts to images of bleating sheep. Clearly, much had changed in the treatment of religion in the Soviet Union by the time Bondarchuk made War and Peace. This part does end on a rather heavy-handed patriotic sermon, which I suspect may have been inserted to placate the censors. Part IV: Pierre Bezukhov There is something rushed and jumbled about the concluding part of Bondarchuk's epic, which is forced to wind up the stories of Andrei and Natasha as well as concentrate on the burning of Moscow, the retreat of the French, and Pierre's imprisonment and release. This leaves little time for Tolstoy's epilogue, in which Pierre and Natasha wed and start a family, as do the mostly absent Nikolai and Maria. The coincidence of Pierre's rescue and Petya's (Sergei Yermilov) death feels particularly rushed: I wonder if anyone who hasn't read the book recently will even be able to follow the action. But we are also spared much of the interaction of Pierre and Platon Karataev (Mikhail Khrabrov), one of Tolstoy's founts of peasant wisdom, which even on the page tends toward mawkish sentimentality. There are still some enormously effective scenes. The burning of Moscow puts the burning of Atlanta in Gone With the Wind (Victor Fleming, 1939) to shame -- which may have been Bondarchuk's intent. The execution of prisoners by the French is movingly staged, as is the fate of the retreating French soldiers, summed up on one last spectacular overhead shot as the ragged and freezing French stream toward a huge circle around the fire.

[crackspinewornpages]

War and Peace 10/198 -Leo Tolstoy

(the Princess Alexandra translation)

PART FIRST 

1 

1805, war in Europe has been on and off for thirteen years, now there is uneasy peace. European monarchs that overthrew the Bourbon king had no success against Napoleon, Britain is at war with France, Russia and Austria withdrew. Napoleon executed the Bourbon heir, Due d’Enghien and crowned himself emperor, while royal courts scoffed, he expanded his empire, annexes the republics of Liguria and Lucca and prepares to invade England. “The European powers, fearful of losing their own territories, think once more of war.”p.1 (the Princess Alexandra translation gives a brief summary of what’s going on time wise and I thank her for the slight context I might not be well versed in European history but it’s nice to have an inkling of what’s politically going on) 

A warning that if they aren’t warned they will be at war, if they still condone all of the atrocities of the antichrist Napoleon, they will de disowned, now tell about it. Anna Pavlovna Scherer greeted Prince Vasili Kuragin as he arrived at the reception. (it’s like a little get together) Vasili greeted Anna and asked her how her cough was, Anna asked how one can be well these days. Vasili can't stay as the English ambassador’s reception wasn’t cancelled, he says if they’d knew, they would have cancelled it for her. (Anna Pavlovna is like a celebrity socialite) She predicts the Viscount de Montemort connected to the Montmorencys and profound Abbe Morio will arrive. 

Vasili asked the chief object of his visit, if the dowager empress wants Baron Funke to be first secretary of Vienna, in his opinion he is wretched and he wants his own son to have it. Anna says Funke was recommended by the dowager empresses' sister. Anna was devoted to the empresses and would slap Vasili to speak ill of someone even connected to her. She changes the subject to his daughter, how unfair good things in life are distributed, like his children, he calls both his sons imbeciles, Ippolit an idiot and Anatol a nuisance. Anna suggests a wife, princess Bolkonsky, Vasili bemoans all the money he spends on Anatol and asks if the princess is rich, her father is stingy, but he can talk to her brother later this evening. Vasili asks for her to arrange it and he’ll be her faithful slave. (right out the gate with political monetary match making) 

2 

The higher society of Petersburg filled Anna’s drawing room, “people most widely differing in age and in character, but alike in that they all belonged to the same class of society.”p.4 Vasili’s daughter, Helene, was there and Ippolit, Montermort and Abbe Morio were also there and Princess Lisa Bolkonsky. After Lisa Bolkonsky arrived then came the illegitimate son of Count Bezukhof, and this was his first appearance in society, Pierre had yet to enter the service. The conversation picked up and Anna watched Pierre who watched the crowd, looking for something intellectual, “He stood waiting a chance to air his opinions, as young men are fond of doing.”p.5 (this has not changed) 

Montemort’s circle was discussing Duc d’Enghien’s murder, Anna asked for his account and calls over Helene who was admired for her beauty. (Prince Derek: “What else is there?”) Montemort gave his anecdotes that upon running into Duc d’ Enghien he threw a fit and avenged himself for it by having the duke killed. Prince Andrei Bolkonsky entered and found everyone in the room a bore, especially his wife. (douche) Anna asks if he’s getting ready for war, General Kutuzof wants him as his aide-de-camp and Lisa will go to the country. (she’s pregnant) Lisa tried to get his attention, but he turned away and took Pierre by the arm and will go to supper with him, as they attempt to leave, they catch sight of Helene. Vasili told Anna to train Pierre for him, he’s been living at his house for a month, this is his first time in society, and nothing will be more advantageous for a young man than a clever woman. (if only there was one at the party) 

3 

An elderly woman caught up to Vasili and asks about her son Boris, she can't stay in Petersburg. Vasili reluctantly listens to her, she will pay to have him put in the Guards, he says it will be hard to appeal to the emperor, try Prince Galitsin Sar Rumyontsof. The old woman was Princess Anna Mikhailovna Drubetskoy, but she was poor and lost connections. (these are really the only things of value in high society your money and the friends you have because of it) He tells Vasili she never asked anything of him before but now begs in God’s name for him to do this Galitsin already refused. “Now influence in society is a capital which has to be economized lest it be exhausted.”p.8 Vasili knew that if he asked favors for everybody he’d have none left for himself, but Princess Drubetskoy’s appeal made him feel a pang of conscience, he owed her father for his career advancement and felt she was one of these women who got an idea in their heads and wouldn’t let it rest until their desires were met. He relents and will have her son admitted to the Guards, she also wants her son to be aide-de-camp to Kutuzof, he can't do that, so Princess Drubetskoy returned to the party.  

Viscount says if Napoleon remains on the throne another year French society will be destroyed. Pierre has heard that nearly all nobility has sided with him, the Viscount denies it after he murdered the duke, Pierre thinks it was a necessity. Pierre continues that since the Bourbons left the people are prey to anarchy, Napoleon is the only one to conquer it, he preserved the good and gained power for it. Viscount says if he used that power to restore the king he’d call him a great man. Pierre says his power was given by the people the Viscount believed the young man to be foolish, (well he’s not wrong there) after the revolution the people wanted freedom, Napoleon destroyed it. Anna Pavlovna was appalled at Pierre’s talk and asked how can a great man have someone executed without trial, Pierre smiled. Ippolit changed the conversation and told a story in broken Russian, it was incomprehensible why he told it but everyone was grateful for the clever way of stopping Pierre and the room broke up in other conversations. (yeah you’ll notice people have their Russian name and their French name and speak French because it’s fashionable at this time but political tensions are getting high between Russia and France) 

4 

The guests began to leave and congratulate Anna on her little party, Pierre was awkward, not knowing how to enter or leave a drawing room and his absentmindedness caused him to take someone else's hat but it was forgiven for his general simplistic goodness. (ok so Pierre is a simple socially awkward young man who’s easily influenced) Anna hoped to see him again and for him to change his opinions. “Opinions are opinions, and you can see what a good and noble young man I am.”p.12 Anna reminded Lisa about the potential match up of Anatol and her sister-in-law. She and Prince Ippolit, who wrapped a shawl around her as pretext for embracing her said it was a lovely evening and Ippolit waited for the Viscount who said the little Princess Lisa was charming. 

Pierre went to Andrei’s room, making himself at home, after being schooled in an abbe for ten years his father told him to make his choice but he still hadn’t found a career. He tells Andrei there is war against Napoleon, if the war was for freedom he would join but it’s not good to go against the greatest man in the world. Andrei dismisses it as childish talk. “If all men made war only for their convictions there would be no war,”p.14 It would be splendid but will never be, he doesn’t know why he’s going to war besides his life here not being to his taste. (so you’re that bored of your high class rich lifestyle and you beautiful pregnant wife you’d rather go off to war just to feel something) 

5 

Andrei’s wife Lisa joins them wondering why Anna Pavlovna never married and calls the men stupid for not doing so, they don’t know how to talk to women. Pierre says he can't understand why Andrei wants to go to war, she doesn’t either, why men can't live without war, women don’t want it or need it, she doesn’t want to hear of it and dreads it all. The men are selfish to desert her and expect her not to be afraid. Then she demands to know why Andrie’s changed towards her, she keeps pressing and starts to cry, Pierre makes to leave but Andrei stops him saying Lisa wouldn't deny his pleasure of company, Lisa accuses him of only thinking of his own pleasure and leaves them. (I wanna smack some sense into Andrei) 

They went to have supper on new dinnerware, Andrei tells him to never get married, at least until he sees the woman for what she is, or it will be a mistake, wait until he's old or everything good about him will be thrown away, wasted in a drawing room. (remember this) His wife is lovely but he wishes he wasn’t married, he only tells Pierre this because he loves him. (if only you could show some love to your pregnant wife) He talked of Napoleon, he has a goal, nothing will stand between it, but tie yourself to a woman you are a prisoner, tormented with regrets in drawing rooms, women are nothing, so don’t marry. (you sound like the man version of I’m a strong independent woman and don’t need no man then get caught in crippling loneliness by forty) Pierre wondered how he could speak like this, he is everything Pierre is not, Andrei tries to change the subject to Pierre, but what is there, Pierre is a bastard without a name or money. (yeah Andrei literally has everything Pierre doesn’t yet he doesn’t appreciate any of it and is telling his friend it’s all shit) Andrei gives him advice, to stop going to Kuragins, living that life he doesn’t understand it, women and wine. (so they’re like hedonists) Pierre was living with Vasili Kuragin, seeing his son Anatol’s dissipated life and all this time living this life he hasn’t come to any decision, but this evening decided not to go and promises not to again. (we’ll see how long this lasts) 

6 

At two in the morning Pierre thought it would be fun to go to Kuragins and gamble, but he gave Andrei his word, he wanted to have one last taste, he made two promises and reasoned pledges were conditional, consider you might be dead the next day, so he went to Kuragins. The party was mostly over, deeper in the house he heard voices and a bear. They invited Pierre in and got him drunk Dolokhof and Stevens were making a wager, Dolokhof won almost every game he was in, but he lost his head when drunk. Anatol broke a window and had Pierre pull out the frame. Dolokhof wagers he can drink a whole bottle of rum in one go sitting in the window if someone joins him he’ll double it to a hundred sovereigns but he pulls away as an officer worried for Dolokhof. After half an hour he swayed backwards then swung the empty bottle at the Englishman. As they congratulate him Pierre says he’ll do it without a bet and they call him crazy and pull him from the window. Anatol announces he’ll deceive, him he’ll make a wager tomorrow and Pierre follows the party outside with the bear. (is this just what Russians do get drunk and party with a random bear)  

7 

Vasili fulfilled the promise to Anna Drubetskoy and Boris entered the Semeonovsky regiment as an ensign, but wasn’t made an aide to Kutuzof. After Anna Pavlovna’s party Anna Drubetskoy went to rich relatives, the Rostofs, who were celebrating Saints day. The Count welcomed people and invited them to dinner, Countess Rostof was tired of it all and declared the last would be Marya Karagina and her daughter. The conversation turned to the sick old Count Bezukhof and his illegitimate son Pierre whose made bad friends of Vasili’s son after taking a bear to the house of an actress. The gang was to be arrested but they tied an officer to the bear and threw them into the Moika river. Bezukhof has many bastards, but Pierre is his favorite, but as Vasili is the immediate heir on his wife's side the fortune could go to either one. There was a commotion in the drawing room and a thirteen-year-old girl ran out hiding something and a bunch of youths stood at the door. Natasha embraced her parents and showed them her doll Mimi, the older boy Boris offered to call his mother a carriage and fetch Natasha who ran off laughing. 

8 

Only Nikolai and their cousin Sonya remained in the room and the conversation turns to the potential war, Boris is following his friend into it but Nikolai says it's not friendship he’s just drawn to war, he’s not good for anything else then they talk of Napoleon. “How much suffering, how much trouble, must we experience before we can have some joy in them! And even now! Truly there's more sorrow than joy. One is always filled with anxiety, always on the alert! This is the age when there are so many perils both for young girls and for boys.”p.30 (damn if you don’t feel this now) At least the Countess has a good relationship with her children, Natasha even tells her of her time with Boris and admits she spoils her while being strict with her eldest Vera. 

9 

Natasha waited for Boris to follow her and hid and watched as Nikolai ran into a crying Sonya, he kissed her when they left she called for Boris and asked him to kiss her. He called her absurd but couldn’t make up his mind, she went to do it, but he said to wait five years to marry at sixteen. (pay attention to this) The Countess was tired of receiving guests and ordered no more wanting to speak to her old friend, Anna Mikhailovna Drubetskoy and has her daughter Vera leave. She passes the two young couples and scolds her siblings, her brother for taking her inkpot and sister for running into the middle of a party. Natasha asks what does she have to worry about of their relationship, they don’t meddle between her and Berg, what does she know, she’s never loved anyone. (middle school girls are merciless) Vera threatens to tell their mother of her and Boris and the couples had enough and leave for the nursery, calling her Madame de Genlis. (she was a French noblewoman writer and educator I don’t see how this is an insult) 

The Countess told Anna her life isn’t rose colored even the country isn't restful, how can she manage it all alone in Moscow and Petersburg. Anna hopes she doesn’t know what it's like as a window without a protector. The Countess asks who she appealed to for Boris, Vasili ,same as he’s always been but it’s all she can do as her unlucky lawsuit ate up her money and doesn’t know how she can get his uniform, she hopes Count Bezukhof will help his godson. The Countess says he may leave him something, Anna says rich men are selfish, but she has to see him, her son’s fate depends on it. The Count says that it’s better to ask Pierre to come over. 

10 

In the carriage Anna tells her son to be considerate, be nice as he can, he only expects humiliation, but he’ll try for her sake. The doorman noticed their shabby clothes (how shabby could they be they aren’t threadbare are they if anything they’re last year’s style) and told them Count Bezukhof couldn’t take visitors, Anna pleaded that she is a relative, the doorman calls the footman to lead them. Vasili dismisses the doctor and greets them and Boris answers his questions without resentment. The Count’s prognosis has little hope, Anna tried to reassure him she's not a rival for inheritance and he knew he would have difficulty getting rid of her and tells her to wait until evening when the doctors expect a crisis, she can't wait. A sour faced niece enters and says it's not good, with a victorious attitude Anna tells Boris while she sees the Count go find Pierre and invite him to the Rostofs and Vasili is only too happy to have him off his hands as the Count hasn’t once asked for him.

NEXT

[the-queer-classic-lit-ship-ever]

matchups under cut! expect lots of crack and crossovers and one particular dude???? (we didn't scan ships btw there were a lot and we were tired :c i know nothing)

part a

les amis de l'abc (les miserables) vs tsar alexander/napoleon bonaparte (war and peace)

geraldine/christabel (christabel) vs houzarde/flechard (ninety-three)

joly/bossuet/musichetta (les miserables) vs jekyll/lanyon (jekyll and hyde)

rodion raskolnikov/dmitri razumikhin (crime and punishment) vs myshkin/nastasya/rogozhin/aglaya (the idiot)

frog/toad (frog and toad) vs lysander/demetrius (a midsummer night's dream)

duncan/macbeth (macbeth) vs perry smith/dick hickock (in cold blood)

dorian gray/basil hallward/henry wotton (the picture of dorian gray) vs macbeth/lady macbeth (macbeth)

jia baoyu/lin daiyu (dream of the red chamber) vs eponine thenardier/marius pontmercy/cosette fauchelevent (les miserables)

eugenie/louise (the count of monte cristo) vs anne shirley cuthbert/gilbert blythe (anne of green gables)

rosencrantz/guildenstern (hamlet and rosencrantz and guildenstern are dead) vs macbeth/macduff (macbeth)

sebastian/charles (brideshead revisited) vs the tell-tale heart/the raven (the corresponding edgar allan poe things)

the tinman/the scarecrow (wizard of oz) vs iago/roderigo (othello)

tom buchanan/jay gatsby (the great gatsby) vs jane/rochester (jane eyre)

antonio/sebastian (twelfth night and/or the tempest) vs andrei bolkonsky/the lofty sky (war and peace/real life?)

dracula/jonathan harker (dracula) vs grantaire/alcohol (les miserables/real life)

maria/sir toby belch (twelfth night) vs lorenzo/jessica (the merchant of venice)

part b

arthur holmwood/jack seward (dracula) vs andrei bolkonsky/enjolras (war and peace/les miserables)

bohun/skrzetuski (with fire and sword) vs catherine/eleanor (northanger abbey)

eponine thenardier/cosette fauchelevent (les miserables) vs buttercup/westley (the princess bride)

pyotr verkhovensky/nikolai stavrogin (demons) vs jane/helen (jane eyre)

andrei bolkonsky/pierre bezukhov (war and peace) vs algernon moncrieff/ernest (jack) worthing (the importance of being earnest)

romeo/juliet (romeo and juliet) emma bovary/happiness (madame bovary)

andrei bolkonsky/speransky (war and peace) vs miles/ginger (vile bodies)

andrei bolkonsky/anatole kuragin (war and peace) vs elizabeth bennett/fitzwilliam darcy (pride and prejudice)

tybalt capulet/montparnasse (romeo and juliet/les miserables) vs christine daae/meg giry (the phantom of the opera)

marius pontmercy/enjolras (les miserables) vs henry clerval/victor frankenstein (frankenstein)

fyodor dolokhov/anatole kuragin (war and peace) vs gerald croft/eric birling (an inspector calls)

sir toby belch/sir andrew aguecheek (twelfth night) vs heathcliff/catherine earnshaw (wuthering heights)

athos/aramis/pothos/d'artagnan (3 musketeers) vs emma woodhouse/george knightley (emma)

tullus aufidius/coriolanus (coriolanus) vs fortunato/montresor (the cask of amontillado)

elizabeth bennett/emma woodhouse (pride and prejudice/emma) vs ishmael/queequeg (moby-dick)

ebenezer scrooge/jacob marley (a christmas carol) vs john watson/sherlock holmes (sherlock holmes)

part c

nick carraway/jay gatsby (the great gatsby) vs dorian gray/basil hallward (the picture of dorian gray)

orestes/pylades (greek mythology) vs helene kuragina/natasha rostova (war and peace)

nikolai rostov/tsar alexander (war and peace) vs hamlet/laertes (hamlet)

gilgamesh/enkidu (the epic of gilgamesh) vs maurice hall/clive (maurice)

polonius/the curtain (hamlet) vs benedick and beatrice (much ado about nothing)

ahab/starbuck (moby-dick) vs jonathan/david (the old testament)

fantine/sister simplice (les miserables) vs romeo montague/edmund of gloucester (romeo and juliet/king lear)

jean valjean/javert (les miserables) vs cyrano de bergerac/roxane/christian (cyrano de bergerac)

enjolras/courfeyrac/combeferre (les miserables) vs samwise gamgee/frodo baggins (lord of the rings)

john roxton/edward malone (professor challenger) vs romeo montague/tybalt capulet (romeo and juliet)

saint-just/robespierre (the danon case) vs sampson/gregory (romeo and juliet)

desdemona/emilia (othello) vs penelope/circe (the odyssey)

erik/raoul de chagny/christine daae (the phantom of the opera) vs fortinbras/horatio (hamlet)

horatio/benvolio montague/combeferre (hamlet/romeo and juliet/les miserables) vs the bear from war and peace/the bear from the winter's tale (what do you think. genuinely. /lh)

odysseus/diomedes (the odyssey) vs lord capulet/lord montague (romeo and juliet)

aramis/athos (the 3 musketeers) vs antonio/bassanio (the merchant of venice)

part d

benvolio montague/mercutio (romeo and juliet) vs mephistopheles/faustus (doctor faustus)

marius pontmercy/napoleon bonaparte (les miserables) vs rosencrantz/guildenstern/hamlet (hamlet)

mina harker/lucy westenra (dracula) vs violacesario/olivia (twelfth night)

horatio/laertes (hamlet) vs macbeth/banquo (macbeth)

gregor samsa/therapy (the metamorphosis) vs lancelot/arthur/guinevere (arthurian legend)

enjolras/laertes/france (les miserables/hamlet/real life) vs benvolio montague/tybalt capulet/mercutio (romeo and juliet)

arthur holmwood/quincey morris/jack seward (dracula) vs orsino/olivia/violacesario (twelfth night)

eugene onegin/vladimir lenski (eugene onegin) vs jonathan harker/mina harker (dracula)

hamlet/horatio (hamlet) vs malvolio/feste (twelfth night)

malcolm/macduff (macbeth) vs lorenzo/gratiano (the merchant of venice)

enjolras/grantaire (les miserables) vs rebecca/mrs danvers (rebecca)

elizabeth bennet/caroline (pride and prejudice) vs maurice hall/alec scudder (maurice)

brutus/cassius (julius caesar) vs tybalt capulet/paris (romeo and juliet)

puck/titania/oberon (a midsummer night's dream) vs louis/lestat (the vampire chronicles)

marya bolkonskaya/julie karagina (war and peace) vs jack seward/quincey morris (dracula)

raoul de chagny/erik (the phantom of the opera) vs benedick/claudio (much ado about nothing)

the bracket is here!!!!!!!

full matchups in rb :)

[thalassous]

well, brothers, that's it for us! (tolstoy, I.III.XVI)

[ ID: Six, digital, fully rendered full-bodies of Nikolai Rostov, Vasily Denisov, Alphonse Berg, Fyodor Dolokhov, Boris Drubetskoy, and Andrei Bolkonsky. The background is yellow, and every character is a shade of blue. They are all walking at various speeds, with Nikolai running at the front. END ID ]