with Dólokhov in front of the orchestra partition, looking at the Rostóvs’ box. Natásha knew he was talking about her and this afforded her pleasure. She even turned so that he should see her profile in what she thought was its most becoming aspect. Before the beginning of the second act Pierre appeared in the stalls. The Rostóvs had not seen him since their arrival. His face looked sad, and he had grown still stouter since Natásha last saw him. He passed up to the front rows, not noticing anyone. Anatole went up to him and began speaking to him, looking at and indicating the Rostóvs’ box. On seeing Natásha Pierre grew animated and, hastily passing between the rows, came toward their box. When he got there he leaned on his elbows and, smiling, talked to her for a long time. While conversing with Pierre, Natásha heard a man’s voice in Countess Bezúkhova’s box and something told her it was Kurágin. She turned and their eyes met. Almost smiling, he gazed straight into her eyes with such an enraptured caressing look that it seemed strange to be so near him, to look at him like that, to be so sure he admired her, and not to be acquainted with him.
In the second act there was scenery representing tombstones, there was a round hole in the canvas to represent the moon, shades were raised over the footlights, and from horns and contrabass came deep notes while many people appeared from right and left wearing black cloaks and holding things like daggers in their hands. They began waving their arms. Then some other people ran in and began dragging away