Bk. 1, Pt. 1, Ch. 20: Last Moments Between Father & Son (The Count & Pierre)

Pierre is taken to the inner sanctum of his father's magnificent estate. The room was filled with family, physicians, and servants. The once powerful Kirill Bezukhov is on the precipice of death.  

The name Kirill derives from the Greek name Kyrillos (Κύριλλος), which comes from Kyrios (κύριος), meaning “lord,” or “lordly.”  He is represented as one of Catherine the Great’s grandees, meaning a person of very high rank. In giving the character this particular name, Tolstoy captures the nature of his first character to die. The Count was representative of a dying era. In one sense, the age of serfdom is heading towards its own demise and the Count owned tens of thousands of people tied to the soil. New social arrangements are coming, exemplified by other characters, including the chief adversary of the novel, Napoleon

The Count is positioned in an invalid’s chair, propped up by pillows.  Tolstoy is highlighting the frailty of the human condition, showing how even the most powerful also have limited strength and time. Nevertheless, there is something transcendent about the Count. His “aristocratic” features include: a handsome face, stately wrinkles, grey curls, stout arms, broad shoulders as well as a wide brow and cheekbones.

There was a large case containing religious icons, illuminated by a reddish light, above the Count. Orthodox Clergy surrounded the old man while performing Last Rites. Those in attendance were holding candles and one was placed in the Count's hand. Pierre was given a candle but on each occasion that called for Pierre to cross himself (which the service often mandated), Pierre would absent-mindedly do it with the hand holding the candle. Sofia, the youngest of the Count’s nieces (and most "fun-loving") had to hide her face as she was on the verge of laughing. The eldest niece, Katerina, removed herself to speak with Prince Vasili. These two are working to divert the Count’s fortune away from Pierre.

Dr. Lorrian felt for a pulse and then gave the Count something to drink, a sign there is some life left. After the service, the Count was picked up and moved to his bed. Pierre witnessed the Count unable to respond to being moved and it crushed him to see his father so helpless. Nevertheless, Pierre found that his father’s facial features were not diminished by the approach of death. When settled, the Count fastened a look on Pierre with a gaze “of intent and significance that no mortal could fathom.” It was likely a last expression of love. Tolstoy describes this look as saying everything or an indication that there was nothing left to say.  

Anna coached Pierre, signaling for him to kiss the Count’s hand when appropriate and then take the seat next to him and Pierre nervously followed along. There was great solemnity in this moment. What broke the silence was when muscles in the Count’s face began to twitch and the Count's mouth was drawn to one side. It appeared that he wanted to get a few words out. However, only a hoarse sound issued.  Anna tried to interpret what the Count was trying to say but only received a look of frustration. A servant then opined that his Master wanted to be turned. Pierre assisted and experienced debilitating sadness upon noticing his father’s lifeless arm.   Father then responded to the caring touch of his son, perhaps noticing a look of genuine concern. A feeble smile appeared on the old man's face and it was a final communication. This caused a lump in Pierre’s throat and tears to well up. The count sighed and went to sleep.