War and Peace · Character
Natásha Rostóva
The Rostovs' youngest daughter, all impatience and song, Natasha feels everything at full volume and hides among flower tubs to catch a first kiss.
major
Also known as Natásha, Countess Natásha, Nat√ ° sha
First appearance: VII
As a major figure in War and Peace, Natásha Rostóva is not background color—the story leans on what they do once the chapter opens.
Introduced as the 13-year-old youngest daughter of Count Ilyá Rostóv.
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In Dramatis Personae: Introduced as the 13-year-old youngest daughter of Count Ilyá Rostóv. Later, in Book I: Introduced as the vibrant, impulsive thirteen-year-old daughter of the Rostovs. Her name-day celebration…
In Dramatis Personae: Introduced as the 13-year-old youngest daughter of Count Ilyá Rostóv.
Later, in Book I: Introduced as the vibrant, impulsive thirteen-year-old daughter of the Rostovs. Her name-day celebration showcases her natural charm and youthful energy, a stark contrast to the calculated St. Petersburg society.
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See Natásha Rostóva in VIICharacter Web
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Relationship types
- Other
Character groups
- Group 1
- Group 7
- Peripheral Characters
+53 more in the full Character Web
Open in readerNarrative arc
Story tension across the book — this chapter sits in Exposition.
- Setup
- Escalation
- Breaking point
- Aftermath
- Closing
In this excerpt, the dramatic climax occurs when Pierre experiences a profound emotional and psychological pea…
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Follow the arc while readingIn the story
Natásha Rostóva appears across 308 companion beats. Open any chapter in the free preview to see the notes beside the text.
- Dramatis Personae
- Book I
- Chapter VI
- The Rostovs' Name Day
- Chapter XI
- Chapter XII
- Chapter XIII
- Chapter XIV
- +300 more
Dramatis Personae
Introduced as the 13-year-old youngest daughter of Count Ilyá Rostóv.
Book I
Introduced as the vibrant, impulsive thirteen-year-old daughter of the Rostovs. Her name-day celebration showcases her natural charm and youthful energy, a stark contrast to the calculated St. Petersburg society.
Chapter VI
Not present in the provided excerpts.
The Rostovs' Name Day
It is her name day. She is among the young people in the inner rooms, not receiving visitors.
Chapter XI
Celebrating her name day; full of life and infectious laughter; at the charming age between child and young woman.
Chapter XII
Described by the visitor as a 'little volcano.' Her mother reveals Natasha's youthful infatuation with Boris and her own permissive parenting style towards her.
Chapter XIII
Orchestrates the conservatory scenes, observes Nikolai and Sonya's intimate moment, then impulsively kisses Boris and secures a promise of future marriage, displaying youthful impulsivity and romantic idealism.
Chapter XIV
Shown in a happy, affectionate, and defensive mood with Boris. Accuses Vera of having no heart, highlighting her passionate nature.
Chapter XVIII
Beams with pleasure at receiving ruby earrings for her saint's-day; gazes adoringly at Borís across the table.
Chapter XIX
Displays reckless, joyous boldness by interrupting the entire dinner to demand to know the dessert, charming the guests with her childish high spirits.
XX
Consoles Sonya, displays her youthful joy and social confidence while dancing with Pierre, and leads the admiration for her father's dancing.
XXVI
NOT PRESENT. Do not include.
Farewells at Bald Hills
Not present in the chapter excerpts.
Chapter III
Not present in this chapter's excerpts.
The Stolen Purse
Not present in the provided excerpts.
Chapter V
Not present in the provided excerpts.
Chapter VIII
Not present in the provided excerpts.
Chapter IX
Not present in the chapter excerpts.
Chapter XV
Not present in this chapter.
The Battle Begins
Not present in this chapter.
Chapter XIX
Not present in the provided excerpts. No direct involvement in the events of this chapter.
After the Battle
Mentioned in Rostov's feverish dream as part of his memories of home and happiness.
The Suitors Arrive at Bald Hills
Not present in this chapter.
Chapter VI
Intuitively senses the secret about her brother, extracts the news from Anna Mikhaylovna, and shares a moment of tearful empathy with Sonya.
The Review at Olmütz
Not present in the chapter excerpts.
The Emperor's Presence
Not present in the excerpts.
The Council of War Before Austerlitz
Not present in this chapter.
Chapter XIII
Appears in Rostov's sleepy, associative thoughts ('Natásha… sister, black eyes…'), representing his connection to home and innocence.
Chapter XV
Not present in this chapter's provided excerpts.
The Standard and the Sky
Not present in this chapter's excerpts.
Nikolai's Homecoming
Ecstatic at her brother's return. She acts as an intermediary, conveying Sonya's wish to release Nikolai from his promise and declaring her own ambition to be a dancer.
Homecoming
Ebullient and overjoyed at her brother's return. She acts as an intermediary, explaining that she and Sonya have agreed Nikolai should be released from his promise. Declares her own ambition to be a dancer.
The Banquet for Prince Bagratión at the English Club
Not present at this event.
The Duel
Not present in the provided excerpts.
The Banquet for Prince Bagratión at the English Club
Not explicitly mentioned in the provided excerpts.
The Arrival
Not present in this chapter's provided excerpts.
VII
Not present in this chapter.
Rostov's Summer in Moscow and the Approach of War
Disapproves strongly of Dolokhov, arguing he is wicked and calculating, and correctly intuits his feelings for Sonya.
The Arrival
Not present in the provided excerpts.
Chapter XI
Acts as the messenger, triumphantly informing Nikolai of Dolokhov's proposal and Sonya's refusal. She asserts her certainty that Nikolai will not marry Sonya.
Iogel's Ball
Attends her first real ball in a long dress, is ecstatically happy and feels in love with everyone. Dances a memorable mazurka with Denisov.
Rostov in Moscow: Friendship, Family, and the Gathering Storm
Openly dislikes Dolokhov, arguing with Nikolai about his character and correctly intuiting his romantic interest in Sonya.
The Farewell Supper and the Card Game
Mentioned in Rostov's nostalgic thoughts of home and family bliss, which contrasts sharply with his current misery at the card table.
Chapter XI
Triumphantly reveals to Nikolai that Sonya has refused Dolokhov. She expresses her certainty that Nikolai will not marry Sonya, showing her intuitive understanding of the family dynamics.
Iogel's Ball
Attends her first real ball in a long dress, is ecstatically happy and feels in love with everyone. Dances a memorable mazurka with Denisov.
Chapter XV
In high spirits, deliberately ignores her brother's distress to preserve her own happiness, and sings with a fresh, moving voice that captivates everyone.
Chapter XVI
Receives and gently refuses Denisov's marriage proposal, caught between pity for him and her own youth.
Chapter XIII
Mentioned in Rostov's nostalgic vision of his happy family life, which contrasts sharply with his current predicament.
Chapter XV
Is in high spirits, oblivious to her brother's distress. She sings with a fresh, untrained voice that captivates everyone, including Nikolai, demonstrating her artistic sensibility and youthful joy.
Chapter XVI
Receives a marriage proposal from Denisov. She feels pity for him but refuses, showing a mix of youthful excitement and nascent maturity.
II
Not present in the chapter excerpts.
Part II: 1806–07
Continues to grow and develop within the Rostov household, embodying youthful vitality amidst the more somber adult concerns.
Chapter VIII
Not directly present, but her absence is felt through the memory of the little princess (Lise), whose tomb and angelic monument are mentioned as a poignant reminder.
Chapter VIII
Not present in this chapter's excerpts.
Chapter XIII
Not present in this chapter.
Chapter XV
Implied through Denisov's 'luckless love' for her, which Rostov senses has strengthened the bond of friendship between him and his commander.
Chapter XVI
Not present in this chapter.
Chapter XIII
Not present in the chapter excerpts.
Chapter XIV
Not present in the provided excerpts.
Chapter XVIII
Not present in the chapter.
Chapter XV
Implied as the object of Denisov's 'luckless love,' which Rostov senses has strengthened his bond with his commander.
Tilsit and the Meeting of Emperors
Not present in this chapter.
Chapter XVI
Not present in this chapter's excerpts.
The Meeting of the Emperors
Not present in the chapter excerpts.
Part III: 1808–10
Grows from a girl into a young woman, her vibrant energy and emotional depth becoming more pronounced.
Chapter XIX
Not present in the chapter excerpts.
I
Not directly present, but the themes of 'spring, love, happiness' that Andrei rejects are implicitly associated with her youthful sphere.
Prince Andrei at Otradnoe
Appears as a joyful, energetic girl running with friends; later, her ecstatic, poetic appreciation of the moonlit night overheard by Andrei embodies a vibrant, carefree spirit he finds captivating.
Part III: 1808–10
Grows from a girl into a young woman, her vibrant energy and emotional depth becoming more pronounced as she navigates adolescence.
Chapter II
The dark-haired girl whose carefree laughter and ecstatic appreciation of the moonlit night captivate Andrei, representing a world of youthful vitality alien to him.
Chapter XII
Now sixteen, she greets Boris with radiant warmth, her silent, intense scrutiny discomfiting him and revealing her complex feelings about their past promise.
Chapter XIII
Displays youthful exuberance and self-absorption. Confides in her mother about Boris, expressing a naive, non-committal affection. She views relationships through a childlike, imaginative lens, comparing men to colors and shapes.
Chapter XIV
In a fever of excitement for her first grand ball, directing preparations but causing delays, notably with her too-long skirt.
Chapter XV
Experiences overwhelming excitement and anxiety at her first grand ball; her natural, unpretentious demeanor is noted as becoming.
Chapter XII
Now sixteen, she greets Boris with radiant warmth. Her silent, intense scrutiny of him reveals her awareness of his changed status and her own lingering attachment, though she outwardly treats their past as a childish joke.
The Ball
Experiences the intense vulnerability and longing of her first ball, moving from despair to ecstatic happiness when Prince Andrei asks her to dance.
Chapter XIII
Reveals her youthful, impulsive, and introspective nature. She seeks her mother's counsel on her relationship with Boris, displaying a mix of childish playfulness (the knuckle-kissing game, color metaphors) and a dawning, inarticulate awareness of her own feelings and power. She sees herself as uniquely complex and misunderstood.
Chapter XVII
The radiant center of the ball, experiencing supreme happiness and innocence. Her joy and unconventional charm captivate Prince Andrei.
Chapter XIV
In a fever of excitement for her first grand ball; oversees the dressing, causes a delay with her long skirt, and is the center of the family's attention.
Chapter XVIII
Briefly remembered by Andrei as 'very charming' and possessing a fresh, original quality distinct from Petersburg society, but the thought does not linger.
Chapter XV
Experiences overwhelming excitement and nervousness at her first grand ball; her natural, unpretentious demeanor is noted as becoming.
Prince Andrei Visits the Rostovs
Welcomes Andrei, sings for him, and her vibrant spirit becomes the catalyst for his personal transformation.
The Ball
Experiences intense anxiety and then ecstatic joy at her first ball when Prince Andrei asks her to waltz, marking a pivotal personal and social moment.
Chapter XVII
Experiences pure, ecstatic happiness at the ball, captivating everyone with her joy and innocence. Her interaction with Andrei deepens their connection, and she naively perceives everyone as good and happy.
Chapter XXI
Transforms from a state of plain indifference to her radiant ballroom self when interacting with Prince Andrei, flushing and trying to master her breathing.
Chapter XVIII
Mentioned only in Andrei's passing recollection of the ball as 'very charming' and possessing a fresh, original quality, contrasting with the falseness he perceives in Petersburg society.
XXII
In a state of frightened, rapturous expectation, convinced her meeting with Andrei is fate. She confides her feelings to her mother.
Prince Andrei Visits the Rostovs
Welcomes Andrei, sings for him at his request, and her vibrant spirit becomes the catalyst for his inner transformation.
The Proposal and the Delay
Suffers anxiety during Andrei's absence, ecstatically accepts his proposal, but is crushed by the news of the year's wait, oscillating between profound happiness and despair.
The Engagement and Separation
Accepts the unusual engagement terms. She works to make Andrei feel at home in her family. After his departure, she falls into a profound, dry-eyed depression for a fortnight before recovering, morally changed.
Chapter XXI
Initially silent and plain, she is completely transformed by Andrei's attention, flushing with a rekindled inner fire. She is the subject of Véra's pointed conversation about her past suitors and capacity for constancy.
Chapter XXV
Referenced indirectly as the subject of a false betrothal rumor that Princess Marya firmly denies, stating she is not the kind of girl to please Andrei.
XXII
Spends the day in a state of frightened, happy expectation with Andrei. She confides in her mother, surprised by the strength of her feelings and convinced their meeting was fate.
Chapter XXVI
Mentioned as the subject of Andrei's engagement and the cause of the family conflict, though not physically present.
The Proposal and the Postponement
Suffers intensely during Andrei's unexplained absence, oscillating between despair and forced cheerfulness. She accepts his proposal with overwhelming joy but is devastated by the news of the year-long wait, seeing it as an 'awful' torment.
Part VI: 1810—11
Makes her society debut at her first grand ball, experiencing the thrill and anxiety of the event. Her natural grace and excitement captivate the attendees, particularly Prince Andrei.
The Engagement and Separation
Accepts the unusual engagement terms. She is proud, observant, and deeply in love. The separation devastates her, causing a temporary mental sickness from which she emerges changed.
I
Appears calm, dignified, and happy in her engagement to Prince Andrei. Defends the year-long delay, insisting it is necessary to marry with his father's blessing.
Chapter XXV
Mentioned indirectly as the subject of a false rumor about being betrothed to Prince Andrei. Marya strongly doubts this, believing Andrei will not remarry and that Natasha is not the kind to please him.
The Hunt
Insists on joining the hunt, demonstrating her decisive and spirited nature.
Chapter XXVI
Mentioned indirectly as the subject of Andrei's engagement and the cause of the Bolkonsky family conflict. Her impending marriage is the catalyst for the chapter's events.
The Wolf Hunt at Otrádnoe
Eagerly participates in the hunt, riding confidently. Her enthusiasm slightly clashes with the serious atmosphere, but she promises to stay in her place.
Part VI: 1810—11
Shows her spirited, intuitive nature during the hunt, feeling the excitement as keenly as the men, and is a central figure in the family's joyful domestic life.
I
Appears calm, dignified, and happy in her engagement to Andrei, defending the year-long delay imposed by his father.
The Hunt
Excitedly participates in the hunt, following her brother to prevent a conflict. Ilagin compliments her, comparing her passion and beauty to Diana.
VII
Deeply connects with Russian folk culture through dance and song at 'Uncle's' house. Experiences a moment of pure, contemplative happiness, though thoughts of Prince Andrei briefly intrude.
The Hunt
Insists on joining the hunt, demonstrating her spirited and decisive nature, overriding her brother's objections.
VIII
Experiencing depression and a sense of uselessness during the fourth month of separation from her betrothed, Prince Andréy.
The Wolf Hunt at Otrádnoe
Rides with eager confidence on her horse Arábchik, determined to participate in the serious business despite her youth and excitement.
Chapter IX
Restless and yearning for Prince Andrei; feels her life is being wasted and is horrified by the repetitive sameness of her family's existence.
V
Not present in the provided excerpts.
Christmas Festivities and Philosophical Musings
Leads the festive mood, engages in deep philosophical conversation about memory and the soul, sings beautifully, but has a volatile emotional outburst when startled.
The Hunt
Excitedly follows the chase, riding recklessly. Ilagin compliments her, comparing her passion and beauty to Diana.
Chapter XI
A favorite among the young Melyukovs, actively participating in the mumming and games, reacting with horror to the ghost story.
VII
Deeply connects with Russian folk culture through dance and song at 'Uncle's' house. Experiences a moment of pure, childlike happiness and reflects on her engagement to Prince Andrei.
Chapter XII
Overjoyed at Nikolai's decision regarding Sonya. Later, attempts mirror fortune-telling to see Prince Andrei, growing anxious when she fails and is disturbed by Sonya's fabricated vision.
VIII
Remains in love with Prince Andréy but grows depressed and feels useless during their prolonged separation.
Chapter XIII
Intervenes decisively to prevent a permanent rupture between Nikolai and their mother. She brokers a fragile reconciliation. Later, she grows impatient and agitated in Moscow, waiting for Prince Andrei and finding his letters vexing.
Chapter IX
Restless and yearning for Prince Andrei; wanders the house seeking distraction, tests her authority over the servants, and broods over memories, feeling trapped by the monotony of domestic life.
Part V: 1811–12
In a state of recovery and withdrawal from society after her broken engagement, deeply affected by her past actions.
Christmas Festivities and Philosophical Musings
Leads the festive mood, engages in profound philosophical talk about memory and the soul, sings beautifully, and displays intense emotional swings from joy to sudden tears.
I
Mentioned indirectly as the cause of Pierre's life change due to her engagement to Andrei.
Chapter XI
A favorite of the young Melyukovs, actively participating in the mumming and games. Reacts with horror to the ghost story.
II
Mentioned as the 'young Countess Rostova,' her name triggers the old prince's fury, complicating Andrei's marriage plans.
Chapter XII
Overjoyed at Nikolay's decision regarding Sonya. Later, attempts and then urges Sonya to perform a mirror fortune-telling ritual, anxiously hoping for a vision of Prince Andrei.
Chapter XIII
Intervenes decisively to prevent a complete rupture between Nikolai and their mother. Later grows agitated and impatient during her separation from Prince Andrei, finding his letters vexing.
Part V: 1811–12
Her life and experiences as she grows from a girl into a young woman during this pivotal historical moment.
Chapter IV
The subject of intense scrutiny. Marya repeatedly asks Pierre for his truthful impression of her future sister-in-law, whom Pierre can only describe as 'enchanting.'
I
Her engagement to Andrei is noted as a key event that contributes to Pierre's sudden feeling that his old life is impossible.
The Rostovs Arrive in Moscow
Arrives in Moscow as Andrei's fiancée; receives blunt but affectionate advice from Marya Dmitrievna on winning over the Bolkonsky family.
The Bolkonsky Household in Moscow
Mentioned as the cause of the old prince's fury; her potential marriage to Andrei is the central unresolved tension affecting Marya.
A Visit to the Bolkonskys
Confidently visits her fiancé's family but is deeply offended by the cold reception, the old prince's rudeness, and Princess Marya's manner. Her pride is wounded, leading to an emotional outburst.
At the Opera
Attends the opera, lost in tender, sad thoughts of Andrei. Her beauty and public status as his fiancée attract attention.
Princess Marya's Confession
The subject of intense scrutiny. Pierre describes her as 'enchanting' but not conventionally clever. Her arrival with the Rostovs is expected soon.
Chapter IX
Experiences the opera with a mix of ridicule and intoxicating pleasure; becomes the object of Anatole's and Hélène's attention, blushing at praise.
The Opera
Overwhelmed by Anatole's bold attention at the opera; feels a dangerous intimacy and later is tormented by guilt over betraying her feelings for Prince Andrei.
The Rostovs Arrive in Moscow
In Moscow to prepare for her marriage to Prince Andrei; receives blunt but affectionate advice from Marya Dmitrievna about winning over the Bolkonsky family.
Chapter XI
Anatole is captivated by her after the opera, describing her physical attractions to Dolokhov and expressing his intention to pursue her.
The Visit to the Bolkonskys
Eager and confident at first, she becomes mortified and offended by the awkward reception, assuming a defiant air. The failed visit leaves her in tears, feeling deeply hurt.
Chapter XII
Anxious and impatient for Andrei's arrival, she is easily charmed and manipulated by Hélène's flattery and invitation into society, despite her engagement.
VIII
Attends the opera, melancholic and in love with Andrei. Her beauty and engagement attract public attention. She observes the social dynamics with a mix of indifference and painful self-awareness.
Chapter XIII
Overwhelmed and seduced by Anatole's attentions at Hélène's soirée. She is torn between her love for Andrei and her powerful, confused attraction to Anatole, culminating in a stolen kiss.
At the Opera
Experiences the opera with a mix of ridicule and intoxicating pleasure; becomes the object of Anatole's intense, flattering gaze.
Chapter XIV
In deep emotional conflict, torn between her love for Prince Andrei and her passionate infatuation with Anatole Kuragin. She receives and rereads Anatole's love letter and Princess Marya's conciliatory letter, unable to decide her fate.
The Opera
Overwhelmed by Anatole's bold flirtation at the opera. Feels a dangerous intimacy and attraction, leading to a crisis of conscience about her engagement to Andrei.
Chapter XV
Reveals her infatuation with Anatole, declares her love for him over Andrei, and writes to Princess Marya to end her engagement. She is impulsive, defiant, and blind to the potential consequences.
Chapter XI
Makes a strong impression on Anatole at the opera; he describes her physical attractions to Dolokhov and expresses his intention to pursue her.
Chapter XVI
The intended victim of the abduction plot; her promised meeting with Anatole is the central action being prepared.
Chapter XII
Flattered and excited by Hélène's attention; anxious about Andrei's arrival and conflicted by her feelings for Anatole; agrees to attend Hélène's soirée.
Chapter XIII
Overwhelmed and seduced by Anatole's attentions at Hélène's soirée. She is torn between her love for Prince Andrei and her powerful, confusing attraction to Anatole, culminating in a stolen kiss and a night of anguished indecision.
The Aftermath of the Abduction Attempt
In a state of severe emotional collapse after the failed elopement; declares she has refused Andrei, feels hated and despised, and exhibits physical symptoms of shock.
Chapter XIV
In deep emotional conflict, torn between her love for Prince Andrei and her new infatuation with Anatole Kuragin. She receives and is swayed by Anatole's forged love letter.
XIX
Pale, stern, and desperate. She insists on hearing from Pierre that Anatole is married, her world shattered by the revelation.
Chapter XV
In a state of ecstatic, reckless passion for Anatole Kuragin. She dismisses Sonya's concerns, breaks her engagement to Andrei via a letter to Princess Marya, and is blind to the potential consequences.
The Aftermath of Betrayal
Very ill after a suicide attempt with arsenic upon learning Anatole was married. Her condition prevents her from leaving Moscow.
The Abduction Attempt
The intended victim of the abduction plot, though she does not physically appear in this chapter.
XXII
Emerges from her room, pale and emaciated, to beg Pierre to ask Andrei for forgiveness. She is tormented by guilt and shame, but is deeply moved to tears by Pierre's kindness and declaration.
The Aftermath of the Abduction Attempt
In deep distress after the failed elopement; denies her engagement to Andrei, feels hated and despised, and is physically ill with shock.
XIX
Pale, stern, and desperate; learns the truth about Anatole's marriage from Pierre, utterly devastated.
Part I: 1812
Recovering from her illness and broken engagement. She has become deeply religious and withdrawn from society, finding solace in prayer and church attendance.
Pierre Confronts Anatole
The central, unseen victim of the scandal. Her letters are the object of Pierre's retrieval, and her ruined happiness is the core of his argument.
I
Not directly present; the chapter's macro-historical view contrasts with her personal, emotional world.
The Aftermath of Betrayal
Very ill after a suicide attempt with arsenic upon learning Anatole was married. Her action plunges the Rostov household into alarm and commotion.
XXII
Emaciated and pale, she begs for Andrei's forgiveness through Pierre. She is moved to tears by Pierre's kindness and his declaration of what could have been.
Part I: 1812
At home with her family, preparing for her name-day dinner, representing the continuation of domestic life amidst historical upheaval.
I
Not directly present. The chapter's focus on vast historical forces contrasts with her personal, emotional world.
Chapter VIII
Not physically present, but her betrayal is the root cause of Andrei's quest for Anatole and his inner turmoil.
Chapter XI
Not present in this chapter.
Chapter XII
Mentioned as being ill and having her engagement to Prince Andrei broken off, which is the catalyst for the letter from home.
Chapter XIII
Not present in the chapter excerpts.
Chapter XI
Not present in this chapter.
Natasha's Illness and the Role of Doctors
Suffers a severe physical and mental illness following her broken engagement, showing symptoms of melancholy, loss of appetite, and cough. She is the central patient around whom the family's life revolves.
Chapter XII
Mentioned as being ill and having her engagement to Prince Andrei broken off, which is the catalyst for the letter from home.
Chapter XVII
Deeply depressed and remorseful, she avoids society and pleasure, believing she has ruined her life. Finds solace in religious ritual, undergoing a week of intense fasting and prayer which leads to a temporary sense of peace and hope for a 'new, clean life' after taking communion.
Chapter XIII
Not present in the provided excerpts.
Chapter XVIII
In a state of deep spiritual turmoil and repentance during the church service. She prays for forgiveness, for Prince Andrei and Anatole, and submits her will to God, seeking purpose and purity.
Chapter XIX
Her image and 'grateful look' have become the answer to Pierre's existential questions, transferring him to a 'realm of beauty and love.' Her improving health lessens his pity but she remains the emotional center of his world.
Chapter XV
Not present, but her brother Nikolai's intense personal moment underscores the 'Youth and Innocence' theme as he confronts harsh reality.
The Manifesto at the Rostovs'
Recovering animation, singing again; seeks Pierre's approval and forgiveness regarding Andrei; her gaze deeply affects Pierre.
Natasha's Illness and the Role of Doctors
Suffers a severe physical and mental illness following her broken engagement, characterized by not eating, sleeping, coughing, and low spirits. She is the central patient around whom the family's actions revolve.
Pétya's Fervor
While not present, the family context of the Rostov household—where Pétya's silent moroseness at tea is noticed but ignored—is shared with Natasha.
Chapter XVII
Deeply depressed and remorseful after her broken engagement; withdraws from all pleasure, finds solace only in Petya and Pierre; undergoes a profound religious experience through fasting and communion, leading to a fragile sense of peace and hope.
Chapter XVIII
In a state of spiritual crisis and repentance during Mass. She prays for forgiveness, for Prince Andrei and Anatole, her family, and submits herself to God's will.
The Emperor's Appeal to the Nobility
Not present or mentioned in the provided excerpts.
XIX
Her image and grateful look provide Pierre with a spiritual refuge from worldly baseness, transferring him to a 'realm of beauty and love.' Her improving health lessens his pity but her presence remains central to his inner life.
The Manifesto at the Rostovs'
Recovering animation; singing again; seeks Pierre's approval and forgiveness regarding Andrei; watches Pierre intently during the reading.
Pétya's Fervor
While not present, the chapter details the actions of her younger brother Pétya, highlighting the Rostov family's passionate, impulsive nature.
IV
Not present in this chapter's excerpts.
Part II: 1812
Her personal crisis is overshadowed by the national emergency, as her family and society turn their attention to the war.
IV
Not present in this chapter.
Chapter XV
Not physically present, but her memory is invoked as the connection point between Andrei and Denisov, recalling her first suitor and Andrei's lost love.
Chapter XVII
Mentioned in gossip; said to have recovered her health and spirits, and is waiting in Moscow for her younger brother Petya to return.
Chapter XVIII
Mentioned as part of the Rostov family, one of the few acquaintances still in town, though Pierre does not visit.
XV
Mentioned in memory by both Andrei and Denisov as the connection from their past, representing a lost romantic era.
Chapter XVII
Discussed in absentia; reported to have recovered her health and spirits, but is the subject of Moscow gossip linking her to Pierre.
Chapter XVIII
Mentioned as one of the few intimate friends still in town, though Pierre does not visit.
XXIV
Referenced indirectly as the object of Andrei's past 'ideal love,' which he now dismisses bitterly as a childish illusion.
Chapter XXV
Not physically present, but vividly remembered by Andrei. He recalls a specific, joyful memory of her trying to describe getting lost in a forest, which embodies the sincere 'soul' he loved and now mourns.
XXIV
Referenced by Andrei as 'that little girl' who was the object of his 'ideal love,' now viewed with bitterness as part of his disillusionment.
Chapter XXV
Not physically present, but vividly remembered by Andrei in a flashback. He recalls a joyful, poetic memory of her in the forest, which contrasts sharply with his present despair and underscores his sense of loss.
The Field Hospital
Remembered vividly by Andrei in a flashback to her first ball in 1810, symbolizing pure love and a lost happier time.
The Field Hospital
Remembered vividly by Andrei in a flashback to their first meeting at the 1810 ball, symbolizing pure love and a lost happier life.
The Council at Fili
Her fate and location are directly affected by the council's decision to abandon Moscow to the French.
Chapter VII
Not present in this chapter's excerpts.
The Council at Fili
Her family is directly affected by the decision to abandon Moscow, forcing their evacuation.
Chapter XII
In high spirits, leading Pétya in carefree gaiety. Her happiness stems from recovering from past sadness, feeling well, and the excitement of the approaching war and extraordinary events.
Chapter XIII
Transforms from listless boredom to decisive action, taking charge of bringing wounded officers into the Rostov home, showing compassion and leadership.
Chapter XIV
Takes decisive, passionate charge of the packing, proving her practical competence and earning the household's trust.
Moscow's Last Day
Witnesses her parents' argument over the carts and wounded officers. She questions her father about her mother's objections, showing her engagement with the family's moral crisis.
Chapter XVI
Her moral outrage at the idea of leaving the wounded behind catalyzes the family's decision. She takes charge of reorganizing the carts, displaying passionate leadership and compassion.
Chapter XII
In high spirits, providing a focus for Petya's adoration and embodying youthful excitement about the extraordinary events, in contrast to the general anxiety.
The Rostovs Depart Moscow
Oblivious to Andrei's presence at first, she is in high spirits during the departure. Her joyful mood contrasts with the gravity of the situation. She spots Pierre in disguise and eagerly calls out to him, her 'radiant, happy expression' enchanting him.
Chapter XIII
Feels ashamed of her idleness while others pack. Moved by compassion, she takes charge, convincing authorities and her family to let wounded officers stay in their house, showing decisive maturity.
Chapter XIV
Takes energetic command of the packing, proving her practical capability and earning the household's trust.
Moscow's Last Day
Witnesses the argument between her parents about the carts and the wounded. She follows her father and questions him, showing her engagement with the moral dilemma.
Chapter XVI
Her moral outrage forces the family to prioritize the wounded over their possessions, showcasing her passionate empathy and leadership.
The Deserted House
Her absence is keenly felt as part of the deserted family home, the setting of the chapter.
The Rostovs Depart Moscow
Unaware of Andrei's presence, she is filled with joyful excitement during the departure. She spots Pierre in disguise and beams with 'quizzical kindliness' during their brief meeting, offering a stark contrast to the surrounding turmoil.
The Empty Hive
Implied to be among the vast majority who have evacuated the city, leaving it empty.
Pierre's Resolution
Mentioned in Pierre's memory; her comment ('Are you remaining in Moscow? ... How splendid!') helped solidify his resolve to stay.
XXII
Her family's home is the central, deserted setting of the chapter, emphasizing their absence and the emptiness left behind.
XXVIII
Not present in this chapter's provided excerpts.
Pierre and Captain Ramballe
Mentioned in Pierre's thoughts as the object of his 'romantic love,' which Ramballe dismisses as the 'love of simpletons.'
The Glow of the First Fire
Implied to be part of the fleeing Rostov party. The countess's earlier distress over a wounded officer's moans is mentioned, establishing the family's vulnerable state.
Chapter XXXI
In a state of shock and grief over Andrei's wound. Her internal struggle culminates in her nighttime visit to him, driven by an irresistible need to see him.
Pierre's Resolve
Mentioned in Pierre's memory; her remark ('Are you remaining in Moscow? ... How splendid!') helped solidify his decision to stay.
The Journey from Moscow
Discovers Andrei among the wounded and, despite initial shock, dedicates herself to nursing him with unexpected firmness and skill, never leaving his side for the rest of the journey.
The Glow in the Distance
Implied to be present with her family as part of the fleeing Rostov party from Moscow.
Book IV
In a deep depression after her broken engagement and scandal. She is revived by hearing Russian folk music and attending church, leading to a slow recovery and a poignant, wordless reunion with Pierre.
The Fire and the Vigil
In a catatonic state of grief and resolve after learning of Andrei's wound. Overcomes terror to seek him out at night, finding him with a childlike, feverish innocence.
Part I: 1812
Her life in Moscow is impacted by the shift in social focus towards the war.
The Journey from Moscow
Discovers Andrei among the wounded and, despite initial shock, dedicates herself to nursing him with unexpected firmness and skill, never leaving his side.
Book IV
During the Rostov evacuation, she insists their carts be used to transport wounded soldiers from Borodino, including the critically wounded Prince Andrei. This act marks a shift from her youthful self-absorption to compassionate maturity.
Chapter IV
Not directly present, but the chapter's discussion of 'young ladies' preparing useless lint evokes her earlier activities.
Part I: 1812
Her life in Moscow is impacted by the gathering war preparations and the departure of loved ones for the front.
Chapter VII
Mentioned as one of the people nursing the wounded Prince Andrei alongside Sonya during the family's flight from Moscow.
Chapter IV
Not directly present, but the chapter's mention of 'young ladies' preparing useless lint evokes her earlier activities.
Chapter VIII
Agitated and emotional while caring for the wounded Prince Andréy; confides in Sónya, expressing a mix of happiness and fear for his life.
V
Mentioned in passing as Nikolai's sister, whose broken engagement to Andrei Bolkonsky previously made a match with Marya 'out of the question.'
Pierre Before Davout
Not present in the excerpts.
Chapter VII
Mentioned as one of the people nursing the wounded Prince Andrei during the Rostovs' journey from Moscow.
Chapter VIII
Agitated and emotional caring for the wounded Prince Andrei; confides in Sonya, expressing a mix of happiness and despair over his condition.
Chapter XIV
Acts as Andrei's devoted nurse. Her entire being is focused on love and pity for him and those who love him. Her unguarded emotion provides Marya with the truth about Andrei's state.
XV
Attends to Andrei and facilitates Marya's visit. She is painfully aware of the impossibility of normal conversation and serves as a bridge of silent understanding between Andrei, Marya, and young Nikolushka.
The Death of Prince Andrei
Devotedly nurses Andrei; her presence briefly re-anchors him to life. She and Marya witness his death with reverent emotion.
Chapter XII
Not present in the chapter excerpts.
Chapter XIV
Has been tirelessly nursing Andrei. Her face shows only boundless love, pity, and a desire to help, with no thought for herself. She becomes the emotional bridge for Marya to understand Andrei's true state.
The Flank Movement and the Shift in Momentum
Not present in this chapter's excerpts.
XV
Is caring for Andrei 'all the time.' She is present during the painful, disconnected conversation, stopping herself from speaking of trivial matters like Moscow burning, sensing it is impossible to talk normally.
Chapter IV
Not present in this chapter.
The Death of Prince Andrei
Attends Andrei in his final days, providing comfort and witnessing his spiritual struggle and peaceful death.
The Flank Movement and the Shift in Momentum
Not present in this chapter's excerpts.
The Battle of Tarútino
Not present in this chapter's excerpts.
The Courier at Night
Not present in this chapter.
The Retreat to Smolensk
Not present in this chapter's excerpts.
Pétya Joins Denísov's Detachment
Pétya's sister is not present, but his impulsive, affectionate nature and concern for the prisoner boy reflect the Rostov family's characteristic warmth.
Chapter XIII
Not present in the provided excerpts.
IX
Not present in this chapter.
XIV
Not present in this chapter's excerpts.
Chapter XIII
Not present in the chapter excerpts.
XIV
Not present in this chapter's excerpts.
Part IV: 1812–13
Helps organize the evacuation of the wounded from Moscow on the Rostov carts, demonstrating compassion and decisiveness. She is deeply affected by the sight of the wounded Andrei Bolkonsky.
I
Consumed by grief and regret after Andrei's death. She isolates herself, reliving their final conversations and imagining corrected dialogues, trapped between the desolation of the present and the 'other side of life' where he exists.
The News of Petya's Death
Transforms from self-absorbed grief to selfless caregiver, her 'persevering and patient love' pulling her mother back to life.
The Healing of Wounds
Emerges from her own grief by nursing her mother, finding purpose in love. Her profound friendship with Marya opens her to new understandings of life and faith, though she remains physically fragile.
Part IV: 1812–13
During the Rostov evacuation, she insists on unloading family possessions to make room for wounded soldiers, and dedicates herself to nursing the critically wounded Andrei Bolkonsky.
I
Consumed by grief and regret after Andrei's death; isolates herself, reliving their last conversations and imagining corrected dialogues. Her sorrow is a raw, spiritual wound.
The News of Petya's Death
Her personal grief is instantly replaced by a selfless, active love as she nurses her mother through shock and denial, becoming the family's anchor.
III
Emerges from her own grief by caring for her mother, finding purpose in love. Forms a profound bond with Princess Marya, showing the first signs of internal healing, though she is physically weakened and self-conscious.
The Flight from Krasnoe
Not present in this chapter's excerpts.
The Retreat and the Fall of Kutúzov
Not present in this chapter's excerpts.
Chapter XI
Not present in this chapter's excerpts.
Pierre's Convalescence and Inner Transformation
Mentioned indirectly as part of the household where Andrei died.
Chapter XV
Unrecognizable at first, having grown thin and pale. Her eyes, once full of life's joy, are now kindly attentive and sad. Her smile, when it comes, overwhelms Pierre.
Chapter XVI
For the first time, she recounts the intimate details of Andrei's last days and her journey with him. The telling is a painful but necessary release of her long-held grief and love.
Chapter XVII
Listens to Pierre with intense, understanding empathy, drawing out the full story. Her emotional engagement signals a shift from deep sorrow, and she later confesses to Marya her positive impression of Pierre's changed character.
Chapter XIII
Not present, but Pierre's journey towards emotional clarity and responsibility contrasts with the consequences of past events involving her.
Chapter XVIII
Seen through Pierre's eyes; she is less animated than the day before but her whispered farewell fills him with hope and becomes the subject of his constant meditation.
Chapter XIX
The object of Pierre's love and happiness, though absent; her imagined reactions fuel his only doubt.
Chapter XV
Staying with Princess Marya. She is thin, pale, and somber, her joyful smile gone. Her quiet, attentive presence triggers Pierre's epiphany.
XX
Experiences a profound reawakening of life and hope after Pierre's visit, confessing her love for him to Princess Marya and grappling with her joy and guilt.
Chapter XVI
For the first time, recounts the intimate details of Andrei's last days and their love to Pierre and Marya, showing her deep grief and need to share the story.
Epilogue
Married to Pierre, deeply devoted to her husband and children. She has embraced a fiercely domestic and possessive role, having lost her former social sparkle.
Chapter XVII
Listens to Pierre's story with intense, empathetic absorption, understanding his unspoken feelings. Her emotional engagement signals her recovery and a shift in her focus towards Pierre.
Pierre's Resolution
Appears quiet but radiant. Her whispered farewell to Pierre gives him months of happy contemplation, indicating a shift in her feelings.
XX
Experiences a sudden, irrepressible reawakening of life and hope after Pierre's visit. She confesses her love for him to Princess Marya, seeking guidance and forgiveness for her joy.
Epilogue
Transformed into a wife and mother, she is intensely focused on her family, having channeled her passionate nature into domesticity.
V
Her wedding to Pierre is noted as the family's last happy event. She is now living in Petersburg, largely unaware of the full extent of Nikoláy's financial struggles.
Chapter VIII
Appears in a recounted conversation with Marya, offering a poignant and insightful analysis of Sonya's character as a 'sterile flower,' highlighting her selfless but unfulfilled nature.
V
Her marriage to Pierre Bezukhov in 1813 is noted as the last happy family event. She is living in Petersburg, unaware of the full extent of Nikolai's financial struggles.
St. Nikoláy's Eve at Bald Hills
Staying with her brother's family. Her young daughter, also named Natasha, boldly interrupts Nikolai's rest, leading to the couple's reconciliation. The adult Natasha is mentioned as coming 'to life' at news of Pierre's return.
Natasha's Family Life
Fully transformed into a wife and mother, wholly absorbed in her family. She has abandoned her former social charms and lives entirely for her husband and children, finding her purpose and identity in domestic life.
Chapter VIII
Appears in conversation with Marya, offering her insightful and compassionate analysis of Sonya as a 'sterile flower,' drawing from the Gospels.
Chapter XI
Experiences intense anxiety and irritability during Pierre's absence, finds profound comfort in mothering their baby, and cycles through joy, anger, and contentment upon his return.
St. Nikoláy's Eve at Bald Hills
Staying with her brother's family; her arrival and Pierre's expected return bring life to the household.
Chapter XII
Shown managing the household, approving Pierre's purchases, and displaying a new 'stinginess.' She is happy and herself again with Pierre's return.
Natasha's Family Life
Fully transformed into a wife and mother, wholly absorbed in her family. She has abandoned her former social life and charms, finding purpose and identity solely in her domestic role.
Chapter XIII
Pierre's wife, actively steers conversation away from dangerous political topics to protect her mother's peace. Observes Pierre's restrained animation.
Chapter XI
Experiences intense anxiety and irritation during Pierre's absence, finds solace in nursing their son, and displays a rapid shift from joy to anger to contentment upon his return.
Chapter XIV
Supports her husband Pierre by subtly redirecting the conversation to his concerns and later defending him against Nikoláy. Her joy comes from seeing Pierre's passionate engagement, not the political details.
Chapter XII
Now a wife and mother, she exhibits domestic qualities like stinginess (in Pierre's eyes) and manages the household. She is happy Pierre is back, as his presence makes her 'herself again.'
Chapter XV
Mentioned as siding with Pierre in the argument, repeating his ideas. Nikolai notes she 'rules over' Pierre but lacks independent arguments in discussion.
Chapter XIII
Pierre's wife, actively steers conversation away from politics to protect the old Countess, shares a understanding glance with Pierre.
Chapter XVI
Expresses love and a moment of jealousy; questions if a great man like Pierre can be her husband; shares domestic joy about their son.
Chapter XIV
Supports her husband Pierre, subtly guides the conversation to his concerns, and defends him against her brother Nikolai.
Chapter XV
Mentioned as firmly siding with Pierre in the argument, repeating his views, which irritates her brother Nikolai.
Chapter XVI
Expresses love and a sense of supreme happiness in her married life with Pierre, yet reveals a lingering insecurity about his public role versus being her husband. Shares news of their children.
Endnotes
Referenced as 'The little one is charming' and in the context of a romantic note: 'That girl shall be my wife.'
Chapter companion notes
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