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 same Borís with whom she had formerly been in love. In the state of intoxication she was in, everything seemed simple and natural.

The scantily clad Hélène smiled at everyone in the same way, and Natásha gave Borís a similar smile.

Hélène's box was filled and surrounded from the stalls by the most distinguished and intellectual men, who seemed to vie with one another in their wish to let everyone see that they knew her.

During the whole of that entr'acte Kurágin stood 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, and 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 the maiden who had been in white and was now in light blue. They did not drag her away at once, but sang with her for a long time and then at last dragged her off, and behind the scenes something metallic was struck three times and everyone knelt down and sang a prayer. All these things were repeatedly interrupted by the enthusiastic shouts of the audience.

During this act every time Natásha looked toward the stalls she saw Anatole Kurágin with an arm thrown across the back of his chair, staring at her. She was pleased to see that he was captivated by her and it did not occur to her that there was anything wrong in it.

When the second act was over Countess Bezúkhova rose, turned to the Rostóvs' box—her whole bosom completely exposed—beckoned the old count with a gloved finger, and paying no attention to those who had entered her box began talking to him with an amiable smile.

“Do make me acquainted with your charming daughters,” said she. “The whole town is singing their praises and I don't even know them.”

Natásha rose and curtsied to the splendid countess. She was so pleased by praise from this brilliant beauty that she blushed with pleasure.

“I want to become a Moscovite too, now,” said Hélène. “How is it you're not ashamed to bury such pearls in the country?”

Countess Bezúkhova quite deserved her reputation of being a fascinating woman. She could say what she did not think—especially what was flattering—quite simply and naturally.

“Dear count, you must let me look after your daughters! Though I am not staying here long this time—nor are you—I will try to amuse them. I have already heard much of you in Petersburg and wanted to get to know you,” said she to Natásha with her stereotyped and lovely smile. “I had heard about you from my page, Drubetskóy. Have you heard he is getting married? And also from my husband's friend Bolkónski, Prince Andrew Bolkónski,” she went on with special emphasis, implying that she knew of his relation to Natásha. To get better acquainted she asked that one of the young ladies should come into her box for the rest of the performance, and Natásha moved over to it.

The scene of the third act represented a palace in which many candles were burning and pictures of knights with short beards hung on the walls. In the middle stood what were probably a king and a queen. The king waved his right arm and, evidently nervous, sang something badly and sat down on a crimson throne. The maiden who had been first in white and then in light blue, now wore only a smock, and stood beside the throne with her hair down. She sang something mournfully, addressing the queen, but the king waved his arm severely,