Suddenly everybody stirred, began talking, and pressed forward and then back, and between the two rows, which separated, the Emperor entered to the sounds of music that had immediately struck up. Behind him walked his host and hostess. He walked in rapidly, bowing to right and left as if anxious to get the first moments of the reception over. The band played the polonaise in vogue at that time on account of the words that had been set to it, beginning: “Alexander, Elisaveta, all our hearts you ravish quite...” The Emperor passed on to the drawing room, the crowd made a rush for the doors, and several persons with excited faces hurried there and back again. Then the crowd hastily retired from the drawing room door, at which the Emperor reappeared talking to the hostess. A young man, looking distraught, pounced down on the ladies, asking them to move aside. Some ladies, with faces betraying complete forgetfulness of all the rules of decorum, pushed forward to the detriment of their toilets. The men began to choose partners and take their places for the polonaise.
Everyone moved back, and the Emperor came smiling out of the drawing room leading his hostess by the hand but not keeping time to the music. The host followed with Márya Antónovna Narýshkina; then came ambassadors, ministers, and various generals, whom Perónskaya diligently named. More than half the ladies already had partners and were taking up, or preparing to take up, their positions for the polonaise. Natásha felt that she would be left with her mother and Sónya among a minority of women who crowded near the wall, not having been invited to dance. She stood with her slender arms hanging down, her scarcely defined bosom rising and falling regularly, and with bated breath and glittering, frightened eyes gazed straight before her, evidently prepared for the height of joy or misery. She was not concerned about the Emperor or any of those great people whom Perónskaya was pointing out—she had but one thought: “Is it possible no one will ask me, that I shall not be among the first to dance? Is it possible that not one of all these men will notice me? They do not even seem to see me, or if they do they look as if they were saying, ‘Ah, she’s not the one I’m after, so it’s not worth looking at her!’ No, it’s impossible,” she thought. “They must know how I long to dance, how splendidly I dance, and how they would enjoy dancing with me.”
The strains of the polonaise, which had continued for a considerable time, had begun to sound like a sad reminiscence to Natásha’s ears. She wanted to cry. Perónskaya had left them. The count was at the other end of the room. She and the countess and Sónya were standing by themselves as in the depths of a forest amid that crowd of strangers, with no one interested in them and not wanted by anyone. Prince Andrew with a lady passed by, evidently not recognizing them. The handsome Anatole was smilingly talking to a partner on his arm and looked at Natásha as one looks at a wall. Borís passed them twice and each time turned away. Berg and his wife, who were not dancing, came up to them.
This family gathering seemed humiliating to Natásha—as if there were nowhere else for the family to talk but here at the ball. She did not listen to or look at Véra, who was telling her something about her own green dress.
At last the Emperor stopped beside his last partner (he had danced with three) and the music ceased. A worried aide-de-camp ran up to the Rostóvs requesting them to stand farther back, though as it was they were already close to the wall, and from the gallery resounded the distinct, precise, enticingly rhythmical strains of a waltz. The Emperor looked smilingly down the room. A minute passed but no one had yet begun dancing. An aide-de-camp, the Master of Ceremonies, went up to Countess Bezúkhova and asked her to dance. She smilingly raised her hand and laid it on his shoulder without looking at him. The aide-de-camp, an adept in his art, grasping his partner firmly round her waist, with confident deliberation started smoothly, gliding first round the edge of the circle, then at the corner of the room he caught Hélène’s left hand and turned her, the only sound audible, apart from the ever-quickening music, being the rhythmic click of the spurs on his rapid, agile feet, while at every third beat his partner’s velvet dress spread out and seemed to flash as she whirled round. Natásha gazed at them and was ready to cry because it was not she who was dancing that first turn of the waltz.
Prince Andrew, in the white uniform of a cavalry colonel, wearing stockings and dancing shoes, stood looking animated and bright in the front row of the circle not far from the Rostóvs. Baron Firhoff was talking to him about the first sitting of the Council of State to be held next day. Prince Andrew, as one closely connected with Speránski and participating in the work of the legislative commission, could give reliable information about that sitting, concerning which various rumors were current. But not listening to what Firhoff was saying, he was gazing now at the sovereign and now at the men intending to dance who had not yet gathered courage to enter the circle.
Prince Andrew was watching these men abashed by the Emperor’s presence, and the women who were breathlessly longing to be asked to dance.
Pierre came up to him and caught him by the arm.
“You always dance. I have a protégée, the young Rostóva, here. Ask her,” he said.
“Where is she?” asked Bolkónski. “Excuse me!” he added, turning to the baron, “we will finish this conversation elsewhere—at a ball one must dance.” He stepped forward in the direction Pierre indicated. The despairing, dejected expression of Natásha’s face caught his eye. He recognized her, guessed her feelings, saw that it was her début, remembered her conversation at the window, and with an expression of pleasure on his face approached Countess Rostóva.
“Allow me to introduce you to my daughter,” said the countess, with heightened color.
“I have the pleasure of being already acquainted, if the countess remembers me,” said Prince Andrew with a low and courteous bow quite belying Perónskaya’s remarks about his rudeness, and approaching Natásha he held out his arm to grasp her waist before he had completed his invitation. He asked her to waltz. That tremulous expression on Natásha’s face, prepared either for despair or rapture, suddenly brightened into a happy, grateful, childlike smile.
“I have long been waiting for you,” that frightened happy little girl seemed to say by the smile that replaced the threatened tears, as she raised her hand to Prince Andrew’s shoulder. They were the second couple to enter the circle. Prince Andrew was one of the best dancers of his day and Natásha danced exquisitely.
Her little feet in their white satin dancing shoes did their work swiftly, lightly, and independently of herself, while her face beamed with ecstatic happiness. Her slender bare arms and neck were not beautiful—compared to Hélène’s her shoulders looked thin and her bosom undeveloped. But Hélène seemed, as it were, hardened by a varnish left by the thousands of looks that had scanned her person, while Natásha was like a girl exposed for the first time, who would have felt very much ashamed had she not been assured that this was absolutely necessary.
Prince Andrew liked dancing, and wishing to escape as quickly as possible from the political and clever talk which everyone addressed to him, wishing also to break up the circle of restraint he disliked, caused by the Emperor’s presence, he danced, and had chosen Natásha because Pierre pointed her out to him and because she was the first pretty girl who caught his eye; but scarcely had he embraced that slender supple figure and felt her stirring so close to him and smiling so near him than the wine of her charm rose to his head, and he felt himself revived and rejuvenated when after leaving her he stood breathing deeply and watching the other dancers.
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