I’m presenting this episode after covering Austerlitz, a conflict symbolic of the vain pursuits of rulers.  Further, similar to the result of Austerlitz, the Crimean War was a extraordinary humiliation for Russia that forced societal change.  This sketch also contains memorable depictions of death amidst armed conflict.

This story places the reader 6 months into the 11-month siege where “the Angel of Death hovers over all. “ This includes the 4.5 mile-long defensive line made of trenches with 8 major bastions. 

Notably, the Crimean War marks one of the rare times in the 19th century where France, England & Ottomans where allies. The War is also notable for advances in technology by the victors, including in naval artillery and how it was documented using telegraphs and photos. Florence Nightingale also gained recognition for her approach to nursing. 

This sketch focuses on a handful of fictional low-ranking officers.  The climax is an artillery shell landing between two, where time slows down. Tolstoy brings you into their souls.

The book begins with an introduction then focuses on the lead, Mikhailov, who is unmarried and noted not to own land. He is physically awkward and simple, but still “a man of worth.” He is thinking of a letter from a friend and day-dreams how his macabre reality can be a ladder for advancement. He realizes how many men he knew perished and how many he will meet who will meet the same end. He is lamenting transferring to Crimea. 

Mikhailov walks to the main boulevard an encounters his fellows - a small group imbued with basic decency as well as vice. In describing their hierarchy, it is pointed out how in any walk-of-life, there is someone higher – a so-called aristocrat. 

The various characters profiled include: Kalugin - an adjunct depicted as having a Gentleman’s demeanor; Prince Galstin - who holds the highest rank among this group; and Col. Neferdoff and Calvary Captain Praskukhin, who share the designation as two of the “122 men of the world” who volunteered from retirement. The group commiserates about their war stories and complaints. In describing the superficial natures of these men, Tolstoy paraphrases the first chapter of Ecclesiastes, similar to how he did when Andrei was lying on his back at Austerlitz.  In a narrator’s voice, Tolstoy cries out:

Vanity! vanity! Vanity everywhere, even on the brink of the grave, and among men ready to die for the highest convictions. Vanity! It must be a … peculiar malady of our century…Why did Homer and Shakespeare talk of love, of glory, of suffering, while the literature of our age is nothing but an endless narrative of aspiring elitists and vanity?

Mikhailov, before his assignment, travels to his apartment and realizes his next trip to bastion would be his 13th. He felt he would be killed but would vacillate and fathom: “if I make it…..I will be promoted.” All the men had similar forebodings. Mikhailov then writes a farewell note to his father. 

His servant of 12 years, Nikita, was inebriated and prepared his Master. This included dressing Mikhailov and putting together a bundle of cheese and vodka. Mikhailov insults Nikita yet an affection is portrayed and both share a poignant goodbye.

The other men went to Prince Galtsin’s quarters, where he has multiple servants and a piano. The men have tea and crackers and discuss tales of heroic actions and the latest updates on casualties. Prince Galstin then sat at his piano and Praskukhin sings along. The men know what lies ahead and make the best of their situation.

As they leave for their posts, they notice the bombs overhead, with Kalugin observing how the “real work of the night has begun.” Tolstoy has the men to regard the visual of artillery fire as a celestial show.

A Cossack soldier arrives and mentions how reinforcements are needed to replace the many killed. Kalugin follows the Cossack but Prince Galtsin doesn’t have to and walks the streets, where the cannon and rifle fire are palpable. He passes wounded soldiers, many carried on stretchers, others supported by the arms of a comrade. He was able to question one of them. The wounded met the onrush of a contingent of the Ottomans, yelling Allah!   Nearly all of this unit were killed and the Ottomans took a valuable position.

Galtsin was shocked and was nearly arguing with the man, hoping the hear that the enemy was repulsed. Others join in to relay the reality and Galtsin feels ashamed for impugning the man.  He follows the wounded to a vast hall serving as a triage center, where after being looked at, some would get transported to a hospital and others to a chapel serving as a morgue. Tolstoy then takes us to the Horror inside.

The depiction of Andrei chasing military glory but falling short, was influenced by how Kutuzov historically lost his son-in-law, Theodor von Tiesenhausen, at Austerlitz.   Kutuzov sent the young noble, who served as an aide-de-camp, to rally retreating troops. After Tiesenhausen seized a fallen standard and ran forward, he was quickly shot in the chest. Frenchmen swarmed him and there was a barbaric scuffle over his military decorations. When Napoleon took a victory lap, he noticed the “glorious” sight of the barely alive Tiesenhausen still holding the flagstaff. 

Andrei is a physical causality but was imbued with a realization of the baseness of war. Going in and out of consciousness, Andrei held onto the value of his vision. Unable to open his eyes, he thought, “Where is it, that lofty sky that I did not know?” He did not remember the intricate battle plans nor leading the charge. What brought him back to earth was the burning pain in his head. When he heard the sound of approaching horses and French voices, he finally opened his eyes and captured the clouds floating majestically and the blue infinity beyond. 

Tolstoy has Napolean have a fictional interaction with Andrei while making his triumphant walk.  Napolean comments on the gallantry of the fallen, notably a grenadier whose body was swelling and blackening. It is sinking in for Andrei that there is very little admirable about such a man’s life being wasted. Napolean approached Andrei, whose hand was still on the flagstaff and asserted: “That’s a fine death!” Andrei now regarded Bonaparte’s words as the buzzing of a fly. Napoleon seemed insignificant compared with the sky, which is representative of the Almighty.

Andrei desperately wished to be assisted back to life. He collected all his strength to utter a sickly groan. Napoleon immediately ordered Andrei to be treated and rode on met Marshal Lannes, who congratulated his Master. Andrei remained in agony, but regained his bearings after he was placed with other wounded officers. 

Napoleon encounters Andrei once again when he inspects the overflow of valuable prisoners. The senior officer captured was Nikolai Repnin-Volkonsky, an Imperial Guard Colonel, who Andrei recognized from Petersburg.  Napoleon commended Repnin, saying: “Your regiment was honorable in fulfilling their duty.” Repnin responded “The praise of a great commander is a soldier’s highest reward.” More kind yet superficial words were bestowed on a young lieutenant. Napoleon then sees and remembers Andrei and calls him, “mon brave” an old fashioned term meaning “my good fellow” or “my good man.” Andrei remains silent on the only occasion he would meet his one-time idol. All the vain interests that absorbed men like Napoleon now seemed so insignificant. This is Tolstoy’s comment on the value of military glory. Andrei thought of the pettiness of such men compared to the lofty, equitable and gentle sky. His mind was on a plane of solemnity. Various factors led to his mental state including: the loss of blood, nearness of death and appreciation of the divine. Napoleon instructed that Andrei and others be cared for by his own doctor and bid Prince Repnin, Au revoir!” He galloped away -- shining with satisfaction.

 Frenchmen who had carried Andrei had stolen the gold icon his sister gave him. However, seeing the favor the Emperor bestowed, quickly returned the charm. Beholding the icon made Andrei consider: “it would be good if everything were as clear and simple as it seems to Mar’ya.” He yearns to know where he should seek for help and what to expect beyond the grave. Andrei considered the nature of the Almighty and how to address his prayers. Andrei realizes that he understands the greatness of something incomprehensible but paramount. He conceptualized the Almighty’s ineffable power and contrasted this with image on his amulet, which is a critique of graven images. 

When Andrei’s stretcher moved on, he again felt pain that was difficult to endure. He experienced visions of his father, wife, sister, and future son. He considered his quiet home life and peaceful happiness that he never appreciated. He realized only the heavens promised a similar peace.

Upon examination, Napoleon’s doctor pronounced a grave prognosis: “He is a nervous and sickly subject…and will not recover.” Inevitably, the doctor and War Machine moved on leaving Andrei and others to the care of the inhabitants of the district.

That finally ends analysis of Book 1, which is about 25% of the novel.

Cover Image is from the painting: Eruption of Vesuvius, 1824, by Johan C. Dahl.

Many readers coming to this book do not realize Napoleon is something of a dark force utilized to portray how to view those who send others to die for a ruler's vain ambitions. In this regard, it is important to recall how Tolstoy was influenced the Bible book of Ecclesiastes, which comments on vainglorious ambitions as well as the meaningless of everything without an appreciation of the Transcendent. Tolstoy is reaching to you from another age, highlighting how you can recognize War’s profane nature compared to what is above.  Tolstoy recognizes how calls to war are a siren’s song as well as how easy it is to get young men to answer, usually via a small bounty or appeal to patriotism.

Acknowledging the idiosyncratic pacifist Tolstoy became, his work still recognizes how a defensive war is more justified than the type of conflict at Austerlitz. Further, Tolstoy was exceptionally critical of his own government, which makes War & Peace so relevant in our times. In this spirit, I bring up the following story:

Upon Russia’s mass invasion of Ukraine in early 2022, Aleksei Nikitin, a regular citizen from Moscow, tried to make a difference and stood up to power.

Aleksei recognized crossing his neighbors’ border and unleashing the largest land invasion since the Second World War is the type of aggression Tolstoy condemned.   Aleksei brought Tolstoy into his public protest by writing an excerpt on a poster-board from the 1894 essay “On Patriotism.” It read:

“Patriotism is the abdication of human dignity, reason and conscience and a slavish submission to those in power. Patriotism is slavery.”

It was a controversial sentiment then and remains so. This essay described Tolstoy’s conception of patriotism -- in that militaristic age -- as a vulgar sentiment used by governments to justify their war machines. He argued it is opposite to what he took out of the Bible, namely Christian brotherhood. 

Aleksei’s use of the essay speaks to what Tolstoy has Andrei grasp as Andrei views the senselessness of a red-haired Russian artilleryman squaring off against a French attacker – both Christians struggling over a mop as if it was the Holy Grail. Tolstoy was speaking to the baseness of what he witnessed, as a soldier on campaigns in Chechnya and being on the losing side of the Crimean War.

Tolstoy points out that men mercilessly hacking one another have a great deal more in common with one another – than the men of supposedly higher status, who sent them to die. Tolstoy described, in another part of the essay:

"It is even impossible to imagine, how and for what, Russian and German workmen, peacefully and conjointly working on the frontiers or in the capitals, should clash. And much less easily can one imagine animosity between some Kazan peasant who supplies Germans with wheat, and a German who supplies the peasant with scythes and machines. It is the same between French, German, and Italian workmen."

Aleksei Nikitin was arrested and the Moscow police statement on the proceeding was carefully worded and likely came from their Intelligence Service:

“This writer’s (Tolstoy’s) works and articles were harshly critical of the ruling (Czarist) regime, including justifying violence against the government.   Therefore, the actions of Citizen Nikitin should be interpreted as a call to overthrow the existing authorities and also to follow the ideology of Tolstoy.”

This was a revealing acknowledgement that the philosophy of Tolstoy is threat to a system throwing countless men into their War Machine. Nevertheless, the Russian government succeeded in stunting that portion of citizenry who were in line with the ideals of Tolstoy. Once the internal dissension was suppressed, the Russian leader found it prudent to create, a “Tolstoy Peace Prize.”

Over his career, Tolstoy brought out how such aggression brings out an ever-lasting hatred by those affected. Some of such work involves Chechnya. One of Tolstoy’s first short stories, “The Raid,” from 1853, explored amidst the Chechen  landscape -- what motivates man to kill his fellow. Further, one of his final works, “Hadji Murad,” tells the story of brutal campaigns against Chechnya, which involved the burning of villages, fields, and livestock. Tolstoy took to heart how raids would leave the helpless crying in despair.

He recognized, how such aggression promotes a natural resistance, like many Chechens have demonstrated for generations; and like the overwhelming majority of Ukrainians have capably demonstrated in our times.

French General Adolphe Marbot provided a contemporary report on this phenomenon and Czar Alexander appears to have relayed to his inner circle, years later in 1814, that he watched helplessly as thousands of his men perish in the frozen waters. A large number is realistic given accepted casualty figures. Estimates of allied losses indicate 12,000 Russians and 4,000 Austrians dead or wounded and 12,000 captured.  French losses were around 1,400 killed and 7,000 injured.  

For nearly a century, which covers the period Tolstoy was writing, it was accepted that thousands perished in this dramatic way. However, academic scrutiny on the episode gained steam in 1902 when Oxford historian Reginald L. Poole published an influential article in The English Historical Review. Poole notes that accounts of the weather in the local Oberamtmann newspaper for early December 1805 indicate the ice was relatively thin, so Poole suggests a vast army retreat would not have been realistic. Nevertheless, a report of relatively thin ice is...relative...and the weather was naturally subject to getting colder from publication. Poole also notes that French engineers drained some of the waters within a few days of the battle, whereupon they discovered 30 cannons and the remains of 150 horses but only three people. Still there are few specifics on the actual draining.  While there remains a great deal of mystery surrounding the event, cannon balls assuredly pierced the ice, leading to a grand spectacle.

Tolstoy puts the fictional Fedor Dolokhov in this mix of the columns retreating in the southern portion of the field after the fight was lost at all points.  Dolokhov is among a group crowding around an escape route by a dam and the attendant waters near the Village of Augesd (Awg-est or Ow-gest), which was reachable by cannon fire from the Pratzen Heights.  It was within the rules of engagement to fire at such retreating soldiers, provided it was done at active combatants and not those surrendering or too injured to pose a threat. 

Tolstoy makes a critical contrast, remarking how this area only knew peace for generations. On the quant dam, which also served as a bridge, an old miller would ordinarily sit in his tasseled cap fishing with his grandson nearby while locals steered their two-horse carts back and forth with goods. On December 2, 1805, however, terrified men crowded together, nearly crushing one another amidst an artillery barrage. Many were struck down like bowling pins. At intervals, they took fire and some went down while others were forced to step over the dead. It was something of a macabre carnival game.

 Dolokhov is a character men & women love and actors would love to play. Youthful, masculine, handsome, with a dark and wild side. Not wealthy and of privilege like the plentiful assembly of aristocrats Tolstoy crafts, Dolokhov still reflects a side of Tolstoy as in the author’s younger days he was quite the debauched gambler.  Dolokhov had been wounded and imbued with survival instincts. He was escaping with some ten men of his company, representing all that was left of it.  His contingent got stymied at an approach because a dead horse had to be dragged out of the narrow path.

Soon enough, a cannon ball takes someone out behind Dolokov and another fell in front of him, so Dolokhov was splashed with blood.  He is desperate.

 Each of these men thought, “If we get a hundred yards further and we are saved, but shall we remain here another two minutes….it is certain death.” Dolokhov frees himself, leaves the edge of the dam and runs onto the ice. Come this way!” he beckons, jumping about the ice which creaked under him. “It bears!” The ice swayed and it was plain that it would give way under his weight alone. The men hesitated in stepping onto the ice, but realized they had no choice.

A nearby general on horseback tried to say something but was quickly taken out and it was an ugly death. Seeing their leader fall, the men realized they had to try and ran onto that ice. So they went, running and sliding away from danger. 

 Very soon, the ice gave way. First under one man, then another, and on and on.    Cries of horror were heard as a group went down in a great mass and struggled in the freezing water. Tolstoy puts a number as forty men, which is well within reason. As the chapter ends, cannon balls continue to pound the ice.

Many readers know little of the ruler Nicholas Rostov and countless officers were so devoted to.

Over the last few years, you may have watched Ridley Scott’s film “Napoleon.” I argue that the casting of Alexandr embraces a view of the filmmaker that aligns with the perception the fictional Nicholas held.  

Edouard Philipponnat as Alexandr was the standout in the film and embraced a youthful exuberance. Handsome and dashing, Scott captured the energy that Tolstoy depicts.  

Should you view a portrait of Alexandr, however, you will not see the equivalent of an Edourd or Brad Pitt. You will discover something that fits of Alexander Pushkin’s description of Alexandr of being a “Balding Dandy.” Pushkin was exiled by Alexandr for anti-Czarist sentiments.

Napoleon even wrote Josephine in 1807: “I am satisfied with Alexander and he ought to be satisfied with me. If he were a woman, I think I would make him my mistress.” Historically, the opposite may have been true.  Alexandr may have taken up an affair with Josephine and assuredly did so with numerous beautiful and intelligent woman of the aristocracy.

More Importantly, Alexandr has a fascinating background which contributes to turning him into the lamenting Sovereign at Austerlitz.

Alexander’s grandfather was Peter III, who was born in northern German speaking lands and was also, for a time, the presumptive heir for the throne of Sweden. Peter served as Czar for only six months before his wife, Catherine, plotted to overthrew him in 1762. Catherine was Germanic royalty who converted to Orthodoxy upon her marriage. Catherine moved quickly against her husband, who she regarded as lacking sense and maturity. She also considered him a drunk.  Nevertheless, some German historians find Peter to be cultured and open-minded. Peter did have an openness to adapting European technology and placed the sciences on a prestigious level. After the coup, Peter was held in a prison and likely strangled.  The official account was that the cause was a stroke or bowel obstruction. 

Catherine then ruled as regent for her son Paul, but never gave up any authority when Paul became of-age, around 1772. Catherine alleged, in memoirs and conversation, that Paul was sired by one of her lovers, which would mean Alexandr was not of any so-called Royal blood.  Nevertheless, she took notable efforts to educate Paul’s two sons, Alexandr and Konstantin.

When Catherine died in 1796, Paul assumed leadership and met a similar end as Peter after a five year reign. Paul shares a complex reputation and was quite notably influenced by his love of Prussia, especially their military.  Paul was most assuredly strangled in 1801.  This second murder of a Czar within 40 years is what brought Alexandr (then 23) to the throne.

As referenced, Catherine dedicated time to instruct Alexandr and his brother Konstantin. She would relay the importance of the French Revolution and read to them the Declaration of the Rights of Man. More consequentially, Catherine assigned Alexandr a Swiss tutor, Frédéric-César de La Harpe, to teach Enlightenment ideals. For generations, aristocratic households were commonly hiring French and Swiss educators. Peter the Great had a Swiss soldier and advisor, François Lefort, instruct him on how to follow the path of Europe.

Alexandr took to his Swiss tutor and had a keen mind toward European ways. As soon as he became Czar, he put aspects of his education into practice, including creating an intellectual inner circle. Early on, this close group planned various reforms such as easing censorship and planning for a Constitution of the type sprouting around Europe.

There was a recognition that serfs were the agricultural and military backbone – but this system would eventually have to change. Alexandr desired phase out serfdom but it didn’t end until 1861. Alexandr went as far as issuing a voluntary decree - noting landowners could free their serfs and give them land if they desired. He understood what could and could not be done.

Reports are that Alexandr considered himself to be inspired – something of a Chosen One. He felt it was ordained that he would prevail at the pivotal battle at Austerlitz, which he chose to be present at. The all-encompassing loss caused him to become utterly devastated.

 Rostov rides on -- not knowing how to direct himself. He took in the scenery and local architecture, including a church, symbolic of the sacred blotted out by War. He felt that if the Emperor was slain, he should have no desire to save himself.  The point is that Alexandr, who does not know the thousands of young men he sent to their ignominious end, remains Rostov’s end-and-be-all. This is a contrast to Andrei, who finally realizes there is something much greater than ambitious rulers.

 Rostov soon passes the battlefield where the largest number perished. Here, “men lied like heaps of manure on well-kept plowland.” There were 10 to 15 dead to each couple of acres. Those wounded stumbled together in twos and threes and Rostov absorbed their screams and groans.

  Rostov became noticeable on his horse and some French on higher ground trained a few shots at him.  He was snapped out of his moroseness through thinking of his mother’s love. Once again Nicholas adopts the instincts of a rabbit who senses danger and escapes.   

He made it to a small village many utilized as a Haven. Upon hearing more rumors about the Emperor, he continued on for a couple of miles, coming to a ditch where he saw two men who seemed out of place on their grand horses. Another stood by a tree and Rostov noticed it was his Monarch.  Such a scenario may be thought fictional or symbolic – namely, Alexandr becoming virtually alone in the disorder of the retreat. However, there is enough truth in this description to commend Tolstoy for weaving fiction and history in the way that Shakespeare did with his Histories, where the Bard’s writing often stands for a greater truth.

 What happened historically was that the struggle for The Pratzen Heights decided the Battle and Kutuzov remained at the center of the conflict for as long as prudent. Both Kutozov and even Weyrother were shouting orders, trying to rally men, dispatching messengers -- all actions of reputable commanders. Amidst the chaos, there are reports that Alexander was separated from his Guard and wound up with some of the survivors of Gen. Miloradovich’s brigade. At one point, Alexandr was found “on damp ground under a tree, with his face covered with a handkerchief, bitterly crying.”  This was the account of Gen. Carl Freidrich Graf von Toll.

        The sentiment portrayed by Tolstoy is that Alexandr started the day envisioning he would be at the head of His army, like a Greek Warrior-King, at least at the moment of Triumph. Yet the accounts are that he was reduced to the image of something like……Job among the ash heap. So Tolstoy depicts Rostov as having the opportunity to comfort his Beloved. Yet Tolstoy does NOT have Nicholas take that step.  Instead, Rostov backs down with the fear of a youth who cannot approach his true love. Though Nicholas had played over a million speeches in his head on what he would say to Alexandr should they meet, he was now immobilized by fear. Instead he convinces himself of the imprudence of an approach at such an unpleasant moment. He felt any such interaction should be reserved for when Rostov was dying on the field and there would be a poetic moment of thanks. Tolstoy then has Von Toll come into the scene and upon seeing the Emperor, comfort him while the two spend a few moments under an apple tree.

The story moves back to earth to focus on the historic disgrace for Alexandr and Francis. It is entirely the opposite for Napoleon, who came out on top of The Battle of Three Emperors.  Yet the bravado with which men enter a fight for those like Bonaparte, has lost some of the luster.

So many of us can be brought to both planes by the right presentation – either recognizing the responsibility of answering a call to arms; or appreciating the Sublime. Tolstoy is presenting this contrast as one of the great humanists, who wrote his masterpiece 60 years after Austerlitz.

The segue of Nicholas taking on his futile mission with such fervor after Andrei takes in the infinite sky, highlights how vulnerable we are to mindsets of emperor worship and patriotic devotion – more so at younger ages without the experience of war. 

Just before the battle, Andrei was imagining, ”this will be the battle that makes me.” He is thinking of how the Battle of Toulon, in 1793, was a springboard for Napoleon. Tolstoy is showing how common it is for decent men to reach the point they will sacrifice their lives for military glory.

The point of this episode is to appreciate how easy a man can pulled into that mindset; and it is one of the great lessons of War & Peace.

This episode brings you through a few examples of such calls, in fiction and history.

What often comes to mind for the American audience is the speech in Braveheart – iconic fiction based on the historic Battle of Stirling Bridge (1297), written by Randall Wallace & Mel Gibson and naturally delivered by Mel. 

Napoleon assuredly had the knack of attracting men to risk their lives for his vision and also referenced is one of his inspirational appeals that came shortly after the Battle of Lodi in 1796:

“To you, soldiers, will belong the immortal honor of redeeming the fairest portion of Europe. The French people, free and respected by the whole world, shall give to Europe a glorious peace, which shall indemnify it for all the sacrifices which it has borne the last six years. Then, by your own firesides you shall repose and your fellow citizens, when they point out any one of you, shall say: ‘He belonged to the army of Italy that fought in the Italian campaign!’”

The last reference is to a speech attributed to St. Bernard, an abbot from Clairvaux, France, in the 1100s, where he motivated the Knights of the Second Crusade in a Palm Sunday speech:

“Christian warriors, He who gave His life for you, today demands yours in return. These are struggles worthy of you, combats in which it is glorious to conquer and advantageous to die. Illustrious knights, generous defenders of the Cross, remember your fathers, who conquered Jerusalem, and whose names are inscribed in Heaven. Abandon the things that perish, to gather unfading palms and conquer a Kingdom that has no end.”

These are appeals to a sense of manhood and patriotism, and once again it is the spirit Andrei relinquishes. He is now is given a more ideal, godly and transcendent point of view.   

This is in contrast to Prince Dolgorúkov, part of Alexandr’s inner circle, who felt victory was ordained. Dolgorúkov holds much of the blame for this debacle as reports indicate that he told Alexandr it would be cowardice to avoid confrontation.

Rostov is to be sent to either Kutuzov or the Emperor, who are thought to be near the Pratzen Heights, under the rubric of seeking guidance on how to advance. However, Bragratión knows that the distance the messenger would cover would likely have him killed or never be able to deliver the message. Rostov perceived no such danger and was overjoyed to be selected. He serves the literary vehicle that brings you through a historic military folly. 

Nicholas moved along Bagratión’s troops and then came upon General Feodor Uvárov’s revered cavalry, where he noticed fine horseman preparing for battle. Uvárov commanded a reserve force of the Imperial Guard. As Rostov moved passed them, the sound of cannon and musketry was growing louder.   Around Pratzen, volleys of musketry and cannon from the slopes merged into a general roar. Rostov took it in, including the sight of masses of infantry moving in all directions and getting into action.  Soon came first sign of trouble, which didn’t really register -- there were Uhlans, a light calvary unit, in disordered ranks retreating from an attack.  At that point Tolstoy has Rostov sense the rolling thunder of Uvárov’s famous charge. He perceived the thud of hooves and jingle of weaponry. As Rostov turned toward the horsemen in the open expanse of field he shared, he realized there was a stampede headed straight toward him. He barely gets out of their way amidst the order to charge.

The look of these men was of complete earnestness. Yet the reality was most were headed to their demise. Rostov had to turn his horse and briefly join them, to avoid getting crushed. One of the last to pass scowled at what he considered an idiot impeding the way. As the calvary passed, he could here the common chant of “Ura!” He got his bearings and soon noticed much of the calvary likely reached their destination as their ranks were mixed with some foreign cavalry. He could see nothing more, as smoke from cannon fire enveloped everything and he continued on.  

 Tolstly points out, in a nod to military history that this brilliant charge amazed the French themselves – and for a few moments broke the French infantry and captured a regimental eagle. 

Rostov was afforded the luxury of envying doomed men he thought glorious. He considered that while these men had positions of honor, he may get to see the Emperor again. Through a mix of men running about and cannon fire, he heard a voice he recognized as Boris. Boris shared the elated smile of a vane young man who survives fire for the first time and relayed his own success story, that his Imperial Guard unit unexpectedly got into action after they took fire and drove the French back. 

Rostov soon reveals how he is delivering a letter to “His Majesty.” He clarifies he means Alexandr, not the nearby Grand Duke, who commands the Guard. Their common friend Berg gets in this mix and the three are united. Berg cannot stop bragging about a minor wound to his hand, referencing his own lineage from a warrior class of German knights

When Rostov extricated himself from this reunion reality soon hit. It was all coming together – the retreating Uhlans, Boris’s unit involved in action, and the French getting behind parts of his army around Pratzen. He later learned that large sections of Russian and Austrian soldiers had been firing at one another. When he again observed Russian and Austrian forces running in confused crowds, he was seized by a panic and started to sense the battle was lost. He realized how many were dying and that perhaps he would meet the same end.

Rostov heard, in different languages, blame being cast.  He considered, “My God! What does it all mean?” He could not believe these soldiers could act so dishonorably when the Emperor might see them. Finally, he noticed French cannons and troops on the Pratzen Heights themselves, in the spot where he had been ordered to look for Kutuzov.

The chapter begins with the battle intensifying while Kutuzov was riding near the rear of a column down a hill.  He stops at a deserted house on a majestic hell, symbolic of war interrupting civility.  Fog was clearing as some of the French became more visible, at first over a mile away. However, additional forces were quickly found to be ascending toward them. Upon noticing, the expressions on most of the Russian officers changed to Holy terror. 

Andrei embraces the moment, thinking “Here it is! The decisive moment! My turn has come!” Soon a cloud of smoke from a blast of artillery spread all round. A voice of naïve terror shouted, “Brothers! All is lost!” There was an instantaneous break of morale and the men ran in different directions.

Andrei took in bewildering sights as Kutuzov was encouraged to leave and avoid being taken prisoner. With stoicism, Kutuzov wiped away blood flowing from his cheek and noted the true damage was to his army by reason of their humiliating performance. He vainly called for the soldiers to maintain discipline.  Kutuzov rode toward the sound of artillery – where one of the batteries was under attack.  The French noticed Kutuzov and fired at him. There were many casualties, including an officer carrying the Battle Flag.  

Kutuzov called out to Andrei with a trembling voice. Andrei, feeling shame and rage leapt from his horse and picked up the fallen Standard. He called to his men, in a piercing scream: “Forward, lads!” He was not physically powerful and was challenged in carrying the flag. Yet he proceeded with full confidence his army would follow him, which they did and soon overtook him.

A burly sergeant assisted with the swaying flag, but was killed.  Undaunted, Andrei stumbled along. He embraced being the primary target and essentially dared the enemy to hit him. He reached within 20 paces of French soldiers seizing horses and canons as prizes. Through the whistle of bullets and men dropping, he focused on reaching the seized Battery. However, he became distracted by the most unusual but symbolic confrontation -- a red-haired gunner from his army in a tall cylindrical hat comically askew pulling one end of a cleaning mop while a French soldier tugged at the other. He took in their contorted faces filled with venom. Andrei realized the absurdity and that the gunner should have retreated, as there were other Frenchmen nearby.  His comrade won the broom but Tolstoy notes the man’s fate was about to be decided when Andrei lost the moment though taking a heavy blow. He felt as if hit on the head with the full swing of a bludgeon. The pain was disorienting but he felt worse about not seeing how the fracas over the broom ended.  The Comment is that all such efforts, for the men doing the hacking and dying, are as useless as fighting over a broom.

Andrei’s perception slows down and as he falls on his back. “What’s this? Am I falling? My legs are giving way…” He opens his eyes, hoping to see the struggle for the mop. However, he absorbed what couldn’t be more opposite -- something vast and Godly,  Above him there was only the sky—the lofty sky, not clear yet immeasurably lofty, with gray clouds gliding.

 “How quiet, peaceful, and solemn; not as it was as I ran.  No, not as we ran, shouting and fighting, not at all as the gunner and the Frenchman with terrified faces struggling for the mop. How differently do those clouds glide across that lofty infinite sky! How was it I did not see that sky before? And how happy I am to have found it at last!"

This is where Tolstoy briefly quotes and paraphrases Ecclesiastes:

"Yes! All is vanity, all falsehood except that infinite sky. There is nothing, nothing but that. But even it does not exist, there is nothing but quiet and peace."

And Andrei thanks God for this realization!

Tolstoy acknowledges his belief in an omnipotent God, who determines the Way. This majestic being is something we can never come close to understanding. Even the most renowned, like Napoleon, cannot veer humanity in the direction they intend. This is because man acts in his limited time and sphere. Thus, historians who attribute grand events to so-called “Great Men,” are engaged in a vain pursuit. This outlook is not surprising given Tolstoy’s affinity of Scripture, particularly the Wisdom literature of Job and Ecclesiastes.

In analyzing the futility of attributing an effect to a purported cause, Tolstoy proffers that no command can be executed without an endless chain of proceeding orders. There is no such thing as a command that appears spontaneously.  At best, we can say every command and event refers to a sliver in time that can only have influence over the fraction that comes after.  

Tolstoy suggests there is a general consensus that paramount decisions are made akin to the setting in motion of a clock -- such that a single command is often thought to govern a whole series of occurrences. For example, “Napoleon wished to invade Russia and did so in 1812.” However, Napoleon could never have commanded such a movement in one fell swoop. Instead, there were countless preceding missives and orders to his generals as well as the leaders of Vienna, Berlin and St. Petersburg.  It is more accurate to say that events took on a direction that humanity, for some impossible to define reason, were ready to move in. The true reasons behind such movements are something only The Deity can comprehend. 

Tolstoy reflects that Napoleon was more of a natural adversary of England. Therefore, there was a greater chance of him coming up with a plan to invade England as opposed to crossing the Vistula River. 

Tolstoy posits that for any order to be executed -- in a philosophical sense – it is necessary that said order be possible. This is not only in the case in military endeavors, but in everyday transactions, for there are always a myriad of contingencies that could arise to prevent a command’s execution. With respect to invading Russia, there would have been many directives that if analyzed soberly and in hindsight, would never have been possible.

We have this false conception that an event is caused by a command because what occurred is looked at as a plan coming together. Yet for every directive executed there are an immense number unexecuted and forgotten. Thus, Tolstoy goes back to his theme -- that it is virtually impossible to attribute causes to grand historical events.  

Tolstoy then turns to wrestling regarding the nature of power in looking at how commands and directives play out between related events, that is between very close in time events. Tolstoy finds it important to understand the roles of those giving and taking orders. In most endeavors, there are small numbers giving orders and large numbers subject to them. In military life, army leadership resembles a cone where the thickest part, the base, consists of the rank and file. Here exists the domain of the soldiers, who are told where to march and who to kill. On the next level are the noncommissioned officers, who give commands to soldiers below and get into action less frequently.  An officer like Andrei customarily participates even less in the battles, but commands more. At the top, there is the commander like Kutuzov or Napoleon, who rarely takes direct part in the action.

 Tolstoy feels there is similar relation of people (between the few who give orders and the majority who take them) in most common activities—including in agriculture and trade. It is this relationship which constitutes the essence of power. For example, while Napoleon may be given credit or blame for the way a particular battle turned out, All the people in the cone have a voice! When the overwhelming majority figuratively decide to swim in the same direction, that is where the greatest power lies. Thus, Napoleon guided people toward where they were already headed. Yet behind it all is a Deity, whose guiding influence we will never fully grasp.

Andrei was keen to troop positions and analyzing how the battle would develop. He could hear musket fire from the valley but could only visualize a sliver of the action. He sensed where the major fighting would concentrate and imagined leading a regiment while hoisting a Battle Flag, perhaps dropped by someone in the units he was observing. He envisioned charging forward with the Standard, breaking the will of the enemy.  Nevertheless, he accepted his battle plans were never considered and it was full steam ahead with the attack attributed to General Franz Von Weyrother.  

Andrei took in a clear sky that was still somewhat dark. In the East, the sun was rising. Well in front of him were some wooded hills. He figured the French were within those woods. He could see the gleaming of bayonets as soldiers advanced into that obscured area. He also observed masses of cavalry disappear in the fog. All around him moved infantry. 

Kutuvoz reached the edge of the Village and observed various troops pass. He was irritated by their disorganization. He scolded a commander, noting it would be better to go around the Village in a less visible movement, to not show off their numbers.

He noticed Andrei when an Austrian officer was asked about the advance.  Kutuzov ignored the inquiry and his caustic feelings softened upon seeing his adjunct. He told Andrei to find the third division, tell it to halt and confirm whether sharpshooters and skirmishers were posted.  He believed the enemy was close and the troops needed to bunker down.

 Andrei galloped off and overtook various battalions and spoke with a colonel of the third division, who was surprised at Kutuzov’s order. The colonel felt placing rifleman was a waste. He was under the impression there were a multitude of allies between them and the French, who were believed to be six miles away. Andrei reported this to Kutuzov, who is presented as a stodgy old man going against the grain of command. Kutuzov soon noticed the pageantry of the approach of the two Emperors, who approved of the aggression. Tolstoy explores a fictional but quite symbolic meeting between the three.

  Kutuzov rode up to the Emperors and became uncharacteristically deferential. The Czar quickly grasped the presentation was not authentic and was offended. Alexander appeared thinner after the brief illness cause by experiencing the reality of War.  Yet he is described as an energetic good-hearted youth possessing the essence of majesty. Emperor Francis is described as stoic as well as having a rosy complexion and long face. Alexander was surrounded by some famous historic names, including: Adam Czartoryski, Nikolay Novosíltsev and Pavel Strogonov. Tolstoy contrasts their perceived brilliance and energy with Kutuzov’s age and demeanor. Alexander’s clique is compared to a whiff of fresh air.  

The Emperor address a critical question to Kutuzov: “Why aren’t you beginning, Michael Ilariónovich?” Kutuzov responds, “I am waiting, Your Majesty, as not all the columns have formed up.” The Czar did not like the reply and noted: “You know, Michael Ilariónovich, we are not on the Empress’ Field where a parade does not begin till all the troops are assembled.” Kutuzov then retorts with a degree of defiance, “That is why I do not begin, sire, because we are not on parade and not on the Empress’ Field.” The Emperors’ aides exchanged looks expressing reproach. A silence permeated for about a minute, where the Czar looked intently into Kutuzov’s eyes. Kutozov eventually deferred, saying he would proceed if commanded. 

Soon enough, all the troops again began to move, with a number having the honor of passing the two Emperors.  One column was led by Mikhail Miloradovich and included an Azerbyzioni regiment, who the Emperor called out to and encouraged.

Officers were hurriedly drinking tea and eating a decent breakfast while buttoning their coats and buckling their swords. Battalion and regimental commanders, along with their adjuncts, mounted their horses and gave final instructions. Austrian guides were now moving among the troops and heralding the advance. 

 Those who would be moving were anxious amidst the cold and mist. The soldiers had been eating their rations, which consisted of a biscuit, while some beat their feet (while sitting around fires) to a tolerable warmth. The allied army reached a critical point, to either keep what they had or destroy it. Thus, into the fires went chairs, tables, wheels and everything that was not needed or could not be carried. The men then hoisted their bags onto carts, readied their muskets, and ran to form rank. There were a lot of non-combatant equipment men and logistics people who harnessed and packed the wagons. 

Soon the tramp of thousands of marching feet resounded. The throng moved without seeing where they were headed, as great masses of familiar men were surrounded by smoke and fog. For most, their senses heightened and they listened intently and looked about, each strengthened by their numbers.  

The columns thus advanced, descending and ascending hills, going over new and unknown ground. Nowhere did they encounter the French. The troops marched with enthusiasm for about an hour before the greater part had to halt and an unpleasant consciousness of some blunder spread. Tolstoy notes how such a mindset moves through such a body so rapidly is impossible to define. It was understood that large units were crossing one other. For example, in one area, several thousand cavalry crossed in front of the infantry. In contrast to the jovial spirit with which the troops had started, they were now filled with vexation and anger. The disorder was attributed to “those stupid Germans,” often called “sausage-eaters.”  There were even visible altercations between some Austrian and Russian leaders. While stationary, the troops grew listless and dispirited.

After this inauspicious development that lasted the better part of an hour, some soldiers started to hear shots. It was beyond the fog and irregular but then came at more frequent intervals.  A small contingent who expected to come upon the enemy down by a stream stumbled upon the French in the fog.  Similar interactions, of advancing and halting and exchanging uneven shots with the enemy, played out among the first, second and third columns in the lowlands, amidst thick fog.

The 4th column, which Kutuzov was with, stood on the Infamous Pratzen Heights. On this higher ground, much of the field was becoming observable as the day developed and sun rose.

High up in the village of Schlappanitz –the Great Napoleon stood with his marshals, observing the field and the Pratzen Heights.  He was basking in the crimson sun that was rising in a striking blue sky. He donned the famous blue cloak he wore on his Italian campaign, sitting on his gray Arab horse. He gazed at the hills which seemed to rise out of the sea of mist and on which his adversaries were moving, listening to the sounds of firing.  He is imbued by as already having the air of having victory.

One part of the Russian forces already descended into a valley toward the ponds and lakes and another were leaving the Pratzen Heights, which Napolean abandoned before the battle but intended to retake and regarded as the key position.

Napoleon plainly noticed the disorderly movement of his enemy and that the columns moving near The Pratzen Heights constituted the center of the Russian army, which was sufficiently weakened to be successfully attacked.

Rostov was exhausted. His eyes would close and his fancy appeared—now the Emperor, then Denísov or whirling Moscow memories. His hussar companion occasionally alerted him to steer his horse out of bushes.   He was disappointed his unit was not advancing and wanted to ask for permission to join the attack. He was dreaming about The Czar, envisioning how they would have a chance encounter and he would receive an assignment. He was confident he would do a superb job and develop a relationship with the sovereign.  How faithfully he would guard Alexander, tell him the truth and unmask any deceivers!   Rostov pictured how he would humiliate and kill an enemy of the state, either a Frenchman or a deceitful German ally, all in the presence of Alexander.

Suddenly, a distant shout aroused him. He opened his eyes but only noticed the surrounding hills and white patches of snow. His mind veered toward his sister, who he wished to tell of his acquaintance with the Czar. 

Soon enough, there noticeable sounds in the distance. It appeared to be commotion from a group. He noticed fires igniting all along the landscape.  The shouting grew louder.  He was near one of the main French camps. Rostov could hear French spoken but not the words. The voices merged into a roar only an army could produce.  The lights spread and he heard the triumphant shouting of the enemy – the famous, “Vive l’Empereur! Vive l’Empereur!” 

He was witnessing inspired men, more genuine than anything in Rostov’s camp.  The spectacle was so obvious that it attracted Generals Bagration and Dulgarukov. The latter suggested it was just a decoy.  Dulgarukov felt the main force retreated but Bagration realized his adversary was a force to be reckoned with and directed Rostov and a few others to investigate.  Rostov was frightened but thrilled to propel into danger.  Bagration called out for the group to not go beyond a certain stream. Rostov pretended not to hear the order.

The French voices grew closer and soon enough there was shooting.  The Hussars presence may have been noticed but it also could have been excited French firing  into the air.   Rostov’s group retreated back to Bagration.  Rostov reported that the French presence was consistent with previous scouting. Bagration thanked Rostov, who leaped at the opportunity to ask to join a squadron that would  advance.  Bagration allows Rostov to join his own unit, sensing he is meeting Ilya Rostov’s son.  Rostov thanks the Lord and felt he was a step closer to becoming involved with the Emperor.   

Tolstoy, as Narrator, lets us in on what was happening among the French. There was celebration because Napoleon was riding and sometimes walking through the camps while his written orders were being read.  This would cause the fires, as soldiers would light wisps of straw and run after him; and others would fire guns into the air.   Further, the soldiers knew the critical battle would be fought on the anniversary of Napoleon's coronation, just a year prior at Notre Dame. This was considered a good omen. Tolstoy conveys Napoleon’s inspirational and historic message. It includes:

Soldiers! I direct all your battalions. I will keep out of fire if you -- with your habitual valor carry disorder and confusion into the enemy’s ranks -- but should victory be in doubt, even for a moment, you will see your Emperor exposing himself to the first blows of the enemy, for there must be no doubt of victory, especially on this day when the honour of the French infantry is at stake, so necessary to the honour of our nation.

Tolstoy will have the fictional Andrei recognize the Vanity of our world. On the battlefield, Andrei is placed in a posture that makes him attuned to absorbing the nature of war & peace; and much more.

In preparation for this moment, I ask you to take a tiny step toward developing the ability to see behind the vanity & vexation of our existence. 

If inclined, read the beginning of Ecclesiastes – as Andrei will paraphrase this material while speaking to the meaningless and futility of not seeing beyond the issues of the day.

Conceding most will never going to do that… the critical and initial part of Ecclesiastes 1 reads:

 Vanity of vanities, saith the Preacher (often identified as Solomon); All is vanity. 

What profit hath a man of all his labour, which he taketh under the sun?

Then Scripture references then unrelenting cycles of nature --

One generation passeth away, and another cometh: but the earth abideth;

The sun also ariseth, and the sun goeth down, and hasteneth to his place where it arose.

The wind goeth toward the south, and turneth about unto the north;

it whirleth about continually, and returneth again according to his circuits. 

All the rivers run into the sea, yet the sea is not full;

unto the place from where the rivers come, thither they return again.

War & Peace is an everlasting work, in part, by reason of Tolstoy’s influence from Scripture. Within this vein, Tolstoy has been able to capture the artist’s ability to see beyond and touch the Transcendent! 

Tolstoy was able to skillfully -- not to just look to the baseness of what is in front, or below us, in creating something entertaining -- but he is able to enter the sacred space of fulfilling the spiritual need of appreciating the infiniteness above. 

So, this chapter is a reminder open yourself to this dynamic. For you ALL have Your own wars and periods of peace.

Therefore, take a moment, to recognize what is here and now is not as significant as it seems, whether it is the Battle at Austerlitz or the so-call grand historical events of Your life. All of that is microscopic compared to what is above.

If you are not interested in wrestling with the Bible,  you can at least, take a look up to the sky and concentrate for a few seconds. This simple exercise gives us a sense of our size and the ineffability of what we are taking in.   

Consider our quarrels and even the wars men are so-often thrown into and what really mean in the grand sense.

The exercise will build and appreciation for a pivotal moment in the book and more importantly,  life in general.  You will catch this moment soon, if you don’t know it already, on the fields of Austerlitz.

Moreover, most readers fail realize something rather obvious, that the title and phrase War & Peace appears in the famous poetry of Chapter 3 of Ecclesiastes, where the Scripture notes that there is a Time for every purpose under Heaven, including a time for War; and a Time of Peace.

Weyrother is presented as full of vigor while Kutuzov was morose, with his uniform unbuttoned and nearly asleep in a chair. Weyrother was familiar with the terrain but was unable to competently explain the nature of this Moravian land. He spoke in front of an enormous map and went through the battle-plan. It involved a flanking maneuver and pursuit over a forest as well as descriptions of how the columns would march. He was exhausted and lost all sense of deference to the other attendees. Kutuzov’s response was to snore – at one point waking up startled and giving a condescending “YES! YES!,” and nodding off again.  

Tolstoy then symbolizes how some high-level officers are said to have reacted at the historic encounter. 

Friedrich Wilhelm Graf von Buxhöwden, hardly paid attention. Like many of the Russian officer class, his name had German roots. Mikhail Miloradovich “with wide-open eyes and a mustache twisted upwards,” sat in a military posture remaining silent. Unimpressed, he complained to himself but loud enough to be heard, “A geography lesson!?” Dimitry Dohktúrov, a small and modest man was studying the unfamiliar localities on the map and found the plan confusing. 

There was also Count Louis Langeron, a French émigré, who gazed at his delicate fingers twirling a gold snuffbox. He tried to contribute his own ideas but was rebuffed. A prominent Polish official, Ignacy Przebyszéwski, was described as carrying a dignified politeness. Thus, the command was an eclectic mix of ethnic Germans, aristocratic Russians, a Frenchman and even a Pole.

Late in the council, Langeron finally got a chance to convey how difficult it would be to carry out such a strategy since the enemy’s position was only assumed and Bonaparte might attack and render the plan worthless. Tolstoy expresses that those spoken down to could have advised Weyrother about military matters. It is a hindsight presentation of a doomed mission. Historically, Weyrother would not have been spearheading the effort if Gen. Johann Schmit had not been killed.

Weyrother met all objections with contempt, finding it ridiculous to debate a disposition approved by the Emperors. He felt the only thing to fear was the French retreating. He noted: “If Napolean could attack us, he would have done so today.”

When Weyrother is nearly finished, Tolstoy brings in the fictional Andrei to get into the mindset of the noble officer who faces such an affair. Andrei asks for a clarification but Weyrother cuts him off with “Gentlemen, the dispositions for tomorrow—or rather for today, for it is past midnight—cannot be altered. You have heard them and we shall all do our duty. Before a battle, there is nothing more important than to have a good sleep.”

 Andrei could sense that nobody was inspired by the talk. He wondered how Alexander was not influenced by Kutuzov’s reticence. He realized all their lives were placed at needless risk. He considers, “It is very likely that I shall be killed tomorrow” and a series of memories arose. Andrei remembered parting from his father and dwelled on his wife and her pregnancy. In a softened mood he went out into the early December night.

“Tomorrow everything may be over for me and these memories will be no more.” He became certain he would be called to account as a soldier and man. He pictured the battle in light of the sober analysis from Kutuzov. He imagined having the opportunity to firmly express his opinion of the futility of the present course to Kutuzov, Weyrother and the Emperors. While they would be impressed, no one would listen to him. He visualizes the forthcoming hesitation. He senses that his Toulon (the famous battle that catapulted Napoleon’s career) will present itself and envisions taking a regiment and leading it victory. He even pictures Kutuzov being removed appointed in the Commander’s place!

However, another voice suggesting he would be wounded or killed. He considered, “I don’t know what will happen, but admits he desires Glory -- to be known to men and loved by them.” He finds no Fault that earthly glory is all that he lives for! In pursuit of such esteem, he fears nothing, neither his own death nor the loss of his family. Though his family is precious, he has psyched himself up to point that he would trade them all for just a moment of that glory.

As the Emperor occupied Wischau, his French physician was summoned. While Alexander was initially excited by the movement of the troops, calvary charges, and clashes, he became ill upon observing casualties and the reality of war.

 Ten days prior, while in Olmütz, French General Anne-Jean-Marie-René-Savary, requested and received an audience with the Czar. Savary quickly noticed the overconfidence of Alexander’s inexperienced advisers and that Kutuzov (who advocated patience) was sidelined. Alexander explained to Savary how it was Napoleon’s ambition that brought them all to the precipice of slaughter. This was where Savary was presented with the infamous letter addressed “to the head of the French Government.” Ultimately, the allied army left in five large columns, toward Austerlitz, around 11/17/1805.

In this section, Tolstoy focuses on Savary being sent to the Czar a second time in an 11th hour attempt to negotiate when near the battlefield. Alexander read this outreach as weakness. Savary was admitted, but Alexander refused a proposal to meet directly with Napoleon. The Czar’s army was overjoyed upon learning of this notable rejection. Instead, Prince Dolgorúkov was sent to meet Napoleon. 

Tolstoy doesn’t mention this here, but Napoleon keenly set up his camp to show Dolgorúkov miserable surroundings and dispirited men. Dolgorúkov told Napoleon that for peace, he must withdraw from Belgium, Holland, Switzerland, & Lombardy. Napoleon announced in reply: “Then we must fight.” Dolgorúkov later assured the Czar that the French were ripe to be vanquished.

 The day before the Battle, there a bustling of activity, which lead to 80,000 men being stretched out over six miles, ready to advance. Information would have to travel along that chain, which would prove a challenge. Tolstoy poetically explains how like the working of an intricate clock, decisions have results. He speaks of wheels interlocking and gathering momentum based on an initial push from the Emperor’s headquarters. 

"One wheel slowly moved and another was set in motion, and then third, and then wheels began to revolve faster and faster, levers and cogwheels, chimes to play, figures pop out, and the hands advance with regular motion. Just as with clock, so it is with a military machine…"

The result was 160,000 men — all their passions, desires, remorse, humiliations, sufferings, outbursts of pride, fear, and enthusiasm — ready to embark on the Battle of Three Emperors.

The story turns to the fictional Andrei, who was in constant attendance of those who made the critical decisions relating to Austerlitz. Andrei became aware how Kutuzov was dissatisfied – as most at headquarters were dismissive of him. 

Dolgorúkov relays his impression of Napoleon, namely that the General was afraid of a battle and that his hour had come! Dolgorúkov finds Napoleon vain and superficial: “He is a man in a gray overcoat, very anxious that I should call him ‘Your Majesty,’ but who, to his chagrin, got no title from me!”  He continues: “We mustn’t forget Suvórov and his rule—not to put yourself in a position to be attacked, but yourself to attack. Believe me in war the energy of young men often shows the way better than all the experience than the old procrastinators” 

Dolgorúkov went on to explain the battle plan, a flanking attack formulated by Austrian General Weyrother. Andrei offered one of his own, but was shut down and told to bring up any such suggestions at the next council. Bilibin, the fictional diplomat, enters this dynamic. He proffers how no Russian officers are involved in spearheading the advance, and the three discuss who is said to be leading the units.

After a long and frenetic day, Andrei gets a quiet moment with Kutuzov and asks him what he thinks will come of the upcoming battle:

Kutúzov looked sternly at his adjutant and, after a pause, replied: "I think the battle will be lost, and so I told Count Tolstoy and asked him to tell the Emperor. What do you think he replied? ‘But, my dear general, I am engaged with rice and cutlets, look after military matters yourself!’"

Here, I explore how Tolstoy incorporates elements of his own vice from his younger days, including pride and ambition. Both his early and late material speak to this, most notably personal journals from his time at university as well as the spiritual work, My Confession, written in 1879, when in his early 50s. The latter was an attempt to grapple with eternal questions such as: What am I doing?, and Why am I here? Tolstoy pursues answers in the mold of how Solomon (or “the Preacher”) is presented as taking them on in Ecclesiastes.

Tolstoy appears to have reached the conclusion that those outside his social class (most notably humble peasants) have a higher chance of living in virtue and connecting with the Almighty. He implicitly argues for a reversion to a more simple Faith based on the Teachings of Christ.

Early in Confession, Tolstoy famously wrote:

I cannot think of those years without horror….. I killed men in war and challenged men to duels…. I lost at cards, consumed the labor of the peasants, sentenced them to punishments, lived loosely and deceived people. Lying, robbery, adultery of all kinds, drunkenness, violence, murder -- there was no crime I did not commit, and in spite of that people praised my conduct and my contemporaries considered and consider me to be a comparatively moral man. 

He could barely imagine such depravity among the peasant class.

Tolstoy also references his early skepticism of the Russian Orthodox Church, especially as to rituals and teachings found outside the Gospel, such as certain prayers and the veneration of saints.

He reflects that his “false faith” became trying to become the perfect earthly man and he rigorously tried to formulate methods to achieve success.  

Some of Tolstoy’s suggestions, taken from his journals, are: never hesitate to speak before onlookers; lead the conversation and speak deliberately; do not constantly move from conversation to conversation or language or language; seek the company of High Society; and invite the most important ladies – as that will be the event to be at!

An aunt who helped raise him strongly suggested that he have relations with a married woman of the highest status – as she believed nothing so fully formed a young man. She also wanted him to become an aide-de-camp, if possible to the Emperor. She further advised to marry into extreme wealth and become possessed of as many serfs as possible. 

Tolstoy’s journals continue in a self-help fashion, suggesting: do not put off what you set out to do; make an effort and the thoughts and ideas of how to achieve goals will come; write down your plan and do not get up from the table until you make sufficient progress.  

Tolstoy also set regimented schedules for himself: 9-10 a.m.: Bathe and exercise, 10-12 a.m,: Music, play a least four pages of sheets, all scales and chords; 6-8 p.m.: Attend to his studies; 8-10 p.m.: Estate management.

His time at the University of Kazan was an intense period of self-observation and served as a preparatory stage, filled with experimentation and vice, for where he wound up.

Ultimately, Tolstoy came to realize his aristocratic peers developed this heightened arrogance, believing they are in the best position guide their fellow man. The rejection of such self-perfection efforts was significant to Tolstoy developing into an elderly sage, where pilgrimages were made to his estate.

It is manifestly important to consider how Tolstoy embraces General Kutuzov as Napoleon’s opposite - as more Godly and attuned to the unknowable nature of life. This symbolic depiction made the old general a national hero.

This episode finishes by examining how the sinful ambitions he very much shared are fused into the characters of Napoleon, Boris, Berg, Anatole, Vasilly, Andrei, Pierre and Nicholas.

Rostov was in something of a depression, as he wasted the inner struggle it took to conquer his apprehension. While idle, he observed squadrons of Cossacks, hussars, infantry and artillery pass. Around 9 a.m., he heard firing and shouts. Later, a handful of French prisoners were brought back. A successful small affair culminated and the Village of Wishau was taken, building false confidence. The morning glitter of the sun was in keeping with news of the victory. 

Denisov tried to cheer up Rostov, “Come here. Let’s dwink to dwown our gwief!” A fellow Hussar soon noticed: “There! They are bringing another!,” pointing to a captive French dragoon along with his horse. Denisov was able to buy the horse for two gold pieces with money from Rostov. The prisoner was from Alsace, a Rhine border area heavily influenced by German speakers. The Hussars realized their prisoner brought aspects of culture so alien to them. Such contacts and influences would have profound impact on the progression of history.

The day takes a dramatic upon shouts of “The Emperor! The Emperor!” as The Imperial Guard was spotted.  All regret at not getting into action vanished and Rostov mounted his horse with joy. Nearer to him came that human sun and Rostov felt enveloped in his rays. 

Rostov again heard Alexander’s voice, so kindly and calm, inquiring if he was passing “The Pavlograd Hussars.” The Emperor drew level with Rostov and halted. Alexander’s face shone with gaiety and youth. Rostov believed the Emperor’s light blue eyes met his but could only hope Alexander understood what was within his soul. The Czar soon signaled his horse and galloped away.

Tolstoy describes how Alexander could not resist being present and was thrilled by news of the successful engagement. The battle was represented as a brilliant victory, however, there was a mistaken belief that a solid portion of the French were retreating.

The Pavlograds were ordered to advance to Wischau -- described as a quant German town. Rostov saw the Emperor for a third time, here at a market place where there had been heavy firing and lay several killed and wounded.

The Emperor was riding a mare and leaning while holding at some magnifying glasses (a lorgnette). He gazed at a bleeding soldier who was so revolting that his proximity to royalty bothered Rostov. An adjutant lifted the soldier to place him on a stretcher, causing the soldier to groan. The Czar, so enthusiastic to put men in peril, instructed: “Gently, gently! Can’t you do it more gently?” Soon enough he rode away. Rostov saw tears filling the Emperor’s eyes and heard him say to his close advisor, Adam Czartorýski: “What a terrible thing war! Quelle terrible chose que la guerre!”

Soon enough, the Pavlograd Hussars were stationed before Wischau. The Emperor’s gratitude was announced, rewards were promised and the men received a double ration of vodka. The campfires crackled and soldiers’ songs resounded.

Denisov celebrated a promotion to the rank of major, and Rostov, quite inebriated, proposed a toast. To the “the health of our Sovereign, that good, enchanting and great man! Let us drink to his health and to the certain defeat of the French! If we fought before, not letting the French pass at Schön Grabern, what shall we not do now when he is at the front? We will all die for him gladly! Is it not so? Perhaps I am not saying it right, I have drunk a good deal—but that is how I feel, and so do you! To the health of Alexander the First!"  Hurrah! Hurrah!” responded the Hussars. Even the old cavalry captain, Kirsten, shouted no less sincerely.

Later that night, Denisov patted Rostov and announced: “As there’s no one to fall in love with on campaign, he’s fallen in love with the Czar!.” Rostov told Denisov not to belittle his emotions and walked off to wander among the campfires, dreaming of what happiness it would be to die—not in saving the Emperor’s life but simply to die before his eyes. He was in love with the Czar and the hope of future triumph. He was hardly the only one to experience such pathos in those memorable moments preceding the true affair at Austerlitz.

Olmütz was transformed into the headquarters where the Emperors resided. When Boris inquired of Andrei, he was shunned by officials who grew tired of the number of low-level officers who were coming and going. He learned Andrei would return the next day, so at that time Boris visited Kutuzov’s quarters and found Andrei in a reception room. He noticed Andrei with an older General, who was hardly keeping Andrei’s interest. Andrei, clearly part of the inner circle of influence, was ecstatic to interrupt the old man and turned to Boris with a smile. Boris realized that besides discipline, subordination and order prescribed in the official Army code, there was a more important way of life, which forced the General to the sideline. Boris resolved to become part of this higher world. 

Andrei informed Boris that he had been occupied with the Austrian command and references the historic General Franz von Weyrother, who plays a critical role in the upcoming Battle of Austerlitz.  Boris could only pretend to understand who Andrei was alluding to. Andrei conveys that he will recommend Boris for a position as an adjunct. Boris is thankful and very much desires an audience with Kutuzov but Andrei explains the commander’s staff is overflowing with many who have no use.  

Andrei wishes to refer Boris to the historic advisor to the Czar, Peter Dolgorúkov, who Andrei labels “a good friend and excellent fellow.” Therefore, they went to the local palace where a significant council of war of the Hofkriegsrat and Russian Command just finished. 

 The consensus was to advance and vanquish Napoleon. Dolgorúkov was under the spell of the event, where the ambitions misguided youth prevailed. This was contrary to the views of Kutuzov.  All voices who counseled delay were silenced by conclusive evidence of the victory that awaited. The advantages included: superior numbers, the perceived quality of troops, knowledge of the terrain, and that the allies were inspired by the Emperors.

Dolgorúkov was exhausted but eager for inevitable victory. Andrei introduced his protégé, but Dolgorúkov was unable to get beyond the impending action. Dolgorúkov referenced how Napoleon sent a letter, proposing peace, which was viewed as a ruse to gain time. Tolstoy brings out the historic affront crafted in response. Dolgorúkov explains “What was most amusing was how we could not think how to address our reply! Not to Napolean as ‘Consul’ nor ‘Emperor,’ or ‘General Bonaparte.’” The fictional Diplomat Bilibin jokingly suggested “Usurper and Enemy of Mankind.” What was agreed on was: To the Head of the French Government / Au chef du gouvernement français.

Andrei acknowledges how much Napoleon will be insulted, which makes Dolgorúkov recall a tale about Napoleon, who held held a reputation “as the most cunning and subtle diplomat, a combination of French adroitness and Italian play-acting!” On one purported occasion, Bonaparte wished to take the measure of a Russian ambassador, Count Markov, and purposely dropped a handkerchief and then stood looking at Markov, expecting Markov to assist. Instead, Markov dropped his own and picked it up without touching Bonaparte’s.

When Andrei reintroduces Boris, the young man receives passing acknowledgment, but is told his appeal will be addressed another time. Still, Boris was enraptured by his surroundings. He recognized he was among the springs that set in motion enormous movements of men. If left just in his regiment, he would consider himself an obedient and insignificant atom. 

As exiting, they all noticed a short man with a clever face and sharply projecting jaw, who nodded to Dolgorúkov as to an intimate friend but stared at Andrei with cool intensity. “Who was that?” asked Boris. Andrei explained, “He is one of the most remarkable, but to me most unpleasant of men—the Minister of Foreign Affairs, Prince Adam Czartorýski.... It is such men as he who decide the fate of nations.” 

Tolstoy is referencing an extremely significant Polish statesman, who lived to just over 90. At the time of the novel is set, Czartorýski was a close friend and trusted advisor to Tsar Alexander, but was later famous for trying restore sovereignty to Poland.

Durova wrote briefly of her years growing up then focused on her time dressing as a man and serving for 10 years as a low-level officer in the Czar’s army, starting around 1806.

Her journals were source material for Tolstoy as to the lives of those who served in the period War & Peace is set, 1805-1812.  It is presented to give you a glimpse into those frequently nameless and overlooked, who often gave their lives in the Napoleonic conflicts.

Durova’s story brings up still-relevant issues of identify, in terms how some who grew up in modern-day Ukraine or partitioned Poland, had different ties, (some to Polish nobility, others to Cossacks, some to Turks, others to runaway serfs), identified themselves.  A number, like Durova, graciously accepted a life of service to the Czar. Others, like the former serf, Taras Shevchenko, or the Polish Diplomat, Adam Czartoryski, advanced the idea of nationhood and identity separate from Russian domination.

This episode is a brief overview of Durova’s experience from when she was 4 months-old, when she begins to articulate the ever-present animosity with her mother. This is illustrated with Durova being thrown out of a moving carriage upon her mother became frustrated while nursing. Her father then gave her to the primary care of one of his male servants, who Durova clung to at the sight of her mother.  For her first four years of life, Durova’s family remained on the road, in military service, where she was affected by hussars shouting, drilling and riding their horses. This lifestyle attracted her. 

Her Muscovite father recognized life with a growing family mandated a different position and traveled to Moscow in search of same.  It was at that time that Durova and her mother returned to her parents’ home near the Poltova region in Ukraine. She spent time on the property marching, making forts, and pretending to be in hussar service.  Her maternal grandparents, who initially rejected their Ukrainian daughter marrying a Muscovite, reconciled with the situation. 

Durova’s father eventually received a commission to become a district mayor in Sarapul, near the Kama River in the foothills of the Ural Mountains. She spent the better part of a decade in this colder climate. She would often run away and explore nearby forests and rivers. Her father accepted her adventurous inclinations and gifted her horse, Alcides, who remained with Durova well into her military service. Durova would often wake up at the crack-of-dawn and take Alcides for a liberating run, with servants becoming accustomed to this unusual dynamic.  This frustrated her mother to no end. However, her kind father and the rest of the family got a kick out of Durova’s precociousness. She remained in Sarapul until her mother grew tired of her presence and encouraged sending her back to Ukraine to live with her grandmother.

Napoleon’s supply lines were extended after traveling so far into the Holy Roman Empire and Kutuzov is historically thought to have been reticent to engage Napoleon as he thought it better to draw the French further east and wait for Prussia to align against Napoleon.  Yet he recognized with two Emperors meeting face-to-face and the French occupying Vienna, there was a compelling reason to fight. He also recognized Alexandr wanted to be the first Czar since Peter I to lead a battle of such magnitude.  Moreover, the recent skirmishes created a consensus, this would be where Napoleon’s magnificent run ended.

We are brought to the morning of the review. From the crack of dawn, there was preparation, with throngs of men moving and halting upon command. Groups turned with banners and wheeled around each other. Prominent was the rhythmic beating of hooves and drums while calvary soldiers were carried on their steeds.  From the artillery wagons, polished cannons and guns glimmered. Every soldier was shaved, with weapons clean and polished and generals strutted in their fancy parade uniforms.  Even the horses were groomed to the point their coats shined like satin.

This Review bordered on the sacred. The men held inner feelings of insignificance before Majesty but were also conscious of their strength as a part of an enormous tempest. By 10:00 a.m., the army was extended in three lines: cavalry in front, then artillery, and in the third row - infantry.  All were ready to greet Alexandr and Francis. Soon enough, ran an excited whisper, “They’re coming!” Joy swept over the troops as hundreds of riders guarding the leaders moved closer as trumpets heralded.  At the head where the two Emperors. 

 Alexander’s youthful but majestic voice was heard. Those nearby roared “Hurrah!” so deafeningly that the men were awed by their own power. Rostov was in that throng and experienced what all others had: self-forgetfulness, a proud consciousness of might and devotion.  He knew a single word from him would lead all to go through fire and and perform deeds of the highest heroism.   “Hurrah! continued to thunder.

Rostov was near the trumpeters and recognized the Tsar. He  could distinguish every detail of his face. Alexandr’s every movement was enchanting. The Tsar said something in French to Francis. Every sound from him was a gift from heaven. Rostov felt the most powerful flow of love for his sovereign, which he longed to demonstrate and considered, “if the Emperor would speak to me, I would die of happiness.”  The Tsar addressed the officers: “I thank you all, gentlemen, I thank you with my whole heart.” 

When Alexandr moved down the line, he was  accompanied by a sea of high-level aides.  Rostov noticed Bolkonsky among them.   When thinking of their recent quarrel, Rostov realized Andrei was correct to suggest the matter be dropped. Such a disagreement was “not even worth thinking of at such a moment! At a time of such love, rapture and such self-sacrifice. What do any such affronts matter?  For, I love and forgive everybody!”    

When the troops saw their Emperors, they instantly felt they could lay down their lives.  It a phenomena that exists through the ages and Tolstoy gets you to question such devotion.

After some time, select soldiers began a ceremonial march past Alexandr, including Rostov, a who was a fine horseman. He rode Bedouin, recently purchased from Denísov and it seemed the animal knew he was in the presence of royalty. “Fine fellows, those Pavlograds!” commented the Emperor.   

When it was over, the soldiers collected in groups and began to talk. All discussion soon turned to Bonaparte and how he would be vanquished, especially if reinforcements came from Prussia.  Soon enough the conversation in every group centered on Emperor Alexandr.  His every word and movement was described with ecstasy. They all had one wish: to advance as soon as possible! All felt they could not fail.

In the recent W&P episode, Tolstoy describes how young soldiers are typically unable to speak the truth and will conform their wartime stories to the expectations of their audience, as well as put themselves in the best light. He plays this out using the fictional Rostov, who was fearful and shaky on this horse as he headed into one of his first calvary charges.  Rostov’s horse was shot out from under him and he fell to the ground, disoriented. When he came to, Rostov quickly became in fear of losing his life and ran into the woods like an animal pursued, with the French in hot pursuit. He soon pondered, “Why did I even come here?” However, when he conveyed this event days later, he told his old friends (Boris & Berg) how he was in a frenzy while charging and slashing at the French. Truth was completely lost on the symbolic good-hearted lad.

Tolstoy, a decade before publishing W&P, memorably wrote that the hero of his second Sevastopol Sketch (roughly 35 pages), whom he loves with all of his soul, was Truth. It is something War obscures. He succeeded in conveying a truth of War in this sketch, namely its brutality.

Tolstoy describes how men, full of lofty and petty hopes, just hours before, now lie as corpses or hideously mangled casualties after an artillery battle typical to what he witnessed firsthand. 

He conveyed that the men involved, as opposed to the ideal of Truth, could not be said to symbolize good or evil. They made up of the spectrum of human behavior: good bad and ugly. Some were motivated by serving their fellow man and others by vane concerns. Some were men of resolve, others of fickleness. The same could be said of the French.

He labels the mid-levels officers sending their fellow men to near-certain death as “petty Napoleons,” implying that they are enemies of each man fighting as much as those wearing opposing uniforms.

At the end of this Sketch, Tolstoy focuses on the aftermath of a battle where white flags are raised and time is granted to collect the dead and wounded. The townspeople come out and many of the soldiers converge. Their better natures are manifest. They pat each other on the back, speak of the valour exhibited, and even exchange small gifts like tobacco.

Tolstoy expresses that these men are Christians who should all profess the Love of Him above and discard their arms, fall on their knees in repentance, and embrace their brothers in Christ. Yet he acknowledges, this will not happen, as when the flags are raised, the malevolent cycle will repeat itself.

After Rostov alludes to his award, Boris retrieves the money and letter from Rostov’s family. Upon reading a few lines, Rostov hid his face, ashamed he frightened his family over his trivial injury. Berg then makes the mistake of commenting on Rostov’s bounty; as Rostov was given an excuse to turn his frustration at Berg. Berg is asked to temporarily leave and Rostov is free to lament. Also in the correspondence was a letter of recommendation for a position with General Bagration. However, Rostov throws it away. He does not want to be anyone’s adjutant, which he views as a servant’s job. Boris picks it up and confesses how much he would prefer such a position.  

When the wine arrived, Berg was invited back. Over the bottle, the conversation became animated with the friends relaying their adventures, one from the vantage point of a hussar and the others from service close to the Imperial family. 

Attention soon focuses on how Rostov was hurt. Without any intention of dishonesty, he gave an exaggerated account and conformed his story to expectations of what a cavalry attack would be.  Notably, Rostov couldn’t have told the Truth: that he fell off his horse and ran into the woods. Tolstoy is implying that young men who face battle are prone to spin such tales. Rostov goes on to describe the battle at Schöngrabern as a collective memory, incorporating the bravery of those around him. 

Rostov fervently relayed how he was aflame with excitement, flying like a hurricane at the French and cutting them down with his saber. He was carried away with lies. Just as he was saying: “You cannot imagine the frenzy,” Prince Andrei, entered the room, looking for Boris, as he had received a letter from Pierre requesting he help the young lad advance in his career. Andrei took notice of the young braggart. Already disillusioned by war, Andrei could not stand such boasting. He composed himself and gave Boris a pleasant greeting but frowned at Rostov, who noticed the affront. Boris then inquired of the battle plans. “We shall probably advance,” was Andrei’s reply. 

Andrei turned to Rostóv and asked him if he was at Schöngrabern. When Rostov replied he was, Andrei calmly noted: “Yes, there are many stories now told about that affair.” Rostov took the bait, saying “Yes, stories!, But ours are those of men who have been under fire! Our have some weight, not like the stories of those on the staff who get rewards for doing nothing”

“Of whom you imagine me to be one?” retorted Andrei, with an amiable smile. Rostov was irate but recognized his adversary’s self-possession. He mustered, “I don’t know you and, frankly, I don’t want to. I am speaking of the staff in general.” Andrei calmly continues “I see you wish to insult me, and it would be very easy to do so if you lack sufficient self-respect, but admit that the time and place are badly chosen as in a day or two we shall all have to take part in a greater duel.” He added, “you know my name and where to find me, but don’t forget that I do not regard either myself or you as having been insulted, and as a man older than you, my advice is to let the matter drop.” 

Andrei takes his exit after telling Boris they will speak further after the review. Rostov soon leaves for his own camp on horseback and dwells on the interaction. He replayed the events, thinking what he ought to have said. He imagines challenging Andrei to a duel and covering him with a pistol. While he wanted to see that small proud man cower, at the same time he realized there was no one else he had come across that he would so much like to have as a friend. 

While Nicholas was riding with the Pavlograd Hussars, Boris was serving more comfortably with the Imperial Guard, accompanying Czar Alexander as he traveled toward Olmütz, Moravia, a mostly German speaking enclave of the Holy Roman Empire that sits along a tributary of the Danube River. The allies were uniting in their largest numbers with plans to square off against Napoleon’s Grande Armée.  Kutúzov’s forces already reached Olmütz while the Guards were stationed 10 miles away. All units were preparing to be reviewed by Emperors Alexander and Francis II. 

Nicholas receives a note from Boris, informing him that Boris arrived with the letter and money from his family. Nicholas was elated as he was dire need of funds and set off at once to find his childhood friend. Rostov’s unit was no longer on the run, so his camp swarmed with sutlers (civilian merchants). The Hussars held feast after feast, celebrating and receiving honors. Nicholas attained a promotion to cornet, a relatively low officer’s rank. He also had to buy Denisov’s horse, “Bedouin,” after his trusty “Rook” fell in battle. With such expenses, he was in serious debt. 

Nicolas is over asking himself – Why am I Here? The morale of his unit infused him with a proud spirit, as he never obtained any personal glory. Nevertheless, he proudly dons his crumpled hussar cap and shabby cadet jacket. He wishes to appear more seasoned than anyone he will come across.  

Commanded by Grand Duke Konstantin Pavlovich, the Imperial Guards made their march west as if on a pleasure trip, with knapsacks on carts and the finest of provisions from Austria. While supplies to Russia’s fighting regiments was notoriously poor, the Austrian authorities made sure the Imperial Guard and Emperor were well taken care of.  Everywhere they stopped, bands and fanfare welcomed them and a grand ball was organized.  

Boris had marched along and been quartered with Berg, who was promoted to Captain, mostly for competently arranging financial matters. Berg was rising in accord with his ambition. Boris also had his eyes on advancement, making acquaintance of many of influence. He received a letter of recommendation from Pierre and become acquainted with Andrei, through whom he hoped to gain a post on Kutuzov’s staff.

Nicholas finds Boris & Berg sitting, clean and neatly dressed, at a table in tidy quarters, playing chess. Nicholas enthusiastically greats them and imitates their old Nurse’s mangled French, saying “Petisenfans, allay cushay dormir!” Meaning, Oh children, go to sleep. All can immediately spot how much each has changed. They had not met for half a year and each young man had taken such important steps along life’s Road. 

Boris rose to meet his old friend and Nicholas initially resisted because he wanted to roughhouse with Boris. Still, Boris acted in accord with etiquette , embracing Nicholas and kissing him three times. They then boisterously exchanged greetings and took notice of the attractive German land-lady. Nicholas points out how both his friend had become dandies. Soon they ordered wine.

Boris soon asks Nicholas about his experiences and if he has been under fire. Without speaking, Nicholas smiled and shook the cross of St. George fastened to his uniform and showcased his bandaged arm. The background of this award is significant as St. George (of Cappadocian Greek origin) was a 4th Century Roman Soldier who converted to Christianity and was martyred when he would not recant his faith. There is also a legend he slayed a dragon when a lovely princess was going to be sacrificed to the beast. Paintings and awards often depict his symbolic victory over evil. The figure and tale holds immense significance in Russian history.

This source material was an unconventional choice as Calvary Maiden contains the journals of a young woman, Nadezhda Andreyevna Durova, who presented as a man to pursue military ambitions. Her material was first published in 1836, well-after her 9 years of service that commenced in 1806. It was rare but not unprecedented for a woman to so serve. However, journaling her experience made Durova the first known woman in the Czar's army.

There are considerable embellishments and falsehoods in Durova's work. Most notably, Durova represents that she ran away from her beloved father's home at about 15 to pursue her military career. However, Durova was likely around 22, and her adventures started after a brief marriage and having a son.  The inaccuracies could be attributable to accommodating government censors, pleasing editors, or for a variety of personal reasons. It does appear that when Durova left home, she initially linked up with a Cossack regiment and later joined a series of calvary regiments, obtaining a position as a junior line officer. 

Durova has a contemporarily relevant ethnic background. She advertises being born of one of the most beautiful women in Ukraine, which had been something of a free state while under Cossack rule, but was dissolved in 1773-74 and dominated by Czars/Czarinas. Durova’s maternal grandfather was a Ukrainian civil servant.  At 16, her mother (also named Nadezhda) became enamored with a Muscovite Hussar who traveled to family’s small town near Poltova, an Ukrainian city with historical import.  Her Ukrainian grandfather forbade any such match, as would have been customary. Nevertheless, the two eloped and the young couple was able to pursue their own path as military life initially kept them on the move. Being around this lifestyle very much fascinated her.

Durova was firstborn and describes herself as a monstrously ugly infant and the bane of her mother’s existence. However, her father (Andrej Durov) is characterized as industrious, loving and kind. It appears Andrej was descended from a low level of Polish nobility.  This would have allowed his male descendants to gain an officer position, which Durova, in her disguise, was able to merit. 

Durova sheds light on her escape from roles traditionally associated with females of the time, such as: wife, mother, tutor, mistress and hostess. She participated in some of the grand military events of the day and capably describes life in both war and peacetime. She is one of few authors to focus on the latter, the downtime which often makes up the bulk of a soldier's experience.

Young Natasha convinced Anna to reveal the nature of the letter and promised to keep it secret. She broke her word right away, telling Sonya (who is devoted to Nicholas) as well as her little brother, Petya. Sonya cried and Natasha comforted her -- noting it was just “a little wound.” Petya takes the missive with resolve and adds how he would have “killed many Frenchmen.” 

Natasha asks Sonya, “Do you remember Nicholas?” She means in the sense of holding the same feelings. Sonya reveals, “I am in love with your brother and whatever may happen, shall never cease to love him.” Natasha no longer feels the same about Boris.  Her childlike love has faded. Natasha knew there was such love as Sonya was describing, but never experienced it. They discuss whether it would be proper for Sonya to write Nicholas and reference his commitment. Sonya decides that if she is mentioned in the letter, she will write. Natasha does not have any compulsion to write Boris as she feels it would just come out awkward. Pétya reveals Natasha has developed affections for the new Count Bezúkhov as well as her Italian singing coach.  

After dinner, the Countess was in her room focused on a portrait of Nicholas. Anna arrived with the letter while Ilya listened through a keyhole. There was crying, silence, then voices in happy intonation. Anna opened the door and exhibited a proud expression. Anna embraced her husband and in came Véra, Natasha, Sonya and Pétya. All went over the letter. There was a description of the campaign, battles and the promotion. Nicholas sent his love and asked for his parents’ blessings. He sent a special greeting to “dear Sónya, whom he loved and thought of just the same as ever.” When Sonya heard this, she blushed, cried and ran to the dancing hall, where she whirled around at full speed.

The practical Vera asked, “Why are you crying, Mamma? One should be glad and not cry.” This was true but not wise to express. She was reproached by the family while her mother thought, “and who is it she takes after?”

The letter was read over among tutors, nurses and servants. Each time the Countess did so with fresh pleasure.  She contemplated how incredible it was that her son, once a scarcely perceptible motion under her heart, who had learned to say little words, was now away in a foreign land doing warrior’s work as a model officer. It was the universal experience - showing how children imperceptibly grow from the cradle to manhood. Yet it does not exist for a mother. Her boy’s growth, at each stage, seemed as extraordinary to her as if it never existed in others. She thought, “What style! and “what a heart and soul!” She noticed how Nicholas barely wrote of his exploits and sufferings, but mentions Denísov and others.

A bountiful response would come from the family, as a new officer needs supplies which are NOT paid for by the army. Preparations were being made, along drafts of letters.  6,000 rubles was collected. There was a question of how to reach Nicholas as he was on the move and the postal system was notoriously ill-managed.

Anna would prove her worth yet again in conveying the material. She had curried favor with authorities (couriers for Grand Duke Constantine Pávlovich, a historic figure and elder brother of Alexander I) to secure a means of communication to reach Boris, who would convey any package to Nicholas. 

Marya considered, “Is he really to be my husband? This stranger who is so kind.”   However, she soon feels the force of evil near her as a Satanic image mixed with Anatole’s. She rang for her maid, asking her to sleep in her room. Lise grumbled how uncomfortable she was in bed. Anatole’s presence reminded her of when she was not impacted by pregnancy and loneliness. Amélie Bourienne walked about the winter garden, working out this scenario where she would allow herself to be seduced, then try to win Anatole with a story about how her poor mother’s ghost shamed her. Conveying this would hopefully guilt Anatole into marrying her. Such projection contrasts with Marya, who would never so play with spirits.  

Bolkonsky could not sleep and reflected, “The first man that turns up—she forgets her father and becomes so unlike herself!”   He is disappointed Marya did not have the pride to see Anatole’s nature.  He considers casting off Bourienne and aims to reveal the truth, in part, to convince Marya not to leave Bald Hills.  

The next morning, Anatole and Amélie recognized how much each had to “say” to the other. They took the opportunity to rendezvous in the garden when Marya went to meet her father.  

Marya was told, “I have a proposition and refer it to you. Prince Vasíli finds you to his taste as a daughter-in-law and makes a proposal to you on his protégé’s behalf.” Marya asks for her father’s input but realizes he does not approve.  He informs her Anatole will take her dowry and bring Bourienne into the marriage. Marya become despondent and her father feigned speaking in jest.  He advises Marya to take an hour to pray over the matter and adds, “Remember that your happiness depends on your decision. He receives his orders from his father and will marry you or anybody; but you are free to choose.”

Mary wishes to accept but what her father said had an impact.   An invisible force led her into the conservatory, where she recognized the whispering of Amélie.  A few steps away, she saw Anatole fully embracing the French woman. Marya was shocked. Amélie screamed and ran off. Anatole composed himself, bowed with a smirk, as if inviting Marya to join in a laugh and retreated.

Marya was summoned an hour later as she comforted Amélie. She gazed at Amélie with tender affection and stroked her hair. Amélie was apologetic, “You who are so pure… can never understand being so carried away.”  Marya responded, “I love you more than ever and will do all I can for your happiness.” She then she went to address Anatole’s father.

Vasíli was optimistic.  “My dear! My son’s fate is in your hands. Decide, my gentle Marie, whom I have always loved as a daughter!” Bolkonsky put the matter bluntly, “Do you wish or not to be Prince Anatole Kurágin’s wife? Reply and then I reserve the right to state my opinion.”   Marya answered, “My desire is never to leave you, Father.”  Vasíli did not relent, “Will you not give us a little hope of touching your heart? Say ‘perhaps’... The future is so long.” Marya continued, “Prince, I have said all in my heart. I thank you for the honor but shall never be your son’s wife.” Bolkonsky then steered Vasíli out the door and sends Marya to her room. “Well, so that’s finished, my dear fellow! I am very glad to have seen you.”

Marya contemplated, “My vocation is to be content with another kind of happiness, of love and self-sacrifice. Cost what it may, I will arrange poor Amélie’s happiness as she loves Anatole so passionately and repents. I will give her the means; I will ask my father and Andrei. I shall be so happy when she is his wife. She has been so unfortunate, alone and helpless! And how she must love him if she could so forget herself! Perhaps I might have done the same!”

The conversation became genial thanks to Lise.  Speaking French, she drew all into her stories. Shaking a finger at Anatole, she reveals, “I have heard of your doings in Paris!” With Paris referenced, Bourienne jumped in and Anatole thought, “la petite est gentile.”

Bolkonsky remained in his study, considering how Vasíli is a shallow soul with his son likely in the same mold. Their presence brought up whether he could part from the daughter he cherished. “Why should she marry? To be unhappy?” He thought of Lise, thinking a better husband than his son could not be found. Still, Lise was not content.  He realized some women remain happier and have more agency unmarried. He also demanded any suitor be worthy. As Vasíli stepped in to drag Pierre into marriage, Bolkonsky is preparing to keep Marya out. 

Upon meeting his guests, Bolkonsky noticed Anatole flirting with Bourienne and already felt Marya was playing the fool.  He went up to Vasíli, exchanged pleasantries and discussed news of the war, but soon broke off to chastise his daughter for her new look, reducing her to tears.

Bolkonsky then addressed Anatole and spoke in a way where Anatole felt compelled to hold back laughter. “My dear boy…So, you wish to serve the Tsar and the country? It is wartime, such a fine fellow must serve. Well, are you off to the front?” In responding, Anatole must ask his father what unit he is attached to, which confirms Bolkonsky’s suspicions of his quality. 

Nevertheless, as soon as Vasíli got Bolkonsky alone, Vasíli announced his hopes. Bolkonsky said he would ask Marya tomorrow in everyone’s presence. If she is willing, Anatole can “stay on,” but still notes “I’ll see,” implying he would be the final arbiter.  Vasíli adds “I will tell you frankly, Anatole is no genius, but he is an honest, goodhearted lad, excellent son, and would be no less a relative.”

Anatole remains busy entertaining the women of the House. Attributable to their loneliness, all were charmed. Even Marya forgot her plainness. Anatole seemed out of a dream: kind, confident, masculine, and magnanimous. Aspirations of a family rose in Marya’s imagination. “Am I too cold with him? I remain reserved because in the depth of my soul I feel too near to him already.” In contrast, Anatole thought, “Poor girl, she’s devilish ugly!” 

Bourienne’s passions were also spurred. Without any status, relatives, or even a country, she did not intend to devote her life to serving Bolkonsky. She dreamed of a prince like this who would appreciate her looks and fall in love.  Her aunt had told her about such scenarios. It was not calculation that guided her as she didn’t have the sense to plan. She just wished to try to please the man before her. Anatole was cognizant of his power and the feeling that most intensely rose was a passionate lust for Bourienne.

Mary was soon asked to play on the clavichord. Her favorite sonata bore her into animated poetic world. In her lovely eyes there was a look of hope and joy. Anatole faced Marie but concentrated on Bourienne.  Mary would look at Bourienne, thinking, “How happy I am now, and how happy I may be with such a friend and such a husband!

When it came to retire, Anatole kissed Marya’s hand. He did the same to Bourienne, which was a breach of protocol. She flushed as Marya considered, “Is it possible Amélie thinks I could be jealous of her, and not value her devotion.” Lastly, Anatole went up to Lise and they had a playful interaction to close the night. 

Tolstoy explicitly introduces the concept of divine Love in War & Peace through Mayra reaching out in prayer when she faces the temptation for physical pleasure when Anatole pays a courting visit.  She feels the Lord has placed in her heart the direction to orient herself around heavenly Love. She is reminded to focus on the Lord’s command of Love: meaning commitment to others as demonstrated by God’s willingness to sacrifice his Son.  

Tolstoy begins his missive with special appeal to those “fighting on behalf of one government or another, which nobody needs.”   He specifically reaches out to his “Dear Brothers” including: “King, Minister, Merchant, Worker, and Peasant.”

He notes that the further he reaches in life, the more it becomes clear that we need to focus on this transcendent Love. Tolstoy proffers that our earthly toils distract us from this obligation; but it is what the Lord desires for our short indeterminate lifespans, which lie between the voids of pre-birth and post-death. Tolstoy, believing his end was immanent, was acknowledging the transience and fragility of terrestrial life. He did not dread the prospect of death, but viewed it as natural and beneficial, like one day passing into another. 

He writes that our lives have such potential for joy, where we can appreciate the heavens and nature, with a stewardship for what is before us. Instead, we wind up creatures constructing buildings, factories and roads, often for the latest commerce system that mass produces items Tolstoy believes nobody needs.  Such industrial demands create pollution and sicken workers (physically and mentally), who dwell in the slums of the early 20th century.  In mining pursuits, Tolstoy emphasizes, somewhat metaphorically, how workers descend into the earth to extract stones and iron. This stands in contrast to looking upwards and outwards – towards the divine. 

Instead of living joyfully and being prone to God’s bounty, we hate, kill, harass and accumulate. Some utilitarian masters-of-the-day claim to be guided by a greater good. Others are influenced by habit, tradition, or imitation.  However, without focus on the divine, so many have been reduced to fighting like animals, and live a perversion of what life should be.

Ultimately, we must do what coincides with the demands of our soul, namely to act in the spirit of brotherly Love.  

Tolstoy proposes: let the those fighting for so-called freedom or order, put a tinge of their efforts toward living out this Love.   He is confident everyone will see the fruits of their labor and experience a bliss. Even if you try it for a day, it will make you unlikely to turn back.   For Love transcends death.   He appears to be referencing popular Gospel teachings, such as to live to accumulate treasures in heaven, instead of riches on earth, which will inevitably perish.  For divine Love is eternal.

Tolstoy concludes that all of his fame, wealth, and devices of social life are trivial compared to the Love the soul demands. Therefore, we are to live with sacrificial intent.  Such a life is open to us and calls.

 On the morning Vasíli was to arrive, the head serf, Alpátych, deferentially explained that he had the path swept of snow after being informed a “minister” was arriving. Bolkónski exploded, “A minister? Who gave orders to sweep? For me, there are no ministers!” He does not want Vasíli to receive special treatment. Bolkónski swung a walking stick near Alpátych and shouted, “Throw the snow back on the road!”

 At mealtime, Amélie Bourienne brings up the impending visit and Bolkónski references how he got Vasíli his initial governmental position. He alludes, with disdain, to the obvious reason for the visit.  Bourienne changes the subject to flowers in the conservatory. This, along with the soup, placated Bolkónski. Later Bolkónski went to check on Lise, who avoided the meal under the pretense of her pregnancy. He asked how she was feeling. Lise, who pregnancy made plain, lived in trepidation, but grew accustomed to life and took a fancy to Bourienne.

 Bolkónski then visited his head serf. Alpátych relayed the snow was shoveled back and pleaded, “Forgive me..... It was only my stupidity.” “All right,” responded Bolkónski and stretched out his hand to be kissed.

Vasíli and Anatole arrived that evening and were met by servants, who had to drag the sleighs and baggage over re-laden snow. Once settled, Anatole became at ease. He regarded life as a continual round of amusement and realized, why not marry her if she has so much money? He shaved, scented himself and held his head high as he approached his father. He asks, “Father, is she truly hideous?” He is rebuked, “Enough! Remember, for you everything depends on this.”

Marya, in contrast, sat alone in her room, forlorn. Lise and Bourienne had a better sense of how to make an elegant presentation and put heartfelt effort into preparing Marya, acting with the naïve conviction that dress or hairstyle could make a face pretty. Marya was so plain that nothing helped. Neither thought of her as a rival in terms of beauty. Marya remained piteous and her companions eventually retreated.

 Alone, Marya let her mind wander and dreamed of a husband, a dominant attractive man. She dreamed of the joy of physical relations and fancied nursing her own child, with her husband gazing tenderly. However, the visualization broke and she realized, “I am too unattractive.” She was soon summoned to meet Anatole. She felt appalled at what she had been thinking and went to the nearby prayer room, where she fixed her eyes on an icon of her Savior. A painful thought filled her soul, Could the joy of love, earthly love for a man, be for her? With a handsome guest invading the threshold, this deeply hidden longing revealed itself. 

Instead of trying take steps to satisfy her desire, she appeals in prayer: Oh Lord… How am I to renounce these vile fancies, so as peacefully to fulfill Thy will?”  God placed the answer in her heart, revealing that she was to focus on divine love, that selfless love motivated by commitment to others, as demonstrated by God being willing to sacrifice his Son. The Lord continues, Desire nothing for thyself… be not envious or fearful. The future and thy own fate must remain hidden, but live so that thou mayest be ready for anything. If it be God’s will for thee to marry, be ready to fulfill His will. 

With this consolation, Princess Marya crossed herself and was mentally prepared to present herself, thinking no more of superficialities, as nothing could matter in comparison with the will of God.

After taking in the majestic sky, you are brought back to earth, to the vulgarity of war.  A funeral procession marches by. The music and banners cover up the beastliness you observed in the Hall.  

You reach the lively city center and pass inns, shops and street merchants. You notice the variety of officers, many finding relief in alcohol. You overhear the musings of soldiers covering the latest battles, logistics, leadership, and field conditions. Causalities are relayed with the ease of giving weather updates. The tales of these men will be told for generations. You hear reports from the infamous 4th bastion, which is spoken of with transcendent reverence. Those in the most critical positions find themselves best able to focus on the task at hand, much like the fictional Captain Tushin at the Battle of Shongräben.

You drift towards the bastions amidst a frozen mist on an avenue destroyed by artillery. You notice pierced roofs and broken windows. A stone walkway gives way to crude boards and beams. 

As you near and ascend a steep hill, officers (in groups of four) are hauling the wounded on stretchers. Near the top of the hill, you observe the action as bullets whiz about. Below is a trench of foul-smelling muck that leads to more directly to the bastions. 

There is an elevated path on the hill, but it exposes you.  You nevertheless use it as the alternative is dreadful. In a few hundred paces you reach a battery and notice broken guns and cannon balls. Artillery whistles and thuds about you. For a moment, you believe you reached the 4th Bastion. However, it is the relatively safer Yazonovsky Redoubt.   After a short stay, you traverse a narrow trench leading you to the infamous stronghold. You pass sharp-shooters eating, smoking and chatting. Others are playing cards. This is their home and they make the best of their lot. A soldier of the 4th Bastion takes interest in you and tries to ease your nerves. 

There seems to be only one large working cannon in a battery, which a naval officer demonstrates the use of. Much was destroyed the day before. The enemy (French) are only 30 to 40 fathoms away. 60-80 yards.  Naval officers are working the smaller guns. These wrinkled and sunburned men have wide shoulders, powerful torsos and stout legs. Their resolve is unimpeachable. 

A naval officer appears to have killed two of the enemy and you absorb their countenance, craving for revenge. Balls of death volley your way and the earth shatters. There are showers of dirt, stones and debris. Some of your own become casualties.

You expect the next shell will end your life, but it passes and you become exuberant. You dare the enemy to strike you!

You visualize a dying man being carried. His face is imbued with exaltation. His eyes shine bright as he uses all his energy to hold his head up. In a trembling voice, he says – Farewell brothers.   

You are transfixed by the valiance of the men as you take your leave – they are the defenders of Sevastopol. They are unwavering in spirit and demonstrate unparalleled courage under fire. 

This is the dynamic in the early days of the Siege - when holding out was viewed as a military impossibility. However, there was still no chance of a surrender. It was an effort worthy of the heroes of Greece. 

Vasíli was planning to get two of his children married, Anatole as well as Hélène.  Vasíli felt compelled to finalize matters with Pierre before touring his neglected provincial estates. He then desired to pick-up Anatole from his regiment and take him to Smolensk to arrange a match with Gen. Bolkónski’s daughter.

 Pierre’s conduct was as a young lover’s should be - excited and foolish. Vasíli thought, “Youth, frivolity... God be with him.” He surmised the right time to push for resolution was at Hélène’s upcoming name-day celebration. Pierre’s mixed emotions persisted. He realized how devastating it could be to tie his fate to Hélène. Yet he had no ability to leave her orbit. He was overpowered by desire.

In Society’s eyes Pierre was more and more connected with Hélène. All were waiting for him to propose. Terror seized Pierre upon realizing how close he was.  When the celebration arrived, the guests included close friends and family. All were in high spirits. Vasíli merrily went round the table, chatting about the Imperial Council, where the military governor read a missive about the war from Czar Alexander.  The governor was overjoyed the letter was directed to him.

  As much as such trifling interests united the aristocrats, all this was sideshow to Pierre and Hélène. Pierre found the dynamic intoxicating. He thought, “They are all expecting it, so…I cannot disappoint them!”  He considered himself a Paris possessed of Helen of Troy.  Deep down, Pierre knew that only since becoming the Count did he receive favor.  Still, in the moment, he believed that it was he who was unusually striking. He was taken out of this mindset when Vasíli asked when he last heard from Andrei, who had written from Olmütz.   

After supper, Pierre & Hélène followed others to the drawing room.  Pierre had had never spoke to Hélène of love but knew it was time to.  He first made some small talk. Vasíli, hovering, came up to them and again brought up the proud governor. Pierre smiled and gave a look that assured he was doing what was expected. In the next room, the Kuragin family spoke on how “marriages are made in heaven.”

  The couple kept the family waiting and eventually Vasíli lost patience and decided to drag Pierre across the line. Vasíli’s manifested a triumphant countenance upon his approach and congratulated Pierre on what Pierre could not bring himself to do.  He proclaimed, “Thank God! My wife has told me everything!” (though his wife did no such thing). He put his arms around the two and continued, “My dear boy... Lëlya... I am very pleased. I loved your father...and she will make you a good wife...God bless you!” He embraced and kissed them.   

Pierre reflected. “All this had to be…so it is useless to ask whether it is good or bad.”  At least he was rid of the doubt.  Pierre held Hélène’s hand and confidently called her name.  He knew “something special is always said in such cases”. He looked deep into her eyes and she drew nearer to him and told him to take of his spectacles.  Pierre did so and was about to stoop and kiss her hand but with a rapid movement of her head, Hélène intercepted his lips with her own.  “It is too late now, it’s done, besides I love her,” thought Pierre. He then uttered those forgotten special words, Je vous aime, but they sounded so weak he was ashamed.  

Six weeks later Pierre was married, and settled in his newly furnished Petersburg mansion.

Sevastopol is a name of Greek origin and is a well-known port city in Crimea. Before it was Ukrainian -- and before it was Russian or under Russian occupation -- it was part of the Crimean Khanate, heavily influenced by the Ottomans. Greek names were stamped on conquered cities just north of the Black Sea (think also Melitopol, Mariupol, and Kherson) by Czars & Czarinas as a show of respect for Greek culture. Notably, Greeks had a presence there going back thousands of years.

The first Sketch focuses on a sunrise to sunset amidst the Siege. We take in Sevastopol through the perspective of an officer and get closer to the infamous bastions as the day goes on. 

Around 8 a.m., you (the officer) take notice of the rising sun above Sapun Ridge, which rises 240 meters.  There is a changing of the guard, a soldier washing his face in frigid water, as well as doctors and nurses reporting to their stations. Life gets moving amidst the backdrop of death, which you can observe through wagons transporting the departed.   

You traverse a muddy beach, passing over a dead horse, and get into a small boat pulled by an old man and boy.  The vessel sails around a disabled warship and soon reaches a wharf near the city center.  Sevastopol remains a traditional city but has also become a war encampment.   The surface bears the scars of cannon fire. There is a bustle – smoking, chatting, gambling and arguing.   You take in: Cossacks with their horses, women with their children, and trades-folk.  All their faces express enthusiasm in carrying on. Nobody is paralyzed by fear.  

Most importantly, you approach the Sevastopol Assembly Hall, which is serving as a hospital. You enter to the sights, sounds and smell of the wounded. Some are in hammocks, but the majority are on the floor. You are overcome through absorbing the pervasive suffering. You address a few of the men and they respond to your empathy. You meet one who lost his leg, who graciously thanks God that he will get his discharge. He tells you that it is best not to dwell.  You come across housewives, one visiting her husband and another who was severely wounded while delivering food to her husband. You come across a blonde man with swollen face and labored breathing who is near death. You sense his internal fire of pain. You see an old gaunt solder changing his clothes.  His body displays a lifetime of hardship. You can’t find words to convey your admiration.

You take in the horrors of the operating area.  Sleepless doctors are at work administering chloroform and hacking limbs.   You see repeated -- the placing a sharp curved knife into a healthy part of the body and the men coming to with piercing cries. What follows is an arm or leg being thrown onto a pile.  The men in queue for such treatment obsess over the terror that lies ahead.    

Tolstoy’s point is that such is the reality of War, not the music and drum beats and gallantry, and waving flags. This is the grim nature of suffering and death.  

You leave and head to an actual bastion.  You reflect on what you observed and grasp your insignificance.  You take a moment to behold the majestic sky -- The Lord’s sky. For any War & Peace reader, this scene bring to mind Andrei on the field of Austerlitz, gazing from the grass at the brilliant sky. Your mind soars above the fine city with a lovely church; and Your mind is restored.

This is a complex chapter easy to get lost in.  Tolstoy wrestles with one of his common themes -- Are people led or are they ready to move and inevitably pops up someone to guide them in the direction they were going?

Tolstoy emphasizes that the life of the nations is not symbolically expressed by the lives of great men such as like Napoleon, Czar Alexander or Kutuzov. Thus, Napoleon cannot be said to sum up the French people at the turn of the 19th Century. It is people themselves who are always the story of their times!

Tolstoy proffers that prominent historians/academics tend to teach, using animals as an allegory for historical movements — a herd of cattle goes in a direction because the animal in front leads and the collective will of the others vest in that leader; and if the one at the top changes, it is because of another transfer of collective will. Tolstoy preaches there is a false appeal in believing any such theory. For the academic, watching the aforesaid herd, pays no attention to the varying quality of the cows in different parts of the field or the driving of the herdsman. Such assessments are made with the benefit of hindsight and attribution of bias. Academics tend to prop up figures they find important based on values they wish to advance.

Historians are mistaken when they regard historical persons, from monarchs to artists to journalists, as expressions of their age. A significant aspect of power lies with the people. The responsibility for what happens in this world, remains with each of us. 

Tolstoy then explores concept of “power” and how that word is understood. When we look at what causes historical events, we cannot help but incorporate this force.  “Power” is something you can’t see – as you can visualize a cannon or statue -- yet it exists. There is an ineffability of the word. Yet we all give “power” significance because of our ability to reason and life experience. 

 Whenever a major event occurs, a man will appear by whose will it took place. To him we attach power. Examples given are: Napoleon III issues a decree and the French go to Mexico; the Kings of Prussia and Bismarck issue decrees and an army enters Bohemia; Napoleon I issues a decree Russia is invaded; Alexander I gives a command and the French submit to the Bourbons. However, reflection shows that it is more than such words that moves men. A prominent man’s orders are only part of the story, as there is also the physical act of the multitudes agreeing and going along.

History shows that a monarch’s expression of the will often produces no effect, as such commands are often not executed; and other times the very opposite of what is ordered occurs. 

Power, from the standpoint of experience, is better defined as the relation that exists between the expression of someone’s will and the execution of that will by others. When there is a bilateral relationship – then there can be said to be power!

     Tolstoy ends the chapter referencing an ancient school of thought, where historians took for granted a divine role in human affairs. When a deity issues a command, the expression of that will is independent of time and is not caused by anything, for divinity is not controlled or tied down by our concept of power. He finds the ancients more useful than most academics with respect to studying the nature of power and causality.

Instead of retreating after being foiled in his attempt to usurp Pierre’s estate, Vassily uses his proximity to become Pierre’s mentor.  He even uses his daughter, Hélène, to attract Pierre’s focus. The description of Vassily is as a true man of this world. His heart is so corrupted, he barely notices the sins he commits throughout the day.  Schemes consume his existence. He had dozens going on at once, in various stages.  

Pierre’s life is turned on its head – no longer neglected, he was always signing papers, making appearances and visiting his estates. So quickly did those who thought him foolish become convinced of his nobility. He was lured into a state of intoxication - as though he were the center of an important movement. Vassily procured fancy titles for Pierre, one being “Gentleman of the Bedchamber” Камер-юнкер (Kammer-junker) which conferred the status of “Councilor of State.” 

 Pierre’s relationship changed with the “three princesses” who lived in his father’s mansion. He showed them mercy, letting them stay and granting Vassily’s request to endow the eldest with 30,000 rubles. It seemed so natural to Pierre that everyone love him and he could not help believing their sincerity.

Vassily had the air of a man oppressed by business, who would not leave a helpless youth to the designs of OTHER rogues. Vassily had Pierre accompany him to St. Petersburg, on the way telling him a “diplomatic career now lies open before you.” As he used pleasing words, Vissily siphoned thousands of rubles collected from Pierre’s peasants.

 Pierre found a similar atmosphere in Petersburg -- bewilderment, bustle and continual expectation among aristocratic acquaintances.   Many of his friends were confronting the War. He was aware that Anatole, Andrei and Dólokhov were abroad. Much of his time was taken up with dinners and balls but chiefly he was at Prince Vasssily’s, mansion, spending time with Hélène. 

Pierre received one of Anna Pávlovna’s invitations, which noted “You will find the beautiful Hélène here.” Pierre realized the growing link between them was noticed by others. Anna, who hosted the event that got the novel moving, was symbolic of the change of attitude. She now found Pierre charming in every way. At her gala, a diplomat from Berlin explained the latest alliance between Czar Alexander and Frederik William III, who conferred in Potsdam.

Anna arranges for Pierre to stay close to Hélène. “Isn’t she exquisite?” Anna said to Pierre, as she glided about. “And how she carries herself! Such masterly perfection of manner! Happy the man who wins her!” Anna ensures they will both entertain Anna’s elderly aunt. Hélène quickly gave Pierre her smile that none forgot. The conversation among the three was dull – as the aunt spoke of a collection of snuffboxes.

Helene wore a lovely dress cut very low at front and back. The two were very close and had an unspoken conversation. “So, you have never noticed before how beautiful I am? Yes, I am a woman who may belong to anyone—to you too.” At that moment Pierre felt that Hélène must be his wife. Hélène already had power over him and he realized this may NOT be a good thing.

Pierre could not sleep that night. He considered, “Yes, she’s good looking…but there is something vile, something wrong… I have been told that her brother Anatole was in love with her and she with him, that there was quite a scandal and that that’s why he was sent away. And Hippolyte is her brother... Prince Vassily is her father... It’s bad....” In considering her worthlessness, he nevertheless envisioned Hélène as his wife and how she would love him and become quite different.

Over the first two parts of Book 1, there is a contrast of storing-telling. Part 1 involves the more relatable domestic affairs of high society combined with an eye toward Napoleon’s advances in the Summer of 1805.  Part 2 is a historical exposition of the acceleration of the War of the Third Coalition during the Fall of 1805.    

War & Peace is the product of thousands of pages of drafts as well as the unfinished works, “The Distant Field” and “The Decembrists.”   Greater exposition of this process is detailed on the 1996 book by Kathryn B. Feuer, “Tolstoy and the Genesis of War and Peace.”

The Decembrist Revolt was a failed movement some characters of War & Peace would have been involved with after the story ends. The rebellion occurred after Emperor Alexander died in 1825 and one of the goals was to replace the autocracy of Czar with a Constitutional monarchy.  Many involved were executed or sent to Siberia. Exiles were only released around 1856, when reforms sought in 1825 were being re-evaluated. In one sense, this novel involves men similar to Pierre and Andrei, who could not imagine what they were being thrown into in 1805 and ultimately became Decembrists 20 years later.

Pierre, who can described as "the heart" of the novel, unpredictably inherits the largest fortune in the country, and was exposed to the ideals of his time. He pursued the goal of absorbing and implementing the best of reforms. That is perhaps the greatest hero journey of War & Peace.

Tolstoy also takes the reader back to when serfs were conscripted to fight in the major wars, which he witnessed the final stages of. Ironically, it was the serfs contact with Central and Western Europe that highlighted Russian authorities could no longer keep citizens tied to the land. Later in the novel, you will meet the symbolic Platon Karataev, a simple serf, who lives in the moment with a wisdom and decency that escapes members of Tolstoy’s class.

Yet the enduring nature of this work is how it did not result in a novel centered on politics or history, but became a work of morality and even spirituality.  

War & Peace also presents number of everlasting contrasts beyond class, including traditional values v. reform and urban/government centers v. the countryside.   The latter aspect involves Tolstoy’s descriptions of cultured landowners, who he believes should manage their estates as if there are Garden of Edens.

Tushin accompanied the working guns and encountered officers as well as some wounded. He was overwhelmed with grief, having come down from his heroic effort.  Orders were to leave the wounded but those affected felt it best to keep up with the retreat. Among the injured was Nicholas Rostov, pleading for a seat on the gun carriage. Tushin gave him a spot.

They reached the village of Gruntersdorf and heard a nearby skirmish that repelled the French for the final time. Sounds from a gloomy river were overshadowed by hoofs, wheels and groans of the wounded. The soldiers became agitated amidst confusing orders. All remained stationary on the muddy road and fires were lit. From pain and cold, a feverish shivering overtook Rostov. His eyes were transfixed by the dazzlingly red fire. Tushin held great sympathy for the young man. Other soldiers appealed to Tushin for courtesies such as a spot at the fire, water, or moving his carriage a trifle, all which he accommodated. In contrast, two nearby soldiers quarreled over a boot.

Tushin was summoned by Prince Bagration, who was nearby with other commanders. Bagration was offering platitudes and getting updates. His gathering included the stubborn general who was in the standoff, who was now flushed by vodka and enjoying dinner. Also present was Zherkóv and Andrei. In a corner stood the accountant, shaking his head. It dawned on him that he had no place on the battlefield. Close by was a French colonel taken prisoner.

The general in the standoff relayed what he had wished to have done. “When I saw, Your excellency, that their first battalion was disorganized, I stopped…and thought: ‘I’ll let them come on and will meet them with the fire of the whole battalion!” So much chaos enveloped the situation that he convinced himself of what he said. Zherkov joined in the congratulatory banter. 

Bagration praised all divisions but inquired how the guns in the center were abandoned. He turned to the staff officer initially sent to Tushin, who could only relay how contentious the battle was. Tushin then presented himself. While Tushin was Herculean in the field, he was rendered timid. He stumbled over a captured French standard and was laughed at. Confronted, he felt undeserved guilt and could only offer, “I don’t know... Your excellency... I had no men.”

Andrei came to his defense, noting he found most of Tushin’s men and horses knocked out, two guns smashed, and no support. He announced, “We owe today’s success chiefly to the action of that battery and the heroic endurance of Captain Tushin and his company.” Andrei left the table and depression enveloped him over the reality of war being so unlike what he envisioned.

This section closes by centering on Rostov’s thoughts as sat by the fire. “When will all this end?” Rostov closed his eyes thinking rest could quell his pain. He envisioned his mother’s care for him, Sónya’s love and Natasha’s laughter. He compared this to current life, which included Captain Denísov as well as Telyánin and the affair over the stolen money. When able to sleep, nightmares would manifest that soldiers were pulling his wounded arm. He opened his eyes and noticed flakes of snow. “There is no one to help me or pity me. Yet I was once at home, strong, happy, and loved.” As Rostov absorbed the snowflakes and reflected on winters at home. He thought of his gliding sleigh, fur coat, and affection of his family. “And why did I come here?”

The next day the French army did not renew their attack and the remnants of Bagration’s detachment was reunited with Kutuzov’s army.

His proficiency stemmed from service including three years in the Caucuses as well as action during the Crimean War (1853-56), both as a junior artillery officer.

During his time near Chechnya (north of Georgia and west of Dagestan), Tolstoy observed such brutal Russian tactics as punitive raids and the indiscriminate the shelling of small villages. He was also affected by the burning of forests to deny Chechens cover. This area hosts a Muslim population by reason of Ottoman influence. Russia has attempted to purge Chechens from what Russia claimed as a southern frontier multiple times and this area remains filled with tension.

With respect to the Crimean War, in 1853, Czar Nicholas declared war on the Ottoman Empire, Russia’s historic rival. Nicholas asserted the obligation to protect Christians in Ottoman territory and reasserted land-claims in the Danubian principalities. Russian leadership has long dreamed of retaking Istanbul (Constantinople), which was a center of Christianity for centuries. 

Napoleon III was at the forefront of the response to the Czar’s ambitions in 1853. A coalition (Turks, French & English) united to neutralize Russian expansion and protect the balance of power in Europe. It was hardly lost on Tolstoy that Russia served as a similar bulwark against Napoleon I. Tolstoy lived through the great humiliation of losing of the Crimean War but immortalized one of Russia’s great triumphs in repelling Napoleon I in 1812. It makes his great influences -- A Tale of Two Napoleons. 

A thread through The Sevastopol Sketches and War & Peace is that Tolstoy conveys war's horrific nature. He does not glorify the subject.

The Sketches involve three vignettes of the 11-month Siege: November of 1854, May of 1855, and August of 1855.  It was late in the Summer of 1855 when Sevastopol finally fell. 

The Sketches read like novellas.  The first takes the reader on tour of Sevastopol – from the relative safety of a bay, through an infirmary, marketplace, and finally toward the front line. Notably, we are taken inside the Assembly Hall -- a make-shift hospital filled with causalities and disease. Tolstoy then depicts the everyday activity of soldiers and citizens. He discusses merchants going about their trade as well as carriage drivers delivering goods and transporting the dead.

The second vignette delves into the senseless vanity of war and pursuit of truth, which Tolstoy describes as the hero of any effort. The last and longest story provides a view of the end of the Siege through the eyes of fictional brothers. We are given a glimpse of the spectacle of incoming and outgoing artillery, the charges of the allies, and the valiant defense. 

Amidst the Crimean war, Czar Nicholas died in March of 1855 and Alexander II took the throne. He holds the reputation of a reformer. There was societal reflection that so much of the fighting was done by serfs tied to the land. These serfs were exposed to ideas of freedom and nationhood and there was a reckoning that their system could not stand. The serfs (over 20 million souls) were freed in 1861.

Tolstoy also proceeds on one of his great explorations - regarding the cause of historical events. He finds that people hold the ultimate power and are often somehow (all at once) ready to be moved. This is opposed to the theory a few great leaders move men.  

Lastly, the experience of the Crimean War transformed Tolstoy from traditional patriot to an everlasting dissident.

The Siege was led by General Alexander Suvorov against an Ottoman stronghold near the mouth of the Danube and along the northwest coast of the Black Sea. The Russian and Ottoman empires spent centuries fighting for influence in this area. The loss of Izmail was a factor in the Ottomans leaving the North Black Sea region. While the Turks withdrew, the Muslim population who remained evidence their legacy. 

Kutuzov played a pivotal role in the Siege and was almost killed. He both trained and led a contingent of men across a formidable moat to approach the fortress.  Once the walls were actually reached, improvised ladders were utilized by Cossack reserves. Kutuzov himself fell back on multiple occasions and persevered as bodies fell around him. Notably, Kutuzov did not captain from the back -- but was in the thick-of-it as much as anybody. His generalship contributed to his rise in rank. He proved he could lead men to victory, even when they faced the gravest of odds.

Throughout the ordeal, the invaders took tremendous casualties from cannon fire. Once Izmael was breached, the Russians unleashed a savagery whose reputation has endured.

The War of the Third Coalition (1805) was a monumental loss for Russian forces, while the Siege (1790) was moment of national triumph, which was immortalized in poetry and song, including “Let the Thunder of Victory Rumble.” Tolstoy notably describes the fictional Timokhin (who led a mad charge against Murat’s attack at Shöngrabern) as a veteran of Izmail

It is the character of the men at Izmail (both brave and savage) that Tolstoy is trying to represent, which would have been more apparent to late 19th century readers.

The General realized that he, an officer of 22 years, would be held responsible. He forgot his standoff with the cavalry colonel.   Tolstoy notes, “The moment of moral conviction, which decides the fate of battles had arrived.  Would his soldiers attend to the desperate voice of their commander or continue their flight?” Despite his shouts, the soldiers continued to run about in a panic.

Nevertheless, there was a sea-change! The French disappeared as a special unit emerged from the woods -- Timokhin’s company, filled with sharpshooters.

Timokhin was previously singled out by Kutuzov for his participation in the Siege of Izmail in 1790.  Kutuzov recalled Timokhin had a penchant for drinking but was a good soul.  Tushin and Timokhin are fictional, but symbolic to the Battle of Shöngrabern. Timokhin, brandishing a sword, rushed at the enemy with such a mad determination, it inspired the rest.  

His behavior was reminiscent of the historic Siege, which has honorable and horrific aspects. The effort repelled the Ottomans from a critical position.  After taking heavy casualties, Russian forces rampaged the city. Many were raped and executed. The massacre troubled Kutuzov’s soul. 

The story turns to Dólokhov, who also possessed the fighting spirt that repelled the French. Dólokhov, running beside Timokhin, killed a Frenchman and seized a surrendering officer – who he dragged to a superior. Dolokhov brazenly approached his commander. “The whole company can bear witness. I beg you will remember this!” Dólokhov then untied his handkerchief and exhibited his wound.

The story moves to Tushin’s battery. Critical support had been moved yet this battery continued firing. The French could not surmise anyone would fire from such an undefended position. 

The French eventually countered but Tushin was absorbed in the task before him and his artilleryman admired his resolve. In a childlike glee, the men only noticed when balls fell among them, tearing apart both men and horses. The horses were replaced and wounded carried off, as their four guns turned against ten. Tushin’s companion officer had been killed and 17 of 40 from the battery were casualties.  Still they were merry. 

Tushin was in a feverish delirium.  It seemed so long ago since he fired the first shot. He regarded the corner of the field he stood as familiar. He gave his guns nicknames. “Matvévna, dear old lady, don’t let me down!” He imagined himself as a god throwing cannon balls. Around him, his crew bustled; and they all looked at Tushin as a father.

Suddenly a voice of a staff officer yelled out: “Captain Tushin! Are you mad? You have twice been ordered to retreat...”

Tushin was taken out of the zone. A cannon ball caused the officer to duck. As he galloped off – he shouted “Retire! All to retire!” 

A moment later, Prince Andrei arrived. As one ball after another landed, he felt a shudder. He delivered the order and tried to have the guns taken. Andrei and Tushin did not speak -- as both were busy securing the only two working cannons on a cart and moving them down a hill.

Andrei then told Tushin. “Well, till we meet again...” holding out his hand. “Good-bye, my dear fellow,” replied Tushin. “Dear Soul! Good-bye, my dear fellow!” and tears suddenly filled Tushin's eyes. 

Bagration sent Zherkóv to the general commanding the left flank with orders to retreat. Zherkóv, who Andrei once chastised for unprofessionalism, made the decision to deviate from duty but give himself the best chance to live. He began to “look” for the general in places he would not be.  

The commanders who should have received the message to retreat led the units that Nicolas Rostov (Hussars) and Dolokhov (Semënov) were a part of. There was confusion and posturing between the leaders, a colonel and general. With lofty words, they were arguing that that the other should proceed. Neither was ready for action. Their men had just been engaged in peaceful pursuits. Nonetheless, cannon and musketry thundered while Lannes’ forces edged closer.

The Colonel of the Hussars acknowledged he was outranked but voiced reluctance to sacrifice his Hussars. The two were not showing the initiative Tushin manifested.  They expanded their chests and rode slowly towards the front, where it became evident it was impossible for cavalry to act effectively. While the French continued to get closer, the two looked at one another like fighting cocks. Finally, the rattle of musketry diverted their attention.

Nearby, the French attacked the men collecting wood. It was no longer even possible for the Hussars to advance as they were cut off from the line of retreat. It was now necessary to clear a way through.

The rumor of a hasty movement spread. The Hussars and infantry instinctively knew their commanders did NOT know what to do.  Rostov would be thrown into the fray. There was nothing between the Hussars and the enemy but open space. Tolstoy refers to that terrible dividing line between “us” and “them.” It is a line between relative safety and the high possibility of death. All the soldiers where agitated by the question of whether and how they would cross that line. Rostov knew his time had come to experience the joy of an attack.

Out rang Captain Denisov’s voice “Fo’ward, with God, lads!” - “At a twot fo’ward!” Rostov’s horse, Rook, pulled at the reins and broke into a gallop. Rostov became elated and noticed a solitary tree ahead of him. He crossed the line and there was nothing so terrible. The enemy grew closer and larger. “Oh, how I will slash at him!” and “Let anyone come my way now!” thought Rostov. “Hur-a-a-a-ah!” came a roar of voices. 

The French were close enough to strike. As Rostov raised his saber, the world moved passed him. He didn’t realize what had happened when his horse took a shot. Rostov felt as if in a dream – like he was carried forward with unnatural speed. In reality, he stayed on the same spot. From behind him, Bondarchúk, a hussar he knew, jolted past. “How is it I am not moving? I have fallen, I am killed!”  Rostov was absorbing nothing but the motionless earth. There was warm blood under his arm.  He then considered, “I am wounded and the horse is killed.” Rook tried, bleeding from the head, to rise on his forelegs but fell back.  After disentangling his leg, Rostov become some philosophical and Tolstoy brings you into the experience of the young officer facing battle.

“Can something bad have happened to me?” At that moment he realized his wrist was hanging on his numb left arm.  People were running toward him “They will help me!” However, these were French carrying a prisoner. “Can it be that they will take me too?  Just a moment before he had been ready to hack them to pieces but now their proximity was terrifying. “Who are they? Can they be running at me? And why? To kill me? Me whom everyone is so fond of?” He remembered his mother’s love as well as that of his family and his friends. Any intention to kill him seemed impossible.

Rostov remain stationary. He could see the expression of the foremost Frenchman. That excited and alien face, holding a bayonet, frightened Rostov. Rostov seized his pistol but instead of firing it, flung it and ran with all his might toward the bushes. He moved with the feeling of the hare fleeing from hounds. The fear for losing his young and happy life consumed him.

Rostov put a good distance between himself and his pursuers. He noticed his left arm felt heavy and he could run no more. A Frenchman stopped and took aim. Rostov closed his eyes and stooped down. Bullets whistled past him. He mustered his last remaining strength and reached the bushes. Fortunate for him, some friendly sharpshooters gave him cover.

General Bagratión and his contingent reached the highest point of the right flank then rode down to where musketry was heard. On account of smoke, they could barely see. They quickly encountered wounded. One man was dragged by two soldiers after a bullet pierced his throat. He was gurgling and spitting blood. Another walked aimlessly, groaning while swinging a limp arm. Blood streamed over his coat as if it poured from a bottle. His face showed fear rather than suffering.  

Some soldiers were ascending the hill Bagration was descending. Despite the general’s presence, most were too disorganized to be deferential.  Rows of friendly soldiers became visible through the smoke. One officer catching sight of Bagration shouted at a crowd of retreating soldiers to STOP retreating. 

Shots drowned out the sound of voices. The air reeked of smoke. Some men were using their ramrods while others fired. The atmosphere was filled with the whistling of bullets. 

The commander of one regiment, a thin, feeble elderly man with a pleasant smile and drooping eyelids, rode up to Bagration and welcomed him as a host does an honored guest. He reported that his regiment had been attacked by cavalry. He was unclear on whether the attack had been repulsed. He could not account for the troops entrusted to him and did know whether his regiment had merely broken up. This is insightful exposition of the Fog of War.  

Prince Andrei was struck by the changed expression on Bagration’s face. It expressed a concentrated and happy resolution. That dull, sleepy expression was gone. He now had the steady eyes of a hawk. Bagration turned to an adjunct and ordered the calling up of two battalions of Chasseurs for reinforcement.  

Bagration was urged to fall back - as he was in an extraordinarily dangerous situation. He gave another order to cease firing and re-form. While he was speaking, the smoke began to move as if drawn by an invisible hand. It became clear that the French were advancing.  

Right near Bagration marched a company commander, a round-faced man, with a silly and happy expression— who had previously rushed out of the shed with Tushin. This fella was thinking of how dashing he would appear as he passed the commander. He was strutting like a peacock, inattentive to the surrounding danger. 

A throng of soldiers with knapsacks and muskets marched in step. Each seemed to be repeating to himself, at each alternate step, “Left... left... left...” A cannon ball the flew over the heads of Bagration and his suite, falling into that very column, taking out a high number.

Bagratión rode around the ranks and dismounted. He gave the reins to a Cossack, handed over his felt coat, stretched his legs and set his cap straight. “Well done, lads!” exhorted Bagratión. “Glad to do our best, your ex’len-lency!”. “Forward, with God!” continued Bagratión, in a resolute, sonorous voice. Andrei felt that an invisible power was leading them all forward.

The head of the French column, with its officers at the vanguard, appeared from below the hill. The French were near. Andrei could distinguish their bandoliers, red epaulets and even their faces. Bagration gave no further orders and silently continued to walk in front of the ranks.

One shot after another rang out. Several men caught bullets, among them the round-faced officer who had just marched so gaily. One moment he was full of life and pride, the next, like so many through the ages, he was laid to waste.

 Bagration looked round and shouted, “Hurrah!”

“Hurrah!!!" came the response, which shouted from the ranks, with men passing Bagration and racing one another on their horses. They rushed in an irregular but joyous manner down the hill at their foe.

A messenger just arrived with Bonaparte’s stern letter and Murat, humiliated, moved his forces to attack the center and outflank both Russian wings, hoping for a quick victory before Napoleon's arrival. 

Andrei was reflecting on how his chance arrived to save the army! Tolstoy is asking us to consider if one man can accomplish this. Also worth considering: Was Napoleon more able to get men to this mindset? Or, are men led to victory by a more passive leader, like Kutuzov’s depiction? Tolstoy argues victors will also need Providence or chance. Who prevails is often impossible to know -- yet how we search for causes! 

Not long before, the men had been enjoying a welcome respite - eating porridge and drinking vodka. Now, impending death was heralded by the movement of soldiers forming ranks. On their faces, Andrei recognized the eagerness that filled his own heart. It was “dreadful but enjoyable!” He demonstrated both confidence and ambition in thinking, “where and how will my Toulon present itself?” 

Andrei noticed Bagration riding toward him wearing a Cossack cloak. Bagration recognized Andrei, who conveyed what he thought would be the proper strategy. Bagration remained stoic. Andrei wondered, “Is there anything at all behind that impassive face?” Bagration’s posture implied that everything that took place was exactly in accord with what he had foreseen. Andrei noticed Bagration’s saber, which was a gift from Gen. Alexander Suvorov. This detail is meant to show the historical connection between the generals as Bagration, during campaigns in Italy, was a trusted protégé of Suvorov.

Bagration headed toward Túshin’s battery. Andrei followed, along with Zherkov and other officers. Riding with them was a civilian with connections —an accountant. He was a stout, full-faced man with a naïve smile. He looked unusual among the hussars, Cossacks and adjutants. “He wants to see a battle,” said Zherkóv “but feels a pain in the pit of his stomach.” Enemy fire soon struck ground near them and a Cossack crashed to earth with his horse.

Cossacks, many from territories in Ukraine, suffered in high casualties. They expected to be rewarded for their service, with increased rights. Instead they found their rights diminished and felt marginalized. Many developed quite the national identity.

Prince Bagration did not demonstrate concern over the causality. He turned as if to say: “Is it worth-while noticing trifles?” He reached the battery and observed gunners working their cannons. Bagration called to Tushin, who replied with an awkward salute - looking like a priest giving a benediction. Though the original plan was for Túshin’s guns to strike the valley, he was firing at the village of Schöngrabern, in front of which masses of French were advancing.

It is profound that Tushin, a fictional character, is attributed making this critical decision. Tushin decided, “Lets hit 'em in the most sensible part!”  “Very good!” noted Bagration in reply to learning what was happening. As Bagration examined the battlefield, he noticed French coming around the flank to the right and ordered two battalions to reinforce the vulnerable area.

Adjutants rode up with a messages on where the French were attacking and being contained. There was back-and-forth with these types of updates. Andrei was able to hear Bagratión’s colloquies and, to his surprise, noticed no orders were really given. This was not necessary historically accurate, but Tolstoy depicts it this way to show a “greater truth.”

Bagration made it appear that everything was done by necessity, or by the will of subordinate commanders AND if not by his direct command, at least in accord with his intentions.

Andrei realized that ALL of consequence that happened was due to chance and independent of the commander’s will. Nevertheless, owing to the tact Bagration showed, his presence was valuable. Officers who approached him with disturbed countenances became calm. Soldiers greeted him gaily and grew more cheerful in his presence and were anxious to display their courage.

Murat moved on towards the Austrian town of Hollabrunn to cut the Russian line of retreat and prevent them from reaching Znaim (Znojmo - a Czech city). Kutuzov was ultimately headed toward Olmutz (Olomouc – another Czech city). If Kutuzov could remain on the front-foot, he would link up with his Austrian allies. Upon leaving Krems, Napoleon and Kutuzov were fighting with their “feet.”

Kutuzov assigned Gen. Bagration to lead a rear guard of about 5-7K, meant to hold off the French. Murat (with about 10K) initiated a second gambit. He proposed a short truce as he was not sure of the size of Bagration’s forces and if it was combined with Kutuzov’s. Murat sought reinforcements of his own. His strategy was to hold all soldiers in place under the notion peace negotiations might head-off the impending battle. A separate Austrian contingent, under General Nostitz, accepted a similar offer and withdrew from Hollabrunn itself. 

Historically, Murat’s terms were presented to Bagration as “Capitulation Offered by Russian Army.” It involved Russian forces leaving the field with their arms and heading home.  Napoleon realized only the Czar could sign off on the entire army leaving. This was conveyed to Murat, who was compelled to attack. To Kutuzov, the delay was a godsend. His main force could get further ahead of the French but he would likely have to sacrifice his rear-guard. 

This chapter places us within the truce. Andrei had just toured the camp at Schöngrabern, during which he encountered the fictional artillery commander, Captain Tushin. 

Scholars attribute intelligent decisions to Bagration in positioning his troops and using the terrain. However, Tushin will emerge as the hero. Tolstoy captured the nobility of the unknown soldier. Tushin is, in essence, the forgotten man that gives his all to a cause. Tolstoy also uses Tushin to present the role of the unknown, or chance, in war. Tolstoy posits: How much can we know about a cause we try to attribute reason to?

Andrei made his way up to a battery from which the field could be seen. He could see how Bagration positioned his forces. On the opposite hill, was the village of Schöngraben, where French troops were amid smoke from their campfires. Andrei developed the skill of being able follow military movements and picture forthcoming events – and summarize them for a commander. Here, he noticed: his right flank was posted on a steep incline -- which dominated the French position. Infantry were stationed there as well as dragoons. The French line appeared wider and he recognized Bagration could be outflanked on both sides.  Behind many of the Russian forces was a steep dip, making it difficult for artillery and cavalry to retire. Andrei thought it would be best to concentrate all artillery in the center and withdraw cavalry to a better spot.   

Andrei then noticed a friendly conversation coming from a newly constructed shed. He was struck by the sincerity of the voice who turned out to be Tushin. “No, friend - what I say is that if it were possible to know what is beyond death, none of us would be afraid of it." Another, a younger voice, interrupted - “Afraid or not, you can’t escape it.” “All the same, one is afraid!,” interjected a third. Discussing of the nature of death before impending battle is quite poignant. These men are taking life as it comes, with grace.

They continue such banter by incorporating an artillery soldiers penchant for liquor and snacks. Just as Andrei realizes, with pleasure, “that’s the captain who stood up in the sutler’s hut without his boots,” there was a whistle of a cannon and the ball thudded into the ground near the shed with super human force. The ground seemed to groan at the impact.  Immediately Tushin, with his short pipe in the corner of his mouth, rushed out of the shed to face the danger.

Before 1805, was no Germany but the HRE, a commonwealth of over 300 subdivisions of mostly German-speaking states. This included kingdoms, free states, duchies, and bishoprics. The Emperor was elected by nine rulers of the more influential states. From the 16th Century onward, each Emperor came from the Habsburg family, which resulted in Habsburgs running Austria and overseeing the Empire. Austria, Bavaria, Saxony, Baden, Württemberg and Hanover where among the more influential states.   

The relationships of the panoply of states was impacted by competition and alliances in accord with tastes of the times.  Each state was generally self-sufficient. If the Emperor requested, troops could be sent for a common cause for a delineated term. Importantly, there was not a Germanic army loyal to the Emperor. This was their “separation of powers." Other large powers exploited this -- as French Kings did during the 30 Years War and Napoleon did as well.

The HRE existed for about 1000 years, if you measure it from Pope Leo crowning Charlemagne in 800 A.D., or 850 years from Pope John XII crowning Otto in 962.  In any event, it all ends in1805, in the wake of the Battle of Austerlitz. Through victory, Napoleon restructures the old institution into something new, namely the Confederation of the Rhine, which had 39 states.

We also discuss the “Glorious Retreat,” a term the professor uses in an ironic sense. This phrase was born in 19th century Russia and heavily promoted in Soviet times, where Kutuzov was extolled as a genius. Granted, what is depicted in Part II of Book I was a wise retreat where Kutuzov never allowed his forces to get out-worked and surrounded like General Mack at Ulm. However, the events of 1805 were a significant loss for the Russian Empire with minimal “glory” A re-characterization was the method to find a silver lining. The Russians promoted their continued escape and placed the blame on “treacherous” Austrians. They cherry-picked certain efforts, like in Krems, and celebrated Bagration. The Professor also touches on how formal military rules were flouted, and officers, at times, would travel with their wives, and come up with creative excuses for the breach. 

Prof. Mikaberidze later gives an overview of some of the various Cossacks to populate the Russian Empire in the early 19th Century.  He also references whether Napoleon missed an opportunity of allying with the population of territories taken by Russia during the partitions of Poland (the final one formalized in 1797), which was within memory of much of the population Napoleon encountered when he march East. For example, when reached Vilnius in 1812, he was met with widespread acclaim.  He also marched through (what is today) Belarus and northern Ukraine. As some of these areas were acquired forcefully 20 years before, Napoleon may have been able to recruit more of the local population with skillful outreach. It is also an interesting question as to whether masses of Ukrainian and Lithuanian peasantry would have assisted him.

We close by discussing the transcendent nature of War & Peace.

The idea was to march rapidly and fortify a position, engage the French, once again allowing the main force to retreat.   This involved a 30 mile march where Kutuzov willed his men to reach the town of Hollabrünn before the French. The maneuver also allowed supply lines to be secured. 

One may ask: What is the purpose in depicting what seems like military minutia? While War & Peace is known for it’s victorious ending, showcasing the War of 1812, much of the body of the work, explores the ideals the French introduced through the Napoleonic Wars, which led to changes in Russian Society during Tolstoy’s life. This includes ideas brought forth during the failed Decembrist revolt of 1825. Tolstoy was writing from the perspective of having served in the Crimean War (1853-56), where Russia was humiliated and forced to reform. Tolstoy was able to witness the emancipation of the serfs who were conscripted in the battles (both minor and great) that War & Peace depicts.

Gen. Joachim Murat, fresh from taking Vienna, reached Bagration’s forces and proposed a 3-day truce. Murat was thought to be hesitating while waiting for reinforcements. In hindsight, Murat is viewed as having been in an advantageous position. Murat may also have been thinking that peace negotiations were under way and that risking men in a fierce battle was unnecessary. Bagration communicated the offer to Kutuzov, with both understanding the advantage. Foremost, it allowed for necessary rest. When word reached Napoleon, who was relatively close at Shönbrunn Palace, he sent a messenger to chastise Murat. He ordered the truce be rescinded and set out to the front. 

Chapter 15 takes us into Bagration’s division, where we find Andrei. Bagration gave Andrei the choice the be upfront with him or in the rear guard.  Andrei was permitted to explore the camp by escort, as he desired to place himself where he would be of most use. At first, Andrei found a disorganized mess. He ran into Artillery Captain Tushin, who was in his tent with his boots off, which was against protocol. Tushin had a noble spirit about him. He was salt-of-the-earth and did his best to defuse the uncomfortable situation.

During the truce, Andrei observed soldiers in various states, including digging trenches in minimal clothing. Andrei reached a hill from where he could observe his adversary. The closer he got to the front, he noticed an equanimity to the men. This depiction likely stems from Tolstoy’s experience in the bastions of Crimea. 

Tolstoy is pointing out the paradox of good men who will soon be sent to kill those who profess the same religion. He captures a decency of those put up front. There was a pride and sense of togetherness. Many were dragging logs and constructing huts. Laughing and chatter could be heard. Some sat around fire, eating, drying clothes, or attending to leg bands. They behaved with a dignity and as if they were at home.

Tolstoy also captures the brutality of army life. Andrei soon observes a soldier being brutally disciplined. He is naked and held down by two men, while two others beat him with switches.  He had been caught stealing and a Major was commanding the beating to continue. This highlights the Prussian discipline many Russian commanders adopted.

Andrei moves on and reaches the center of the front line, where the truce envoys met. He could see the faces of the adversary. Contingents on both sides jest and taunt one another. Dolokhov is in the middle of it.  The soldiers are filled with misinformation and the taunts center around Napoleon. The banter gets so heated that musket balls are propelled into the air. Eventually, the soldiers retire -- leaving each other’s artillery to ominously face one another.

France prevailed over the 1st Coalition in 1797 and 2nd Coalition in 1801. Afterward, France controlled much of Western Europe, including (from today’s perspective): Belgium, much of Southern Germany, Switzerland, and various parts of Italy. Spain was also a junior partner of France. 

Napoleon was having success pushing for a reorganization of the German states, which included the Imperial Recess of 1803. This movement threatened the centuries-old interests of Austria, Prussia, and Russia.  

The War of the Third Coalition began in the Summer of 1805. The Coalition had manpower of over a half a million, but they were spread out and not organized. For example, the Coalition had a presence in the Netherlands, Hanover (Northern Germany), Southern Italy, and Prussia. The Coalition was eager to invade Bavaria, a French ally. The Austrians wanted to pressure (through force) the Bavarians to align with them. The feeling was: what Bavaria does, so will most of the German states.

Gen. Kutuzov led the largest contingent of the Czar’s forces and was given the task of uniting with Austrians as they pushed into Bavaria. Kutuzov initially had to cover about 900 miles to link up. He started out with around 50,000, but by the time he arrived, only half his troops remained. 

In September, Austrian forces made the move into Bavaria. Kutuzov’s forces were expected in early October, but were late. The march was slower than expected, leaving a wide gap between Austrians and Russian forces.  When Kutuzov arrived, his men were exhausted and ill-equipped. Nevertheless, the Austrians wanted to get their allies right into the fight, especially at Ulm. Kutuzov recognized this would be fruitless and held back.

Napoleon grasped the situation and attacked relatively isolated Austrians, demolishing them at Ulm. He then turned his attention to chasing Kutuzov before reinforcements could arrive. Kutuzov recognizes retreat is the best option -- to thin out Napoleon’s forces. Kutuzov engages the French with his rear guard, often led by Gen. Peter Bagration.   By November, Napoleon is weaker, but still threatening.  Kutuzov was waiting for Winter and for Coalition forces to be reinforced. Prof. Mikaberidze contends that if Kutuzov’s advice was followed, Napoleon likely would have lost the war in the first half of 1806.

We then move onto a discussion of the daily experience of officers and soldiers, based on correspondence the Professor reviewed.  From the French perspective, there is a realization Napoleon is winning through speed. The French are stressed but were moved by a sense of elation. They feel part of something monumental. Russian officers communicated a life of drudgery. Many were sick or lagging behind and walked with boots that were in tatters. There was an utter lack of food and supplies. This was a responsibility the Austrians were not living up to.   Nevertheless, there was a sense of pride and group cohesion on both sides. 

Overall, Kutuzov held a reputation for treating his men decently. He made a point to visit soldiers during common gatherings such as around camp fires. He asked about their experience. He would occasionally sit down with rank-and-file soldiers over a bowl of porridge. 

The Professor also discusses hierarchical nature of Russian society and the Table of Ranks (there were 14 total) imposed by Peter the Great. It was adopted from European systems and held up until 1917.   One would start at bottom, and ideally (though not in practice) advance through merit and perseverance.

We focus on General Mikhail Kutuzov, who is introduced, in-depth, to War & Peace readers in Book 1 Part 2. Chapter 13 has Prince Andrei taking in the scars Kutuzov suffered from being shot by musket balls in Crimea.

Professor Mikaberidze notes Kutuzov, as a young man, was serving in the Danubian principalities, primarily Romania, and merited the reputation of a brave and capable officer who often led "from the front."

Kutuzov was also known (as a young soldier) to be an unending source of jokes and parodies – the type of person helpful to making military life tolerable. However, during a night of drinking he made fun of a Commander in Chief who did not see any fun in Kutuzov's jest. The incident got Kutuzov transferred from the First Army in Romania to the Second Army in the Crimean peninsula, which was something of a demotion.

In Crimea, in 1774, there was a conflict with the Turks. Part of Kutuzov's unit was ordered to attack an Ottoman fortification. Kutuzov was leading soldiers and wound up on a rock waving his men forward. At this point, he was shot in the head and miraculously avoided death. He was carried off the field and recovered. His convalescence was aided (financially) by Empress Katarina. Kutuzov was able to travel about Europe and received the best medical care in Prussia, Austria and the Dutch Republic. During this time, he met the most influential members of society, including Frederik the Great and various influential Austrians.

Kutuzov escaped death again in the summer of 1788, when we he was shot, once again by Ottomans in Crimea. The projectile went through his left check and came out the right side of his neck. Part of his jaw was shattered.

Prof. Mikaberidze discusses how these incidents may have affected him and Kutuzov’s genuine care for those under his command. The Professor touches on Kutuzov's writings and that to Kutuzov -- being a soldier meant great sacrifice. 

Given the nature of Kutuzov's recovery, the famous French doctor who treated him, as well as Kutuzov himself, believed there was a sense of Providence that saved Kutuzov. This view holds Kutuzov was touched by the Almighty and was being prepared for something monumental.

He finds himself among thousands of soldiers. The roads were jammed with carts, horses and carriages. The men were deprived of food, supplies and weapons promised by the Austrians. This led to a situation where soldiers would ravage the countryside and return with plunder.

The road remained a mess, with commanders yelling, whips cracking and soldiers in poor spirits. The side of the road was littered with dead horses, broken wagons and the injured. 

Andrei reflected on Napoleon’s words: “That Russian army which English gold has brought from the ends of the Universe; we shall cause it to share the same fate as the army at Ulm.” However, Andrei senses the next battle could be his Siege of Toulan, the 1793 conflict where Napoleon made a name for himself.  

Amidst the chaos, Andrei comes across an unusual scene - a drunk officer driving a carriage is whipping another driver who “cut the line.” The drunkard yells, “Turn back with your slut.” He is referring to the woman pleading for help while her husband (a physician) is being assaulted.  The Russian Army had a reputation of allowing wives travel with some officers – though it was against the rules. The woman appeals for someone in authority and spots Andrei.  He bears a few insults but uses tact to diffuse the situation. He soon reaches the village where Kutuzov is located.

As Andrei walks around - Nesvitsky spots him and his expression revealed the army’s dreadful position.  As he escorted Andrei, he inquires what Andrei knows about any truce, hoping for same. Nesvitsky reflects on how immature he was to laugh at Mack’s situation. Nesvitsky also noticed Andrei was suffering from the elements -- wincing and wheezing.

As Andrei nears Kutuzov’s quarters, Kozlovsky (another close aide), was dictating orders that there will be battle (rather than capitulation). Kutuzov was in the process sending Prince Pytor Bagration to lead the rear-guard. Kutuzov said, amidst tears, “Well, good-bye Prince, Christ be with you, Many blessings on Your great endeavor.”  He drew Bagration close with his left hand and with his right, crossed himself. In return, Bagration kissed Kutuzov on the neck.  

Kutuzov asked Andrei to enter his carriage. Andrei begged to fight with Bagration. Kutuzov diplomatically refused, knowing it was pointless. He told Andrei, “I have need of good officers with me” and that “there is still much before us.” Kutuzov poignantly relayed, “if one in ten of that division returns, I shall be thankful to God.” During the ride, the two were quite close, giving Andrei a chance to examine the deep scar on Kutuzov’s temple where a bullet pierced his skull. Andrei realizes Kutuzov earned the right to speak about all facets of war and even send men to their deaths, recognizing this as a necessary aspect of leadership.

The nature of Kutuzov’s infamous wound is discussed. Though not referenced in much detail, Kutuzov was shot in 1774 -- in Alushta, Crimea -- while leading grenadiers in a siege against fortified positions of the Ottomans. He was standing on a large rock waving on his men and took a musket ball to the head. He was hit between left eye and temple and the projective went thru his skull, not hitting the brain. He wound up on a pile of the fallen. His was carried off and miraculously survived. His recovery took a year and a half. He suffered another bullet to the head in 1788 at Ochakiv when Kutuzov was scouting positions, ironically with Austrians. His jaw was fractured. The ball went in around the left cheek. It only took six months before he returned to active duty.

Francis II presented Andrei with an award – Admission to the Maria Theresa Order of the 3rd Class. Andrei was soon surrounded by elites and received the attention he previously yearned for. He was now conflicted, coming to resent the splendor while men like Napoleon and Murat were in the field making a difference.

As Andrei walked back to Bilibin’s quarters after the ceremony, the dynamic changed when he observed his friend's coachman furiously packing. Bilibin relayed that Napoleon’s forces were marching toward Brünn. 

Bilibin, in his typical flair, references the historic affair at the Tabor Bridge, where French generals -- Joachim Murat and Jean Lannes -- conned their way across, along with a contingent of French forces.  Those defending the crossing, most notably Fürst Karl Joseph Franz von Auersperg, failed in their duty.  This allowed the French to take the entire capital of Vienna without a shot fired and place their army on same the side of the Danube as the retreating Austrians and Russians. In less than a month – the French would be encountered at Austerlitz.

Andrei envision what he must do - namely return to General Kutuzov to "save the army!" Bilibin implores Andrei to retreat to Olmütz, where the Austrian Court is headed, as there is no mandate for Andrei to immediately return to the front. Bilibin senses Kutuzov is facing decimation. Bilibin calls Andrei "un philosophe" a title for the kind of philosopher (usually French) ushering in a new age in the mold of Voltaire, Rousseau and Diderot. Such persons have an obligation to protect themselves for the advancement of society. However, out of a sense of patriotism, bravado as well as the pull to live up the ideals his father instilled, Andrei sets out to return to his unit.

Andrei is dressed in ceremonial uniform and enters Bilibin’s study, where Bilibin is holding court with fellow Russian diplomats, including Hippolyte Kuragin. This clique calls themselves Les Nôtres (“Our People”) and are more interested in vain pursuits than public service. This is Tolstoy’s subtle comment on the merits of said profession. Tolstoy had notable diplomats as well as military figures in his aristocratic family.

Hippolyte quickly became the object of ridicule for his inability to convey a competent thought as well as his lack of acumen with women. It is clear he obtained his station from family connections rather than merit. Bilibin sarcastically labels Hippolyte "Demosthenes," one of the great Athenian orators. Hippolyte laughs it off but knows enough to become distressed.

Les Nôtres were happy to open their group to Andrei, who chatted for a spell, but quickly left for the reception. Bilibin wished to entertain Andrei in Brünn but sees the Prince is about his business. With regard to Andrei's upcoming meeting with Francis, Bilibin advices: "Audiences are his passion but he doesn't like talking himself and never has a word to say, as you will find out."

Traveling by carriage, Andrei is stirred with the exhilaration that comes from facing fire. In the fray, Andrei’s hand was grazed by a bullet and his horse was shot.  He replayed the details of the battle and reflected on his own courage. When asleep, he dreamed of being killed and Russia defeated. 

When Andrei encountered a convoy of wounded comrades, he eagerly asked for updated information and distributed gold pieces. He reached Brünn at night, taking in the aesthetics of ancient city. The lofty buildings and quant shops were far from the realities of military camp life. He envisioned being graciously welcomed by the Austrian court but the reality was that he was made to wait by a stream of bureaucrats and finally got an audience with the Minister of War, a bookish old man who barely acknowledged him. Tolstoy is making the point that those who condemn countless souls to death avoid having to embrace the realities of war. The Minister already knows much of what Andrei was there to convey, laments the death of Schmidtt, and informs Andrei the Emperor will see him the following day.

Andrei retires to the quarters of Bilibin, a Russian diplomat who Andrei was familiar with. Both aristocrats have high prospects because of their lineage. Bilibin is 35 and unmarried. He has a thin and worn face. He is an expert at turning out reports and memos. He is both a wit and wordsmith, with a ready remark for all occasions. While sitting beside a fire and conversing in French, Bilibin quickly informs Andrei, “with all proper respect for the Russian Orthodox Army, your victory, was not particularly victorious.” He reveals the poor position the allies are in and that Vienna has been taken. The capital was abandoned and Napolean feasts at the Baroque palace, Schonbrunn. There have been reports a key series of bridges on the Danube (the Tabor) not being properly defended and Marshals Murat and Lannes taking advantage.  

Andrei’s mind is blown. He wonders how this had happened, and if this means the campaign is over. Bilibin believes it is – expect for the question of whether the King of Prussia, Frederik Wilhem III, will join the Czar. With such an alliance, the fight may go on. If not, capitulation and treaties await. Austria would sue for peace at terms detrimental to the Czar. Bilibin notes Austria has been rendered a fool and will wish to preserve her honor. It hits Andrei that nobody will care much for what he has come to report.  

Andrei is enamored with Napolean. He contemplates the luck the man has. It also dawns on him how Austrian will quickly dismiss Russia as an ally. He then retires, where his thoughts were occupied with the potential of the moment -- possible alliances, Austria’s likely treachery, Bonaparte’s triumphs, his upcoming meeting with King Francis.  Once asleep, his dreams thrust him back into the battle, where bullets whipped by him and the recently deceased Gen Schmidtt. It gave him the most extreme appreciation and joy of living!

The previous chapters mention Napoleon’s mastery at Ulm, where around 25K Austrians surrendered after a brilliant encircling maneuver.   Austrians who escaped were also retreating toward Vienna. There was a notion manpower should concentrate on defending the Capital.

Kutuzov’s army was pursued by a significant detachment of the Grand Armée as Napoleon wished to pin them down -- allowing Napoleon to concentrate additional forces on taking Vienna.

Kutuzov finds himself among an increasingly hostile civilian population. Many were prone to welcome the French rather than encounter Russians, whose necessity to live off the land wore out any welcome. 

On Oct. 28, 1805, Kutuzov had his army cross the Danube. This allowed him to postpone any conflicts until the Battle of Lamach on 10/31. It involved about 3,700 allies and similar amount of French. The French were led by Marshall Louis-Nicolas Davout (The Iron Marshall).  Kutuzov delegated the defense to General Pyotr Bagration. The engagement took place in a small village and involved calvary, hussars and artillery. The French won the field but Bagration held off Davout long enough to allow Kutuzov an effective retreat. The French only suffered about 50 casualties (killed or wounded) while the Russians likely experienced 150 and Austrians 400.

Soon after, on 11/5 was the Battle of Amstetten. It was the first time during the War of the Third Coalition that Kutuzov's forces were involved such a sizable conflict. There were around 7K allies and 10K French. Traditional techniques were used, including using the terrain to an advantage, as well as retreats and counterattacks with reinforcements. The was a mad calvary charge led by Marshall Joachim Murat. For Murat, known for bravery and rashness -- this was not a shining moment. Estimates indicate 300 casualties for Bagration’s forces and 1,000 each for Austrians and French.  Once again, Bagration gave Kutuzov’s main force sufficient distance from the French. On the field, there was no clear winner.

The Battle of Dürenstein then took place on 11/11. Here, Kutuzov’s army achieved its greatest success to date, which provided quite the (temporary) morale boost. The allies drove off the French, who were under Marshal Edouard Mortier. Around 24K allies faced 14K French and Kutuzov’s men captured some artillery, battle standards and prisoners. Each side took around 5K casualties.   It appears Mortier overextended his vanguard and paid the price, getting his men caught in a valley between two opposing columns. Overall, the Austrians took the worst of the affair as General Johann Henrich Von Schmitt was killed. Schmitt was a respected strategist, surveyor and map maker. He was likely accidentally shot by a Russian soldier, which was greatly resented.

Tolstoy describes the increase of casualties. Kutuzov is compelled to leave throngs of his wounded behind, with a cordial note – commending them to the humanity of the French. The expectation was that the prisoners would be treated and exchanged. However, the countryside was overwhelmed and proper treatment was an impossibility.

Between Denisov’s men and the enemy was about 700 yards of vacant space. It was a no-man’s land Tolstoy gave transcendent significance. He wrote:

“One step beyond that line, which is like the bourne dividing the living from the dead… [W]hat is there?, who is there?, there beyond that field, beyond that tree…. No one knows, but who does not long to know? You fear to cross that line, yet you long to cross it; and you know that sooner or later it will have to be crossed….”

Soon, the French fired cannons overshooting the Hussars. The faces of the Hussars showed “conflict, excitement and agitation.” Rostov sat on his horse, confident and ready to showcase his bravery. He glanced around with a serene and radiant expression.  Denisov appeared redder in the face than usual -- perhaps from liquid courage – and led his men across to safety. He met up with Col. Karl Bogdanich Schubert. Young Rostov believed Col. Schubert (who recently dressed him down as a “liar”) noticed him.

Zherkov, who had been demoted to field duties, found Schubert and delivered an order to “fire the bridge.” This involved sending a small group into the line-of-fire. There was confused discussion among the officers on what should be done. It would have been better to have set fire to the structure on the way over rather than to send men back. Minutes were now a matter of life and death. Schubert ordered that Denisov’s squadron perform the task. This confirmed Rostov’s (incorrect & lofty) suspicion that he was being focused on. In reality, he was hardly noticed. Some of the Hussars made for the bridge on horse and others, including Rostov, on foot. Rostov ignominiously fell in the mud. 

The French then sent soldiers running towards the bridge.  It was a race to see if the Hussars could blow the bridge before taking excessive fire. The officers wondered: Who would get there first? Would the French artillery rip the Hussars to pieces? Zherkov, true to his base character, contemplated the awards that await if the task was pulled off. 

When further cannon shots rang out, Nesvitsky noticed that a Hussar was cut down. He was shocked by the brutality and imagined -- “If I were Czar I would never make war.” Grapeshot rained down on the bridge.  One blast fell in the midst of a group, hitting three men. Soon smoke from the bridge obscured it.

Rostov found himself in the middle of the crossing, unable to help the situation. He didn’t even have any burning straw. He was useless and in fear. He could hear the grapeshot spreading around, which resembled someone scattering nuts. The Hussar nearest him was hit and there was a call for “stretchers!” Rostov could only stare into the distance, having an epiphany as he took in the Danube, sky, and sun. The water so blue and calm. Nature was filled with peace and happiness but all around him -- man-made mayhem. He became conscious of his mortality and realized he may never see the sun again. The yearn to fight was purged. His fear of death and love of life merged into a sickening agitation. Rostov prayed aloud to the Lord for forgiveness and protection. He then ran back following Hussars who successfully set the bridge ablaze.

When safe, Rostov thought himself a coward. However, that was not the way others viewed him, for his elders understood what the young man had just experienced. Overall, the mission a success and the Hussars took just a handful of casualties. It appeared one was killed on the spot and one or two died later.  Only a few more were wounded, which to the Colonel’s view, was “not worth mentioning” in official reports.

On a warm but showery Autumn Day -- October 23, 1805 -- the bridge in Braunnau is focused on. Here, the Russian command is located on heights that provide a splendid view of the countryside surrounding Braunnau. This was not far from where the Enn flows into the Danube.

Among the artillery guns was Prince Nesvitsky, who was treating fellow soldiers to a local delicacy (small pies) as well as some rum punch (doppel-kümmel). The men chat about what they could view, including: the throng retreating towards them on the bridge, the movement of weaponry, as well as a local castle that would be ransacked for supplies. Their attention soon focuses on a local convent believed to be filled with young Italian nuns. Nesvitsky voices how he would love to "slip in" while another contends the nuns must be equally bored to death.

Kutuzov recognizes the retreat is moving at a snail's pace and that the men are in danger of being fired upon -- as the enemy could now be seen with the naked eye. Soon thereafter, Nesvitsky received orders to cross the bridge and tell a Colonel to have the Hussars cross last and destroy the bridge. Nesvitsky (along with a Cossack) left for this mission – telling his friends that he is going to “pay a visit to those little nuns.”

A General soon orders a cannon fired to test the range, which he finds will also be “a little fun to relieve the monotony.” A roar emanated and the shell went overhead, but fell well-short of the enemy.  While some faces lit up at the sound, a light-hearted gaiety prevailed.

Chapter 7: The French were motivated to fire back. By this point, Nesvitsky was halfway across the bridge but stuck among the crush of men traveling the opposite way.  He had been forced to dismount from his horse and was jammed against the parapet (barrier/wall). He could barely move among: men shoulder-to-shoulder with bayonets, baggage wagons, and cannons. Nesvitsky looked down and absorbed the unencumbered flow of the river, such a contrast to the chaos above.  He noticed the conversations around him. One man spoke about a fellow solider being hit with a butt of a gun in the teeth. Another referenced the need for supplies (leg-bands). Yet another mentioned facing fire for the first time. Nesvitsky then passed a German family who had a special permit to evacuate. The father was quite nervous as he had with him two beautiful daughters. The soldiers were captivated by the young Germans, with every face wearing a smile “born of unseemly thoughts.” This movement of a family fleeing with all their possessions was foreboding. 

Prince Nesvitsky then noticed fire from the French splash into the water. This caused the cluster to move faster. Nesvitsky was getting nowhere until he was spotted by Captain Denisov, who was told of the Prince's assignment. Denisov cleared a path with his sword and bravado ("Tell these devils, these demons, to give us woom!...Out of the way! Make woom! I will cut to pieces!...”). Denisov was absorbed in the moment, long having been ready for action.

Once the message was delivered to the Colonel, it was time to cross back and get out of cannon range. Here, Denisov reconnected with some of his Hussars and the rivalry between the infantry and Hussars became apparent. Some Hussars, with their fancy uniforms and horses, essentially cut the line, and paraded -- four horses abreast -- back across the bridge. This led to insults being shouted from infantry and a Hussar splashing a soldier with mud. When an infantryman yelled, “What's the use of them? They’re just for show. Only fit for a circus!,” a hussar eventually responded, “put a broomstick beneath your legs and ride-a-cock horse!”

Bogdanych, a fictional leader who was well-respected, confronted Rostov and called the young ensign a liar. He did this not out of any affinity for Telyanin, but to protect the integrity of his Hussars. The Colonel desires to avoid a green officer like Rostov publicly accusing a superior, as the mere allegation of thievery reflects poorly on the unit. 

In Denisov’s quarters, Rostov receives a lecture from his fellow officers on the reality of the situation. Leading this colloquy is Kirsten, a staff sergeant, who details the obligation to apologize. 

Kirsten points out how Rostov is new to the regiment in contrast to a great number of the Hussars have known each other for years and expect to die in the unit. In contrast, with his aristocratic background, Rostov is likely to be called away to a more glamorous role his peers will never have the opportunity to pursue. He is expected to be “here today, gone tomorrow.”  

The officers convey that Rostov should have never responded to Col. Bogdanych by alleging that it was the old man who was the liar. Rostov, however, sees the matter as one of personal honor and even considered demanding satisfaction.

Kirsten also points out how Rostov can be expected to leave the Hussars and damage their reputation through discussing how they steal from one another.  The integrity of the group means as much to Kirsten and his fellows as Rostov’s personal reputation means to him. The greatest sin of this ordeal was Rostov shining light on it. 

While Denisov wants to punish Telyanin man-to-man, even he sees the folly of Rostov and the need to account for his behavior. The overarching obligation is to promote regimental harmony.

Through the lecture, Rostov develops an understanding of the dynamic and is reduced to tears. He voices that will accept any punishment/extra duty and swears he can be relied on to demonstrate his courage and loyalty in the upcoming campaign. However, he will not apologize, saying “I will not allow ANYONE to call me a liar”. 

The young man’s obstinacy causes Denisov to burst out laughing. Denisov informs Rostov that his posture will only make the situation worse as Bogdanych can be vindictive. Kirsten realizes the matter has reached an impasse but he and the other officers respect the young man’s defense of himself as well as his coming to the aid of Capt. Denisov. 

Interrupting the gathering is Zherkov, who was transferred to the Hussars after being banished from headquarters. He has to pay the price for his own recent failings. He announces that the men are being sent to fight and orders are to march the next day.

Tolstoy conveys that in lulls of army life (where there is no active fight), a dispute like this will garner all the attention. The stealing of a few coins and recriminations over same can lead soldiers to nearly killing one another – when they should all be on the same side. However, once the fighting starts – it is the type of incident overtaken by much greater priorities involving immanent life and death.

Nikolai returns to camp with a small group who were foraging for hay. Nikolai is serving with the Pavlograd Hussars.  

Pavlograd was settled in the 1770s by Zaporizhian Cossacks. The area was named in 1783 for future Czar Paul, with “Pavlograd” meaning “Town of Paul.” The “Hussar” designation stems from the hussar units of Serbia and Hungary in the 15th and 16th centuries. They became known for dashing attacks, elaborate uniforms, curved swords, and high causality rates.

Many hussar units within the Russian empire had large contingents of ethnic Ukrainians, including descendants of Cossack officers. From 1648 – 1764 many Cossacks lived in their own Hetmanate, which had democratic standards. Cossacks were of mixed ethnic backgrounds and often runaways from the surrounding powers – including Polish, Ottoman and Muscovy/Russia. Cossacks had a sense of being freeman and led raids on Ottomans who enslaved Slavs.

As Nikolai returns to camp, he is in a jubilant mood. Bondarenko, described as “the Ukrainian” offers to care for Nikolai’s horse. Nikolai offers kind words though it is clear Bonderenko is in a subservient role. Further, Nikolai has the reputation of distributing generous gratuities to those who assist him.  Tolstoy recognizes Ukrainians as a distinct people – and this is notable.

 When Nikolai arrives at his quarters he sees the German land owner. They wish each other heart-felt pleasantries.  The host is happy to be quartering the friendly young man. 

Given Nikolai is from aristocracy, he is able to share quarters with squadron commander “Vasska” Denisov. The nickname "Vasska" was common for someone from a rural background.

Once inside, Nikolai realizes Denisov hasn’t come home, which implies he was out gambling. Denisov soon arrives and laments his losses at cards. He is in a foul mood as his servant, Lavrushka, assists helps him with his clothes and prepares him tea. Denisov wishes there were women around and also that the battle would start. He feels there is not much to do but sit around and drink. 

Denisov asks Nikolai to count the money in his purse – knowing the officer he owes money to is coming to collect. This demonstrates a relationship of trust and also subordination. 

 Lt. Telyanin then arrives and talks with Denisov about his drubbing. Upon hearing Telyanin, Nikolai hides the coins. Telyanin was described as being shifty with clammy hands.  Telyanin chatted with Nikolai about the horse he previously sold him, which Nikolai suspects he paid too much for. There was a problem with the equine’s strut and Telyanin instructs that he will teach Nikolai how to shoe the beast properly. When Telyanin told Nikolai to get the horse, it gave him an opportunity to steal Denisov’s purse, which had 10 coins in it.

When Rostov returned from shoeing the horse, he found Denisov composing a love letter. Soon after, Denisov realized he would have to retrieve the money to pay his debt.  He flew into a frenzy when his coins were not where it should be, blaming Nikolai as well as his servant. Denisov threatened to horsewhip them both. He got physical with poor Lavrushka, knocking the servant against the wall. Nikolai interceded, saying he knew what happened and would get the money back. 

Nikolai tracked Telyanin down at a tavern two miles away. At first Rostov observed Telyanin finishing a meal. When Telyanin went to pay, Nikolai approached him and asked to inspect the wallet. The gazes that passed between Nikolai and Telyanin confirmed all suspicions. Nikolai found himself confronting Telyanin in front of superior officers, which was a breach of protocol. Nikolai took possession of the purse but when Telyanin pleaded not to embarrass him, Nikolai threw the money back and left.

As Tolstoy (through Marya Bolkonskaya) expressed early in the novel, it is preferable to abide by the laws of Christ rather than academic sources.

Tolstoy posits that history cannot take a step forward {meaning an understanding of history can’t be approached} until there is a return to belief in a divinity that interferes in human affairs. Though Tolstoy wants to advance his Faith in an all-knowing and omni-benevolent God, he realizes within the age of Enlightenment, such a switch is not possible. The subtext is to trust the wisdom of God more than “enlightened minds” trying to interpret history.

Tolstoy attempts to conceptualize the concept of power and what he means is the force that produces historical events, a province formerly attributed to God. His memorable definition of power is “the collective will of a people transferred to a ruler by either express or unspoken consent.” Essentially, he sets up a nature of power only to challenge it.

Tolstoy stresses that power comes from the people and is given away. He argues that we take for granted Napoleon could raise 600,000 men from a cross-section of Europe to go to war. In Tolstoy’s view, Napoleon had no supernatural qualities nor moral force. Though critical, Tolstoy feels studying Napolean leads to a closer understanding of the nature of power – even if the efforts lays bare our limitations.

Tolstoy points out how various historical figures had immense influence but lacked morality. He references Louis XI and the Austrian diplomat, Klemens Von Metternich. He was searching for the set of qualities they had allowing them to wield such influence. 

Tolstoy then questions whether leaders regarded as subpar are representative of any collective will.  He then acknowledges how mistakes, accidents and unexpected developments precipitate major events. Palace coups, for example, begin with designs of such a small group that it is difficult to associate them with a collective will. Rebellions can also begin with the most unlikely causes – such a Cossack rebellion led by Yemelyan Pugachev, which began after taxation on fishing. We are asked to consider: Are those who led such rebellions motivated by any collective will? When lands are conquered is it ever representative of the will of the people conquered?

Tolstoy also ponders: when power is transferred (by a supposed collective will) is it conditionally or unconditionally transferred? He explores whether rulers break spoken or unspoken covenants and forfeit power.   He expresses that leaders must be held to do the right thing but acknowledges the complexity of determining what is right. It is something of a magical formula. Such unknowns can include: taxing a population too much or too little; not granting freedoms vs. being too permissive; not keeping up with the times vs. respecting tradition. He appears to be comparing the values of a given time (such as “equality,” “enlightenment” and “progressivism”) with the timeless values found in Scripture. He speaks to the changing values of historians/academics and highlights how such perceptions effect how they judge events.

Ultimately, Tolstoy sees a problem with historical analysis and presses on the inability to determine causes. He argues that the belief in a God who controls events, common among peasants, is just as valid as any level of historical analysis. This chapter is something of a challenge to intelligentsia. Tolstoy wrote 300+ chapters of W&P to express that it is impossible for humans to pin down the causes of Napoleon's invasion of Russia. Nevertheless amidst the tumult -- he was able to portray the greatness that can’t help but shine through the most trying of circumstances. 

Kutuzov uses a correspondence of the Archduke to demonstrate his exhausted men are not needed, as the missive announces the Austrians are Masters of Ulm, ready to deal with whatever the French throw at them. More recent intelligence suggests the opposite, which is quickly and dramatically confirmed. 

The camp in Braunnau gets word of Austria’s historic defeat in Ulm, Bavaria (October 16th - 19th of 1805) and it is (fictionally) delivered by General Mack himself. Historically, Napoleon forced a surrender of tens of thousands after a masterful encircling maneuver. This victory continued build his mythic reputation as one of the great generals. Napoleon provoked the conflict when he knew much of the Czar’s forces were still marching to link up with the Austrians. The Austrians expected Italy to be the main battleground and put the bulk of their forces there. They maintained a smaller force in Bavaria and that is where Napoleon focused.

We catch up with Prince Andrei, who is enthralled with his role as closest aide to Kutuzov. His work involves receiving the latest war updates and drawing up memoranda. He has learned much since he linked up with Kutuzov in Poland. Andrei's intelligence and work ethic is well-respected. Many see Andrei as destined for greatness while others notice a coldness. Nevertheless, the way Andrei carries himself displays how well he adapted to military life.

Andrei encounters a bandaged Austrian general, who is revealed to be the “Unfortunate Mack,” who discloses the events at Ulm. Kutuzov realized his troops would have to enter the fray. There would be no further delay.  Andrei quickly grasped the significance of the moment. He would be introduced to battle where so many of his fellow countrymen, now so full of life, would fall. He felt conflicted. Though he would not overtly express it, he was satisfied the “arrogant Austrians” suffered humiliation from Napoleon, who remained his hero.

Andrei then ran into two of his less-serious colleagues; Nevitsky & Zherkov, who did not yet hear of the defeat and were irreverent toward Austrian leadership (making mock gestures as they walked by). Andrei set these men straight telling them not to play the fool. He took Nevitsky aside and lectured to accept the Austrians as brothers in a common cause. He lectured they should act united in grieving losses and celebrating victories. Otherwise, they are rendered mere mercenaries.

Out steps General Kutuzov along with his unnamed Austrian counterpart. As Kutuzov walks the line, he is pleased with the disposition of his troops. He notices the atrocious state of their boots, which the Austrians should have replaced. He points this out...diplomatically. 

Kutuzov graciously stops to speak with a few soldiers, some of whom he recognizes from past engagements. One is Captain Timohin, who Kutuzuv served with during the infamous Siege of Izmail (or Ismail) in 1790.  This reference points out Kutuzov’s experience in major conflicts. The siege was historically important as Izmail was a fortress at the center of an oblast (province) once controlled by the Ottomans. Thought impregnable, when the Russians breached the walls, the Muslim population was massacred.

Kutuzov addressed Timohin out of respect -- but it made his red-nosed comrade nervous. Thus, Kutuzov made the reunion brief. He later inquired how Timohin was performing to one of the commanders, while making clear his old friend was a good man. Kutuzov, in a jovial mode, noted how Timohin once had a prediction for Bacchus, the Roman god of wine and exultation. He opined how "we all have our little weaknesses."  Kutuzov is portrayed as having great respect for those he served with as well as being forgiving of imperfections.  

Close to Kutuzov was Andrei Bolkonsky, who reminded the General to address Dolokhov. Kutuzov informs Dolokhov that he can regain his office if he proves his worth. Dolokhov is thankful for the opportunity. Unlike Timohin, Dolokhov was not nervous and his demeanor breached the veneer of the deferential relationship. 

Overall, the inspection was looked upon as a success and the men were put at ease once Kutuzov left. One of the commanders ordered the soldiers be provided a round of Vodka. The group joked, insulted one another and engaged in soldierly banter. Some wondered when they would enter the fight. One pointed out that while Kutuzov had only eye (historically untrue), he could “see” more than most. A drummer struck up a tune that enabled those motivated to sing a military anthem praising Kutuzov. It was formerly a melody that would motivate soldiers to fight the Ottomans, now it was serving the same purpose against the French.

Then Zherkov, an old acquaintance of Dolokhov, approached Dolokhov. Zherkov did this upon noticing Dolokhov was singled out by the high commander. Once upon a time they both ran with the same wild set in St. Petersburg. Zherkov is now a musician for a Hussar regiment. Dolokhov knew the approach was only due to him being singled out - and remained distant. He refused Zherkov's invitation to play cards as he swore it off - for the time being.

Thousands of soldiers from the Russian Empire marched 700 miles to link up with Austrian allies.  The Russian contingent is under the command of General Mikhail Kutuzov and Austrians under General Karl Mack von Leiberich.  This section focuses the Third Company of the Semyonovsky Regiment of about 2,000 men.  They are camping near Braunau and are quite the curiosity to locals. The troops are exhausted. However, they are intrigued by the Austrian splendor: the scenery, orchards, masonry and tiled roofs. 

The mid-level commanders receive word there will be an inspection, where Kutuzov and his Austrian counterpart will walk the lines. Their intuition says to get the men in their “parade” uniforms, so they can look their best. They yell commands on the thought it is: “better to bow too low; than not low enough.” The men do a splendid job but can’t cover up the horrible state of their boots, as the Austrians have been tardy in providing replacements.  Tolstoy is making the point that Kutuzov does not have a reliable ally. 

After some time, up comes riding an aide, along with a Cossack. This is the first look at a Cossack, who generally held connections to Ukrainian identity - though they were a great mix of ethnicities who once lived as freemen beyond the borders of prominent empires. Word is given that Kutuzov wants his men to look as they did when they arrived -- tired and poorly. Kutuzov knows once Austrian leadership sees them in such condition, his men will NOT be sent right into battle. The message to change gets relayed and the regiment is frustrated - but what’s a soldier to do?  

Once the men put back on their marching gear, one soldier sticks out like a sore thumb, as he has on a different colored coat. He is wearing a uniform associated with officers of rank.  This creates commotion and he is treated like an undisciplined rogue. It is Feydor Dolokhov, who had retained his officer’s gear after being demoted for boorish behavior. He was not given replacement clothes and needed what he wore for the long march. A commander dresses him down and tells him to change but Dolokhov sternly responds that will not bear insults. His boldness quiets his superior. 

The analysis delves into major themes including war always seemingly on the horizon as well as the psychological battle of war & peace (voyna i mir) we all face. 

The discussion highlights how Tolstoy portrays the dying era of Catherine the Great (r. 1762-1796) with fictional characters such as Count Kirill Bezukhov (the first character to die) and retired General Nikolai Bolkonsky. Their sons, Pierre & Andrei, are the protagonists and two of the great characters of literature. At the outset of the novel, they are enamored with the chief adversary or the work, Napoleon. 

Russian aristocracy, as well as French exiles, view Napoleon as a malevolent threat. However, Pierre and Andrei view him of as a champion of a new era. More progressive minds of the time saw the status quo in the Russian Empire as a handful of nobles being supported by a peasant class tied to the land.

Given what Ukraine is being put through (and has historically suffered) by Russian aggression and policy, context is given to how a large number of the serfs referenced by Tolstoy were located in Ukraine and also how the Cossacks referenced have traditionally formed a basis of Ukrainian identity.

Pierre begins the novel as the illegitimate but favored son of Count Bezukhov and quickly winds up receiving the entire Bezukhov estate. This is despite efforts of the Count’s other relatives (Vissily Kuragin & the Count’s nieces) to deprive him of same. 

Tolstoy also contrasts the metropolitan areas, (St. Petersburg & Moscow) with the country-side, Smolensk, where General Bolkonsky lives. The General has two children, Andrei & Mayra. Andrei readies to set out in his father’s footsteps, taking his first military position as an aide to historic General Mikhail Kutuzov. 

Andrei admires Pierre as he sees within him a transcendent spirit.  Andrei has a beautiful wife who is pregnant, but he has never developed an affinity for her.   Andrie's sister, Mayra, is religiously devoted and exemplifies Tolstoy’s faith, as she runs her life by the teachings of Christ. This was not always the case but Scripture very much became Tolstoy’s guiding light. Marya faults her father and brother for not having sufficient devotion.

This section brings the reader closer to war with France. Russia is allied with Austria and plans are to march westward and link up. Most of the young men we meet, either already have or will take up a position that will get them involved in the conflict. This includes Andrei, Nikolai Rostov (Hussars); Boris (Imperial Guard); Lt. Alphonse Berg, Anatole Kuragin and Fyodor Dolokhov (Semyonovsky regiment), and Hippolyte Kuragin (Diplomat).  It remains a mystery where Pierre will find himself. 

In this early “peace” of the novel, we get a look at a soirée in St. Petersburg, the Rostov name-day celebration in Moscow, a night of gambling and hijinks, young love surrounding the Rostov children, as well as a lot of talk of the coming war.

Thank you very much for listening and it is my hope you find benefit of using this material as a supplement to your reading.

Ochokov (presently Ochakiv) is on the winding southern coast of Ukraine, about 40 miles east and slightly north of Odessa.  Ochakiv has been attacked by Russia but valiantly holds as a Ukrainian port city of about 15K. Before 1778, it was the capital of an Ottoman province. 

Andrei was in the frame of mind one arrives at when embarking on one of life’s transcendent journeys. He contemplated the fear inherent in war as well as leaving his pregnant wife. His sister interrupted, initially visualizing her brother as a mischievous boy but realizing he was now a stern man. 

Marya relays what a treasure Andrei has for a wife. She begs him to look empathetically upon Lise’s plight of being left in the countryside. While Marya appreciates her quiet life; Lise is a young woman of society. In Bald Hills there will only be her and Amélie Bourienne to keep Lise company. Andrei describes not liking Amélie whereupon Marya defends her, lauding her good nature and providing Amélie’s backstory. Father adopted Amélie as a poor French orphan. She is very pretty and often reads aloud (in French) to their father. 

Marya tells her brother that he is a good man but suffers from an intellectual pride. When Andrei indirectly responds that life with father must be challenging, Marya expresses he should only inspire veneration. The only thing she finds lacking in father is his lack of religious devotion. She finds similar fault in Andrei.

Marya presents Andrei with a family heirloom, a small oval icon of Jesus Christ. It was worn by their paternal grandfather in all his military efforts.  Andrei jokes he will wear it if sufficiently light but observes his sister’s demeanor and meets the moment with proper sincerity.

Marya reminds Andrei not to judge Lise too harshly. Andrei picks up on the fact Lise has been complaining about their loveless marriage. Andrei reveals he is not happy and neither is his wife. Marya advices that he should turn to God to pray for the love that is lacking. 

Andrei leaves the room and meets, in a secluded hallway, Amélie. She presented a sweet smile but Andrei’s response was an expression of disgust so severe that Amélie quickly retreated.

Andrei was then summoned to his father. Nikolai commends his son on not being tied to his “wife’s apron strings” and recognizing the rule should be “the Service before everything.” As Nikolai speaks he writes various materials of import. One letter is to Gen. Kutuzov, directing him to make proper use of his son.  

Andrei requests that his father arrange for the optimum care for Lise, who has had bad premonitions about the birth.  His father agrees but senses Andrei's marriage is not healthy. Nikolai advises Andrei there is nothing to be done as one “cannot get unmarried.” 

Nikolai tells his son not to remain an adjunct for long, implying he should quickly take a command. He also gave his son his personal writings of military exploits to relay to the Emperor upon his death. Further, he asks his son to administrate a prize for one who writes a sufficient history of Gen. Suvorov’s campaigns.

Nikolai then imparts, “Remember ... If you get killed, it will be a grief to me in my old age. But if I were to hear that you had not behaved like the son of Nikolai Bolkonsky, I should be – ashamed!”

Andrei understands and replies that if he doesn't come back, to raise his child (if a son) in Bald Hills, under his father's tutelage. The General, not one for good-byes, tells Andrei to head off. As Andrei departs, he sees his wife and sister. He is dismissive of Lise, telling her to “go through her little performance.” She became weak and fainted. Andrei helped her to an armchair, kissed his sister and bid her “Adieu.” He then left for the front in a coach pulled by six horses.

Awaiting in the dining room is Andrei, Lise, Marya, Mlle Bourienne, as well as Nikolay's architect, Mikhail Ivanovich, who is an odd addition. Usually a sticker for social class divisions, the old General invites his architect (considered a servant) to dine with him. This appears to be an attempt to teach his daughter that everyone is equal, in line with more liberal thinking. Nikolay does not keep a circle of close friends, so he may also be demonstrating a need to have a companion, even though Ivanovich largely remains silent. 

As he waits for his father, Andrei is made to laugh by a new addition on the wall, a framed genealogical tree tracing the Bolkonsky family roots to the ancient princes of the Kyivan-Rus’ and the legendary Rurik. Such family trees were fictional but taken seriously by the aristocrats who commissioned them. Andrei saw through the self-aggrandizement.

The “King of Prussia” arrives to the meal when various clocks strike two o'clock. The flock of house servants well-outnumber those who have a seat at the table. Nikolay leads the conversation, at first talking with his daughter-in-law, Lise, about her pregnancy.

Nikolay then leads a discussion regarding the Coalition against Napoleon. Andrei is surprised of his father’s ability to keep abreast of military news given he lives in secluded Bald Hills. Nickolay reveals he spends a lot of time running through scenarios on how the military effort can play out. He doesn’t think much of Napoleon but thinks equally little of Napoleon’s adversaries, including the leaders of Russia and Austria. In his mind, nobody lives up to the leaders of his generation, such as Alexander Suvorov and Grigory Potemkin -- titans, responsible for unprecedented expansion and success.

Suvorov was famous for leading efforts against the Ottomans and Poles and suppressing a peasant revolt. Potemkin successfully fought the Ottomans. He came up with the military plan that secured Crimea from Ottoman influence.  For hundreds of years Crimea had been run by the Crimean Khanate. Potemkin was also a favorite and lover of Catherine the Great. For decades Potemkin was regarded as the most powerful man in the country.

The awe Nikolay holds for his own (dying) generation rivals what young men, both followers and adversaries of Napoleon, have for the French Leader. Even though Tolstoy critiques Napoleon he is compelled to acknowledge how he is regarded as a transcendent figure. 

When Andrei defends Napoleon’s reputation from his father’s insults, the Old Man gets defensive. More specifically, Andrei points out what happened to the mighty Suvorov when he met French forces in 1799. This effort, more a battle against nature than the French, wore down Suvorov and he died the following year. However, this march through the Swiss Alps saved more men than expected. The perceived affront causes Nickolay to lose his temper and throw a plate.

The elder Bolkonsky calms himself and asks what his son thinks of General Mikhail Kutuzov. Andrei avoids the subject. That question will be answered in the rest of the book as Kutuzov’s leadership was instrumental in defending against Napoleon’s invasion.   

The meal ends and when exiting, Lise points out to Mayra how intelligent General Bolkonsky is and also how he has the ability to intimidate. Mayra responds with a blind adulation and just remarks how kind her father is. Marya sees only the good - like the ideal daughter.

West of Moscow, this involved partitions of Poland, which was split between Russia, Prussia and Habsburg-Austria. A good portion of the territory of modern Ukraine was moved from Polish to Russian influence. These partitions motivated many Poles to join Napoleon’s army. This period also involved Russians battling the Ottoman Empire, where Russia gained control of territory north of the Black Sea. The elder Bolkonsky would have internalized all this “glory.” With this epic age passing, Andrei is experiencing a new world ushered in by Napoleon, where Russia is on the precipice of major change. Tolstoy questions whether it is the man himself (Bonaparte) or the vast movement of men that created an inevitable new age. 

As Andrei arrived to the estate by horse-drawn-carriage, he could hear his sister practicing her clavichord. They are greeted by Mademoiselle Amelie Bourienne, who takes them to Marya, as her father is taking his afternoon nap. It is a warm meeting between sisters-in-law. They discuss the latest gossip and news in the big cities (like who is marrying who). Andrei stood by, the subject of his sister’s warm gaze.  Lise feels abandoned with her husband leaving for war, as she is progressing in her pregnancy. 

The house servant, old Tikhon, takes Andrei to his father, who is getting dressed for a formal meal. The old man sarcastically notes how his son is off to “conquer” Napoleon. Andrei then greets his father with a respectful kiss. They talk about the upcoming conflict with the General revealing what he has learned about the military Coalition against Napoleon. He speaks about who is leading the efforts and name drops a "General Tolstoy," who was likely an ancestor of the author. He asks his son to give his understanding of the overarching plan against Napoleon. Andrei notes that the strategy is that Russia intends to invade Prussia, to “convince” them to align -- a forced treaty. Some units will also unite with Sweden (already an ally). it is expected that 220,000 Austrians and 100,000 Russians will operate in Italy and the Rhine. Other forces, including the English, will land in Naples. In total, the Coalition will be 500,000 strong in a simultaneous attack. The Old General astutely responds that Napoleon surely has a plan of his owe -- and his demeanor implies that it is likely better. He then sings himself a nursery song about a men who go off to war, while family awaits news of their fate. He sings: “Malbrough s'en va-t-en guerre" written after the battle of Malplaquet in France in 1709, during the war of Spanish Succession. It is about the supposed death of the Duke of Marlborough – John Churchill. It has a similar structure as “For He's a Jolly Good Fellow.” Napoleon is rumored to have sung the song to himself on occasion.

Julie begins through speaking about her affinity for Marya and commenting on how Julie draws moral strength from Marya's penetrating eyes. Tolstoy notes how Marya has something of a sickly look and thin features. Yet Marya has deep, luminous eyes, which usually express her melancholy demeanor. Her eyes are so lovely that in spite of the plainness of her face, Marya holds a charm more attractive than beauty. As has often been said, the eyes are the window to the soul. 

Julie reminisces about the happy times the two spent when Julie visited Bald Hills. Julie relays that in Moscow the talk is focused on war. The Emperor and one of Julie’s brothers have already left for the front. Julie expressed great affinity for Nikolai Rostov. His leaving for the war caused her grief. She describes Nikolai as having so much nobility, candor and heart. Their short acquaintance was one of her sweetest enjoyments. She found the relationship poetic and pure. She expresses that while Nikolai is too young to be considered for marriage, being around him is what her heart needed.

Julie notes that the Count's death has left Pierre with the finest fortune in the country. The Count's three nieces got very little and Prince Vissily received nothing. Attitudes have changed toward Pierre. Every mother is lining up their daughter to be near him. Julie never thought that much of the new Count, though she is in the running for a possible match with him. She notes that Marya is also being considered for Anatole Kuragin, Prince Vassily’s son. Julie warns that Anatole is handsome but wild.  Julie then advices Marya to read the Christian mystical book, A Key to the Mysteries of Nature, which has a Masonic or occult bent to it. This is likely referring to the work of German author, Karl Von Eckartshausen, who was influential in German romanticism.

The Princess was energized and immediately wrote back. She notes that she is lonely in Bald Hills and states “If we had not religion to console use, life would be very sad.”  Marya can’t relate to the romantic love Julie writes about; but relates to Christian love, namely the love of one’s neighbor and love of one’s enemies, as the highest form. 

Marya speaks how the news of the Count’s death affected her father deeply, as the Count and her father were the last of an elite social class. Marya relays how she has known Pierre since a boy and that he has an excellent heart. She quotes the Gospel (Mathew 19:23-24), noting that it is easier for a camel to go through the eye of a needle than for a rich man to enter the kingdom of God. She finds this verse explains Vassily’s behavior in trying to usurp the Count’s fortune.  She worries that Pierre will now be burdened with temptation. 

Marya thanks Julie for the book but says it will not bear good fruit, as opposed to traditional lessons from Scripture. She will stick to the Gospels & Epistles and submit to those principles. She warns against letting “our feeble minds” wander.

Marya acknowledges Vassily has called upon her father. She is not excited but regards marriage as a divine institution and is ready for the obligations if called upon to fulfill them. 

Marya describes her brother (Andrei) will be visiting, but will be headed off to War. She notes how war affected Smolensk, where one expects to find Nature’s peace.  She witnessed peasants from her estate being conscripted. She was horrified by mothers, wives and children watching their men go off to war. Humanity has forgotten He who preached love and forgiveness; and Marya can’t see how men ascribe the greatest merit to the art of killing.

As Marya finished her letter, Mlle. Bourienne interrupted, warning that her father was in a foul mood. Marya responds that she will not tolerate anyone critiquing him. 

Smolensk was part of the Kyivan Rus’, the first state to rise among Eastern Slavs. While the early history of Ukraine is the history of Russia, the converse is not true. Generally, many think “Russia,” when they hear “Rus'’” but there is so much more to the Rus’, who were Scandinavian Vikings. Rus’ is also thought to be a navigational term meaning “rudder.” Smolensk was also part of the Grand Duchy of Lithuania, Grand Duchy of Moscow, Tsardom of Russia, the Polish-Lithuanian Commonwealth and Russian Empire. It has remained on an important trading and invasion route. 

The story moves to the fictional “Bald Hills,” in Smolensk, the estate of Prince Andrei’s father, Prince Nikolai Bolkonsky. Nikolai is a fictional general who had a falling out with a historical emperor not held in high regard – Paul.  Tolstoy desires to build up Nikolai’s status, so he puts him at odds with the hapless Paul, who was likely killed by his own officers. Paul was Catherine the Great’s son and Alexander’s brother. The Old General was banished by Paul from the major cities. Even though he is now free (under Alexander I) to go where he wishes, Nikolai chooses not to leave Bald Hills. He lives with his daughter Maria/Marya, whom he tutors, and Mayra has a companion of French derision, Mademoiselle Amelie Bourienne. There are also a number of serfs on his estate.

The first part of this chapter is a character study in Nikolai and this episode will concentrate on him, leaving a second part of chapter 22 to deal with his daughter Marya. Unlike a writer like Hemingway, who often lets the action tell the story, Tolstoy is descriptive of his characters’ traits.

Nikolai is industrious and orderly, which perhaps earned him the nickname “The King of Prussia.” Nikolai is full of energy and intelligence and does not tolerate idleness nor superstition.

He spends his time managing his property, serving as superintendent, architect, and even doing gardening. He also spends hours at his lathe, as a carpenter. He exercises the mind as much as the body, writing a military memoir and working out math problems. In his study, books and plans are all over. He keeps himself busy at every moment with continuous, varied and regulated activity. It keeps his body and mind strong.

While exacting, Nikolai is not cruel. He inspires both fear and respect. One area that he lacks impressiveness is his physical appearance. He is described as quite clownish or at least out-of-date. He is short, has bushy grey eyebrows and wears a powdered wig. He carries the odor of tobacco and old age. Nevertheless, he retains a spark in eyes, one demonstrating youthful energy. He is the type who appears for his meals at exactly the same time, which brings him to the morning he expects the arrival of his son, who is traveling westward to war. Andrei is also dropping off his pregnant wife, Lise.

After his own geometry studies, Nikolai comes to meet his daughter, Marya. Knowing he is coming, Marya makes the sign of the cross in hopes he is in a decent mood. 

Nikolai tells his daughter she has a letter for her from Julie Kuragin. He goes out of his way to say that he won’t read it. He reads every third or fourth letter to see if she is involved in idle gossip and needs correction. Marya doesn’t mind if he reads all her letters.

He then draws her attention to a geometry problem and she quickly becomes embarrassed at lacking understanding. Sometimes, he flings the math book across the room when frustrated. After a mild outburst, he gave his daughter a comforting touch. He explained the answer and importance of mathematics. He suggests she persevere and rise above those who don’t work at such problems.  

Nikolai also notes Julie sent Marya a religious book called “The Key to The Mystery.” It is clear he wasn’t impressed with the selection.

The Princess left with her letter and book to her room and we get a description of her. She looks in the mirror and sees her sickly and plain face. Nevertheless, there is something majestic about her magnificent eyes. She put the book down and opened her letter with eagerness.  

At some point, Katerina gets up and walks toward the Count’s bedroom. She has the secured critical papers in her hand, which Anna recognizes are the Count’s testamentary documents awarding Pierre his fortune. In a bold move, Anna blocks Katerina’s way, as Anna realizes there will be an attempt to destroy the papers. Vassily, with mock-politeness, begs Anna to let Katerina pass.

Voices are raised as Katerina argues with Anna, who stands her ground. A struggle ensues with the women tugging at the folder in public view during the most solemn of moments. They are too “in-the-moment” to care as they fly around the room in a comical scene.

Vassily approaches and with all the authority he can muster, directs them both to release the documents. Katerina does but Anna holds fast. Vassily can only threaten that Anna will answer for her disgraceful actions. Katerina then screams, “You vile woman,” and appears to successfully snatch the folder but fate intervenes - namely, an announcement that the Count's death is imminent. The opulent door to the Count's bedroom opened abruptly, which was a signal the moment had come.  This caused Katerina to lose her strength and she dropped the portfolio. Anna scooped it up and ran in the room and quickly learned the Count had died. With the death, there would be no further violence and the matter of succession was effectively decided.

Katerina left the room and relayed to Pierre, in angry tone, “Yes, now you can rejoice. This is what you have been waiting for.” Vassily went over to Pierre and relayed heartfelt condolences.

Anna was the last to come out, approached Pierre and told him, “He is no more.” She later escorted Pierre to a dark drawing room, so he could be alone and rest.  She got him up the next day and lectured him that he will be in command of a great fortune. She thinks it will not change his character, but will impose new duties.

Anna then makes her play, explaining how the Count promised her, the day before yesterday, not to forget Boris. She hopes that Pierre will honor his father’s “wishes.” The Count would have been too sick to relay any such message, but helping Boris is a tiny price to Anna for the inheritance she ensured remained with Pierre. The new Count Bezukhov did not take in any of this, he just sort of stared in response.

Anna however, relayed what happened to all of Moscow. She described the Count’s end as affecting and edifying and that the last moments between father and son were transcendent.  This is the death of an old order with a new one on the horizon, personified by Pierre. 

After being banished from St. Petersburg, Pierre has been staying at his ill father’s estate in Moscow. He is left alone by those caring for the Count and kept away from his father. In solitude, Pierre play-acts crossing the English channel as a conquering Napoleon, ready to topple PM William Pitt. The fictional Pierre spent years in Europe in the aftermath of the French Revolution and Napoleon’s ascension would have been of profound influence. Pierre learned to speak French and German -- similar to Tolstoy.  Pierre’s persona witnesses the falls of kings and an age that continues to shape the world. Pierre wants to contribute to this era but has little idea how. 

We also encounter Vera Rostova, the unfavored Rostov child. Countess Rostova is dismissive of Vera and her siblings call her what is intended as an insult, Madame de Genlis, (Stéphanie Félicité) who was a historical feminist of renown. Madame de Genlis was a dynamo who tutored French royals and could write novels the same length as Tolstoy. It was kind of Tolstoy to give her a nod. Vera's only suitor, Lt. Alphonse Berg, is pursuing Vera for the connection to her wealthy family. 

A central event of this section is the magnificent name-day feast at the Rostov’s Moscow estate in honor of mother and daughter, both named after St. Natalia. It is something usually depicted in visual adaptations of War & Peace. The evening starts with cigar smoking and political talk. An old bachelor, ShinShin, notes that Russia should not be eager to engage Napoleon. He voices that Napoleon stopped Austria’s “cackle,” and Russia’s turn is likely next. Lt. Berg tells anyone who will listen that he expects to profit from his commission in the service.

There is an orderly procession into the dining area for the actual dinner. There are enumerable courses and servants attending to the guests. It ends with dessert (pineapple ice cream), and then moves onto cards and dancing. Ilya Rostov, the host, steals the show when he puts his heart into a folk dance called the “Daniel Cooper.” 

During the dinner, Vera informs Sonya that she should not consider marriage with her brother (Nikolai) as a realistic prospect. There is an intent to hurt, perhaps because Vera is usually the person made miserable with insults.  Vera’s words crush the devoted Sonya, who has spent years in the Rostov household. She is a relation but with little to her name.  Sonya is made to feel even worse when she sees Julie Kuragina warming up to Nikolai during dinner. Natasha comforts her.

Afterward, Natasha and her brother sing for the assembled guests.  Natasha also asks Pierre (at the suggestion of her mother) to dance. Pierre complies and there is a notable contrast between the diminutive Natasha and large Pierre.

The story moves on to Pierre’s father, Count Kirill Bezukhov. The Count is on the precipice of death and lacks the ability to communicate. Anna brings Pierre to the Count during Last Rites. The Count's poor condition likely has made Prince Vasili and the Count’s nieces begrudgingly allow Pierre to see his father. The Count summoned Pierre earlier but those around him delayed this meeting.  

This is a critical moment for Pierre. He is assisted by Anna Drubetskaya, who feels a sense of duty to help. Anna wanted to ask the Count for money but found the Count was too ill to communicate. She made herself useful by imposing herself as s final caretaker. She wants to be close to the power center. 

Prince Vasili reveals an important secret to the Count’s eldest niece, Katerina. Vasili knows that the Count made a will making Pierre his sole heir. Vasili wants to divert the funds to himself -- as his wife and the nieces would otherwise be in the line to inherit. Vasili asks Katerina if she knows where the Count keeps his will and learns it is in the portfolio underneath the Count’s pillow. Prince Vasili aims to get at the documents and destroy them. 

Pierre is overwhelmed upon seeing the helplessness of his once powerful father. He is given a last moment with his father and becomes emotional. His father notices and tries to say something but nobody understands. When the Count sees Pierre so sad, he gives a final smile of appreciation. He then was turned by a servant and drifted into sleep.

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.

Pierre is fortunate to have an able wingman, Princess Anna Drubestskaya, who has a sense of the oncoming struggle over succession. Many in Moscow high society also are aware of the favor the Count held Pierre in. Anna escorts Pierre inside the mansion through a rear entrance. She senses Pierre’s meekness and encourages him to “be a man” and face that there are expectations of him. She informs him that she will look out for Pierre’s “interests.” Pierre is overwhelmed by the gravity of the occasion. He wanted to hide out in his regular quarters but Anna steered him towards the Count. 

They reach the apartment area were the Count’s nieces (or “princesses”) were residing. As they walked by, they notice Katerina and Prince Vassily speaking to one another. No words are exchanged but Katerina briskly got up and slammed a door on the newcomers. This was a breach of decorum. Anna expected such a reaction and was unmoved in her purpose.

Pierre and Anna reach the crowded reception room. It is filled with aristocratic friends, dignitaries, and other prominent community members. The room is described as having two huge Italian windows as well as bust and portrait of Catherine the Great. Anna introduces Pierre to some of the priests, then temporarily leaves. Those who notice Pierre enter see him in a new light. He is no longer the buffoonish bastard and there are murmurs that he could become the next Count. Pierre is not used to being treated with deference and it unnerves him. A woman even offers him her seat, which he takes and sits quietly with his hands on his knees.   He realized that he better listen to Anna’s guidance. He also readied himself mentally for the Orthodox religious rituals due his father. 

Prince Vasilly comes up to Pierre and tell him to have courage. (In French: Courage, Courage mon ami) They briefly discuss the Count’s grim condition and that the Count previously indicated he wanted to see Pierre.  Then a group of well-wishers, which includes servants, priests, doctors, and family approach the inner sanctum of the mansion -- where the Count is. After a few steps, Anna rejoined Pierre, grabbed his arm and made sure she stayed attached to him.

Vassily Kuragin was motivated to preserve his interests. He walked to the quarters of one of the nieces of Count Bezukhov, Katerina “Katishe” Mamontova. She is the eldest of the nieces, who are called "princesses."  He starts very gently, mentioning the difficult time for the family and that he loves Katerina and her sisters like daughters. He eventually gets to the point: that his wife and the princesses would be expected to inherit by law and they all have to “think about the future.” Vassily notes the problem they face, namely that even in extreme sickness, the Count pointed to Pierre’s portrait in an effort to summon his favorite son.

Importantly, during the previous winter, the Count drafted critical testamentary instruments indicating that Pierre was to be made legitimate. In effect this would make him sole heir.

Katerina says that this can’t be since Pierre is illegitimate. She can’t focus on what is being presented.  Vassily has to get her to listen and wants to strategize. He does his best to convince her that the Count gave his vast interests to Pierre in a moment of delirium and that is not what the Count would have wanted. He suggests it is up to them to rectify this grave error. It is blatant scheming but he wants to convince Katerina that they both have good intensions.

Vassily then reveals that while Count Bezukhov wrote a letter to Emperor Alexander, which requested that Pierre be made legitimate, the material was never dispatched. Vassily is trying to see if Katerina knows if such papers exist and possibly whether they may have been destroyed. He is also implying that if they can be accessed, they should be retrieved and destroyed. Katerina comes around in an unexpected way. She realizes that in this world one must be base to get ahead and that is what she is willing to do so. Still, Vassily tries to convince her of their honorable intentions. She reveals the documents are in the inlaid portfolio underneath the Count's pillow.

Ilya Rostov sits down in one of the rooms to enjoy a French card game named after an American City, Boston.  As per custom, young people gathered around a few instruments, including the clavier and harp. Julie Karagina takes a turn on one of these. There was some anticipation for Natasha and Nikolai to sing but Natasha noticed Sonya was not present and went off to find her. Sonya was hiding in a passageway and crying. She was in a hideaway that women of the household went to when wanting some privacy. Natasha felt overcome with emotion when she saw Sonya drowning in her own tears and started crying herself. She was doing her best to try to comfort Sonya, a showing of genuine sisterhood. 

Sonya explains that Nikolai’s mobilization papers have come in and he will be leaving in a week. Sonya respects that it is his duty to go, however, some unkind words from Vera brought Sonya very low. Vera got her hands on a poem where Nikolai was expressing his strong feelings for Sonya. This motivated Vera to voice how Sonya should not envision marrying Nikolai. First, Nikolai & Sonya would need permission from archbishop as they are second cousins. More importantly, Countess Rostova would be offended by the prospect. The countess would expect Nikolai’s wife to have higher social status. The deep love they share is not enough. Vera proffered that Julie would be a better match, which devastated Sonya. Sonya loves the Rostov family and expresses how she would make any sacrifice but feels she has nothing to sacrifice. The question may become: will she sacrifice her love for Nikolai. Natasha counsels that it will all work out.  

 The two then went back to the festivities and Natasha, along with her brother and Sonya, sang “the Fountain.” Then Nikolai sang a song on his own. Some of the lyrics were: “On a soft night beneath the moon, How joyous to feel and to know, That in this world there is someone, Whose thoughts are thinking of thee….”

At this point the guests were getting ready to go to the ballroom and the musicians could be heard getting ready. Pierre is chatting with Shinshin, and young Natasha runs up to Pierre and tells him it that her mother told her to get Pierre to dance. Pierre extends his large arm to Natasha’s small one and Natasha is excited to be accepted in such a manner by someone so grown-up. As they sat and waited for the music, Natasha fanned herself like a full-fledged member of society. The way she was behaving impressed her mother. 

In the ballroom, Illya Rostov chose an unexpected dance partner, Marya Dmitrievna (“le terrible dragon”), who hardly had the physique of a dancer. The musicians got the signal to play the Count’s favorite song, the “Daniel Cooper.” It is a song with an English name but is essentially Eastern European folk music played by a traditional band. It involves a lot of kicks, raised knees, swirls and swinging arms. Ilya, in his fancy dress, get really into it. He was bouncing, turning, waiving on the band – and all the attention on him. He lost himself and soared like an eagle. Everyone was impressed with the show. His rotund partner stayed in one place, smiled and bounced around. She had a level of rhythm and was impressive in her own way. The dance ended to thunderous applause, and in his ecstasy Illya said, “That is how we would dance in our time!”

Shinshin asks why Russia should be thrown into a war with Napoleon. He notes Bonaparte already stopped Austria’s cackle and Russia's turn is likely next. The ethnically German colonel (in the Russian Army) who is within earshot gets irritated and announces his fealty to the Emperor. The colonel quotes Alexander's Declaration of War, which has the refrain -- to establish a lasting peace; the country must mobilize for War. Shinshin responds that Russian stands little chance, especially considering General Suvorov was "hacked to pieces" by the French in the Alps and is now deceased. Shinshin notes there is nobody like Suvorov to mount a realistic challenge to Napoleon. 

Suvorov was a military leader ranked high on historical lists of top generals. He is known for success during the Russo-Polish conflict, two successful descents on Turtukai (a city on the Danube), his defense of the Black Sea fort 'Hirsov' (1773), as well as his direction of the Battle of Kozludji (1774). During the Russo-Turkish War of 1787–91, he aptly defended territory on the north shore of the Black Sea. He attained the rare title, Generalissimo, which means commander of all units of the military, near the end of his life. Various military schools bear his name. He is also famous for a retreat in 1799 when his 23,000 men were pursued by 80,000 French.  He never surrendered, though thousands died of the elements, sickness, or falling from cliffs. About 18,000 made it through the Alps. Suvorov became worn out and died within the year.

The Colonel continues with his Ra Ra speech and asks Nikolai Rostov what he thinks of going to war. Nikolai responds: we must die or conquer! Julie Kuragina is impressed -- as is everyone else within earshot. Sonya, who loves Nikolai dearly, is in the pangs of jealousy over Julie's closeness to Nikolai . The Colonel proclaims the young man to be a true hussar and is thumping the table in excitement. Marya Dmitrievna, remarks that with such bravado, the Colonel must think the French are at the table. Marya and the Colonel discuss how their sons are going to war and Marya notes how their fate is in God’s hands..

The younger people, especially the Rostov kids, are bored with political talk. They have their mind on something more important to them – namely, what is for dessert. Natasha asks aloud, which is considered a breach of decorum. Marya (Le Terrible Dragon) eventually replies 'ice cream,' but jokingly says none will be given to Natasha. The youth persists and finds out pineapple ice cream will be served. Natasha’s boldness reduces her younger bother Petya to joyous laughter. The adults joined in the gaiety, including Natasha's generally stoic mother.

The dessert is accompanied by live orchestra music, then a toast from the Host, Ilya Rostov, to his wife’s health. The dinner is now over and the guests retreat to Ilya’s study or the drawing room. 

Tolstoy envisions the locomotive as a symbol of great historical movements and uses this symbolism to describe the limitations historians face in finding causes for such movements. 

He posits three people viewing the mighty locomotive and trying to explain the cause of the movement. 

The first, Tolstoy deals with a simple peasant. The man is overawed by the train and thinks the Devil (or some divine force) makes it move. With no understanding of mechanics, he concludes that something beyond man is at play. That is all the simple man needs for an explanation.  Tolstoy doesn't discount this view out-of-hand. Instead, he finds as much value in this posture as with more scientific thinkers. 

The second hypothetical person looking at the locomotive is a more sophisticated and inquisitive type from the Age of Enlightenment. He sees the wheels moving and estimates that is the cause.  Like historians looking for the cause of a great event, the inquisitive man is attempting to break down possible causes of the train's movement but can not get at it with any efficiency. Instead, he only finds a piece of the puzzle. If he studies the matter long enough, he may also discover that the pressure of steam in the boiler is another cause. However, one can continue the exercise infinitely through asking what process generates steam and so on. Basically, the inquisitor will go from cause to cause and pick ones that stand out to him while neglecting ones just as valid. Tolstoy is trying to exemplify the limited analysis historians often perform. 

The third hypothetical observer notices awe-inspiring black smoke rising out of the train’s chimney.  Seeing such a powerful manifestation, perhaps for the first time, this person may wrongly attribute the “cause” of the train's movement to something that stands out. Tolstoy is making the point: historians can mistake byproducts for causes.  

Tolstoy believes it is theoretically possible that some super-intelligence could see the big picture and know all the reasons for events. In other words, this all-seeing-eye could see everything that every happened at every point in history. But as to human capability, our vision only goes so far. 

Tolstoy describes that we generally describe the force that compels men to do something as “power,” but that word does not do the concept justice. One of his goals is to further explore "power" in this Epilogue. He believes a great deal of the "power" that makes our world move it is not understood. The same reasoning applies to movements of people. The causes are complex and often inaccessible. 

Tolstoy compares the process of trying to understand history to the types of money in circulation – paper money, metal coins and gold. He feels that most efforts of historians can be compared to paper money; not worth their weight and fungible. People may believe certain theories; but that is because of their Faith in a certain currency and not because of any true value of the theory. 

Gold is what Tolstoy seems to have stumbled upon in writing War & Peace. He gets to the essence of power through creating fictional characters symbolizing how each level of society reacted to the Napoleonic wars in a way that has stood the test of time. The second half of the19th century was a time of great consideration of metaphysics and Tolstoy was an essential part of that Locomotive.

Shinshin is described as on old bachelor with a sallow complexion who tries to look much younger and dresses in the height of fashion. He is a relative of Countess Rostova. Berg is talking about how he plans to profit off his position in the Army and notes that with war on the horizon, he may merit a promotion if one of his superiors should be killed. He seems oblivious that he would be next in line to perish. Berg loves to talk about himself and is pursuing Vera Rostov, more for the connection than for any type of love for her. 

The political talk then centers on the Manifesto of War issued by Emperor Alexander, whereby Russia joined the Coalition against Napoleon. The Manifesto also focuses on recruitment efforts. The discussion is filled with the excitement inherent in gearing up for war and without the proper insight toward the human toll.

There is also a colonel at the Rostov home, who, like Berg, is ethnically German. He will later accompany Nikolai to his assignment. This brings up how there are a good number of ethnic Germans serving in the Russian Army. Many are prone to think of the two countries as historic rivals given the hellish years of WWII. However, there was once a significant level of immigration from German lands to Russia. Further, a number of the Czars were of Germanic ethnicity.  Catherine the Great is an example.

Those from Germanic lands were historically on the move because of the persistent wars, often between Catholics and Protestants. Some went to the New World. Others answered recruitment calls by the Czars and aristocracy, who appealed for both highly skilled and agricultural workers. The Czars spearheaded land grants, tax exemptions and exceptions form military service. There were Germantowns (think Chinatowns in San Francisco or New York) and within a few generations many became patriotically Russian. Instead of seeking exceptions, many were eager to support Russia's military efforts. Some settled in lands now part of Ukraine and developed a preference for Ukrainian culture. Many settled along the Volga – the longest river in Europe which flows into the Caspian Sea.  Additionally, Russia adopted the Prussian system for organization of their army and various aspects of government.  In short, don’t be surprised to see German influence throughout the novel.

Pierre arrives to the Rostov home and is in everybody’s way as they try to walk from the drawing room to the dining room for dinner. The procession moves two by two and the idea is to enter with pageantry.  They all sit at the magnificent table -- the men at one end and the women at the other. 

Fashionably late is Le Terrible Dragon, Marya Dmitrievna Akhrosimova. She is an opinionated widow and has a level of societal influence. She is related to Countess Rostova and is young Natasha’s godmother. Instead of speaking French, she prefers Russian, which is sort of a rebellion to the aristocratic tongue.  She arrives with a birthday gift for Natasha, a pricey set of earrings. She calls Natasha her “little Cossack,” because of Natasha’s rough and tumble nature. In a humorous way, she shames Pierre for his riotous conduct in St. Petersburg.

The dinner is a sumptuous feast with multiple courses. Pierre seems to be enjoying the food the most and has indelicate table manners. He is paired off with Boris and greatly enjoys conversing with him. Nikolai is with Julie Karagin and this makes Sonya, who is devoted to Nikolai, quite jealous. Natasha is looking lovingly at Boris but she also displays an affinity for Pierre. 

This is a chapter often depicted in dramatic portrayals of War & Peace. The footmen, servants, hosts and guests reflect the aristocratic splendor of the Rostov household. It is one the last peaceful periods before the Napoleonic Wars upend their world. 

He urges avoiding the trap of thinking Great Men move people. Instead, it is actually people (like You) who combine when they are willing to move. It is people (like You) who do all the heavy lifting and rarely get any of the credit.

Tolstoy initially describes biographers of famous personages as well as authors of histories related to specific people of a country (say the French or Danish). He views these authors as attributing power to rulers or heroes in a superficial manner. This is the way he sees the way Julius Caesar or Napoleon are analyzed - as super-humans with incredible logistical knowledge who moved the course of humanity.  He feels such works are limited by subjective views. Some works try to deify so-called Great Men but others are overly critical of them. Tolstoy believes accuracy is undermined through authors having an agenda. In present times, let’s take someone writing about the United States: Do they present it our history as a land of opportunity," or are they presenting it more in accord with the N.Y Times 1619 project? 

The question of history, in Tolstoy’s view, is too often determined by what lens the author wishes to see it through. For another example, Tolstoy would probably argue that Doris Kearns Goodwin set out to laud Lincoln when she wrote Team of Rivals: The Political Genius of Abraham Lincoln. She walked down a path of re-introducing the virtue of Lincoln to an audience ready to accept it.

Tolstoy then examines “universalist” or generalist historians, who look beyond one person or country. These are non-specialists who look at the multiplicity of forces at work in leading to movements.  Such authors make the effort to see the overall interplay of people and causes. Tolstoy finds it to be a noble attempt but still problematic.  These academics would tend to say someone like Napoleon was destined to come along because of the excesses of the French Revolution. Or that a man of prudence and great leadership like George Washington was destined to rise from colonial aristocracy. Tolstoy believes such laudatory analysis involves too much bias and guesswork. He infers that historians usually know exactly where they want to wind up when they start a project. Tolstoy finds this generalist brand of historian gets one thing right: historical characters are products of their time and age.  What is neglected, however, is the millions of citizens who in Napoleon’s day, who wished to support him or the various coalitions that united against him. There is a call to war but also an attraction of the people to the movements.   

Then Tolstoy takes on historians of arts and culture, meaning those who place significance on men with ideas that are thought to move people – such as Martin Luther (posting of his 95 Theses), Thomas Paine (writing Common Sense), or Marx & Engels (Communist Manifesto). He finds that even Rousseau’s Social Contract (from 1762) was connected to the moralities and whims of the time.   

Another contemporary example: what led to violence in the streets in 1789 in France or in 2020 in the United States; the stirring of people up through ideas?, or people just ready to take to the streets for reasons they though justified? Tolstoy posits that there is an atmosphere to an age, a collective experience ready for one message or another -- and the people who act are those who move mountains.

Tolstoy assigned to this last class of academics the sins of arrogance and pride for believing just a tiny class of persons with ideas they think original have more influence than they actually have.

To sum it up: War & Peace is about the invasion of 1812 and Tolstoy advances the notion that the effort was much more than Napoleon thinking the military effort was a good idea. 

Boris needs 500 rubles to properly enter his position with the Imperial Guard. His mother (Anna) simply doesn’t have it. As far as disposable funds, she has about 5% of what is needed. The Rostovs have provided assistance to Anna & Boris over the years and even let Boris live in the household. He is a relation but not one of the children.  The Countess concludes Boris must be treated like a true child in this circumstance. 

Natasha tells her husband that she needs money - a lot of it. Her husband reveals his character; namely his goodness. He is kind and loves his wife and will not withhold anything, even if it may not be financially prudent. He will grant her wish enthusiastically and is not one to withhold something so base as finances. 

Natasha says that she needs 500 rubles. He does not ask any questions and is ready to help - Men, take notice! Ilya calls the household finance manager, Mitenka, and directs him to get 700 RUBLES (200 more than what was asked for)…in crisp new bills.  Mitenka wants to tell Illya that he should be careful with releasing such funds, but he observed Ilya’s demeanor and wisely holds his tongue.  

Anna arrives back from the visit to Count Bezukhov and the two have an emotional moment. They embrace and cry. They cry for the fact that one was in such need and also that the other could meet the need. They also cried over the fact they were childhood friends and that they are now at the opposite end of life.

Tolstoy then focuses on ancient civilizations and how they dealt with explaining reasons for historical events. He suggests ancient historians tended to regard rulers (say a Julius Caesar, Hannibal, or famous King), as symbolic of the group ruled. Tolstoy thinks that approach has shortcomings. 

He then asks the most important question of the Second Epilogue, How do rulers get the masses to act as they wished? He doesn’t think it is just a question of acquiring the raw power to impose one's will. 

Rulers obviously held tremendous influence but Tolstoy feels they are figureheads. Notably, an under-appreciated amount of power is in the hands of the masses whose actions make up historical events. Said in another way: there is a symbiotic energy between the ruler and ruled. 

Tolstoy very much agreed with the ancients on not look too deeply for the reasoning of monumental events - they often believed that God willed events to be so.  

Tolstoy laments the role of God being cast aside by Enlightenment historians, especially in discussing the Napoleonic Wars. He doesn’t think the great movements between 1793-1812 can all be attributed to Napoleon -- despite the adulation Napoleon received during his own lifetime and from the generations that followed. Tolstoy is suggesting Napoleon (who was no great man of Faith) was a tool in God’s arsenal for His divine plan. 

Like the ancients, Tolstoy believed God acts, at least in part, to reward, punish or teach. Perhaps it was a reaction to his time’s attempt to remove the perception of God’s influence that led to creation of what is widely regarded as the greatest novel written.

In Moscow, Pierre was staying in his usual quarters at the estate of his ill father - Count Kirill Bezukhov. However, Pierre was not allowed access to his dad. Pierre was isolated by the Count’s relatives and servants. Early in his stay, he went to see his cousins, referred to as the “princesses.” They are three young women who are the Count’s nieces and were also staying at the house, ostensibly caring for the Old Man. Pierre kindly asked the princesses how they were doing, if they remembered him and when he could see his father. They gave Pierre the blow-off. This group is hoping for a large bequeath upon the Count’s death. 

Prince Vasili Kuragin also met with Pierre, ever so briefly, only to lecture him that he will come to a bad end if he continues to behave like he did in St. Petersburg. Vasili is hoping to take the Lion’s share of the estate, given he is a relative to the Count through his wife and the Count doesn't have any legitimate children. 

Pierre did not have any further visitors until the day Anna & Boris visited. Boris appears at the door while Pierre is in a world of his own, pretending to be Napoleon - Yes, Pierre admires him that much! Pierre is acting out having crossed the English Channel and successfully defeated the English. He is about to pronounce sentence on William Pitt…when he notices Boris in the doorway. Historically, Pitt was a well-known Prime Minister, famous for his length of service and administrative acumen.  

Boris announces his presence but Pierre does not recognize him. He suspects that he was once familiar with the lad. He initially mistakes Boris for one of the Rostovs. When Boris reveals who he is, Pierre is genuinely happy to remake his acquaintance. Such is Pierre's nature. Pierre tries to get the conversation going by focusing on world politics but Boris concedes he doesn’t know much about current events and keeps occupied with the affairs in Moscow, which includes dinner parties and local gossip. Boris reveals all Moscow is guessing who will get the Count's estate as beneficiary and many think Pierre is a candidate. Pierre is somewhat fearful Boris would say something that will embarrass himself but is ultimately impressed with his candidness. Boris notes that he and his mother will not be pursuing such claims. He feels they do not deserve any financial windfall as they are not true relatives. Pierre hopes he and Boris become fast friends. 

There is an interesting contrast between Pierre and Boris:

Pierre went off the Europe and became a worldly man - in the early 19th century sense. He comes home and is indecisive about what he will do. He has ideals and vague plans. He is a student of the French Revolution and Enlightenment. He is enthralled with Napoleon and wants to shape the New World but doesn’t know in what way. 

Then there is Boris, who has remained home and doesn’t have the same level of prospects or confusion. He has a mother without funds, but she was able to put her son on a steady career path in the Imperial Guard (a better position than Pierre or Nikolai currently have). Boris is grateful for the opportunity, accepts his lot, and out of a sense of personal honor, does not want to squander his chance.

A footman calls for Boris as his mother is ready to leave. She tells Prince Vasili she will be back to attend to the Count and prepare his soul for it's ultimate journey.  While Boris and his mother exit, Anna reveals the Count appears close to death.

Anna tells her son, who is embarrassed about asking for a hand-out: This is about your future, not mine, so don’t let pride get in the way. She realizes she needs 500 rubles to get her son outfitted and supplied to join the prestigious Imperial Guards. 

They arrive at the extravagant estate. Anna scurries passed the porter and gets in the vestibule. The staff tells her the Count is not taking visitors due to his health. She then asks to speak to Vasili Kuragin. He is a relation of Count Bezukhov, through his wife, and since Count Bezukhov doesn’t appear to have any legitimate children, Vasili is near the front of the line to inherit. Three nieces, labeled “princesses” are also staying at the mansion and are in a similar position. Boris is the Count’s godson, so he may also warrant minor consideration at least in relation to money needed to join the Guards. Lastly, Pierre, is taking up one of the many spare rooms at this solemn time. The potential distributees are in one place, and eyes are on the prize. 

Prince Vasili comes to speak to Anna and relays how poorly the Count is doing. Anna insists she be one of the patient’s nurses/caregivers. This would involve cleansing the Count for Last Rites. She puts on a bit of a show in effort to keep herself in the inner circle and announces that although the duties of a Christian are onerous, she is there to fulfill them. Vasili is trying to get rid of her. One of Count Bezukhov's nieces complains of the stir Anna is causing and that it is disturbing the Count. Anna has entrenched herself for what are likely the Count's final moments. She tells her son to go meet with Pierre and convey Ilya Rostov’s invitation to dinner.

The Countess and Anna both have their problems. Countess Rostova explains that hers come from keeping up with her lifestyle. She fears her husband may spend them out of house and home. In effect, it is a lot of work to keep up with appearances. Even ventures to the country, with the attendant flock of servants, are quite the ordeal. This is the life of someone well-propertied.

Anna’s problems are very different and more relatable. She explains the difficulty of being a widow whose assets are tied up in some type of lawsuit. She discusses how she loves her son to the point she will go to any length for him. In practical terms, she will write letters, meet ministers, travel far distances, in order to get Boris any opportunity. Still, Boris needs 500 rubles and her discretionary income consists of a 25 ruble note. Anna does not ask the Countess, but instead voices how Pierre’s father, Count Kirill, is Boris’s godfather. She notes that she will appeal to Count – even though there may be no appeal to make as the old Count may have lost competency. She laments how the Count is at the end of his life with such a great estate and so much overflow while Boris is at the beginning of his journey. She doesn't want her financial status to his launch into life.

As Anna takes her leave and she runs into Count Rostov. He notes that since Anna is going to see Count Kirill, Anna should ask Pierre to come to the Rostovs for a more private dinner.

A common critique of the second epilogue is how confusing and apart it seems from the rest. The first epilogue revolves around the characters and resolves some of their journeys. The readers are then presented with an epilogue that takes on metaphysical questions – i.e., questions about the nature of reality, space and time, as well as change. 

It tackles the following issues: the of nature of history, nature of man, reverence for the Almighty, God as the ultimate mover of events (favoring Classical thinkers over Enlightenment ones), the relationship of the citizenry to the leaders they march off to war for, the lack of an ability to determine human causality, the nature of free will, as well as other mysteries of the ages. 

Tolstoy suggests never having the pride to think you can figure out something so complicated as the reasons, from a historical perspective, for the epic movements such as the Napoleonic wars and in particular, Bonaparte’s invasion of Russia.

Instead, the epilogue highlights the author’s presumption that “Man is the creation of all powerful, all good, and all seeing God,” who moves the course of history in accord with His mysterious Will.  That ideal drove Tolstoy and his novel.

The epilogue, as well as the very title of the book, also explores the duality of man. War and peace, for example, like light and darkness, is within each of us. Tolstoy posits we are all connected, in that we often make individual choices in similar patterns with comparable motivations. Therefore, when working together (knowingly or not) we can pull the world in virtuous or troublesome destinations (including war-mongering or peace-making). Another lesson of the epilogue: try not to let you inner state of war overtake your peaceful nature more than necessary; such decisions can effect you more than you realize.

Tolstoy discusses 'free will' in this epilogue. He questions how free we can be when so many circumstances constrain our freedom. For example, if we have three young children - how free can one be with respect to a subset of their decisions. And when discussing free will, are we even talking about the freedom to do something (like live in some unorthodox way); or freedom from something (like poverty or an oppressive leader). No matter, Tolstoy argues human actions, as the ancients posited, all work to effect God’s ultimate purpose, which we can explore but have lack the complete ability to understand. In Tolstoy's own exploration of these heady concepts, he created one of the great novels of the ages.

 As Countess Rostova is prepared to “hold court,” tête-à-tête, with Anna Drubestkoya, they both notice Vera is in the vicinity. In cold words, the Countess tells her daughter that she is not wanted and should have realized it before the mother had to say so. Vera deals with the rejection superficially but likely internalizes the rejection. After a diplomatic response, she quietly leaves.

Vera retreats to more private quarters in her family’s mansion. She stumbles upon her younger siblings with their love interests – Nikolai & Sonya and Natasha & Boris. They are a merry quartet and Vera disturbs their enjoyment. Vera notices her brother Nikolai is writing poetry for Sonya with Vera’s ink set. She takes it and chastises him for always using her things. Vera tells the group that their open affection in front of the guests was embarrassing and undignified. This is likely a case of Vera's bitterness by reason of the lack of any warm feelings being sent her way.

Young Natasha takes up the defense of the group and ultimately tells her sister that it seems Vera’s only goal is to make life more miserable for everyone. It is revealed that Vera has an officer interested in her, Lt. Alphonse Berg, who is of German-Russian decent and in the Russian service. The implication is that whatever feelings stem from Lt. Berg, they are more transactional as opposed to true love. Insults are traded about everyone’s propriety but Natasha gets the knife in the deep by telling her sister that Vera has never been loved by anyone. 

Vera’s disposition eventually just gets the kids to leave as they announce their nickname for Vera – Madame de Genlis (the historic: Stéphanie Félicité de Genlis). This is quite an interesting and obscure reference.  It also shows the author’s and characters' knowledge and respect for French culture. Madame de Genlis was ahead of her time. She was a Royal tutor, a harp virtuoso, a prolific writer, even penning a novel over 1,200 pages - Les Chevaliers du cygne ou la cour de Charlemagne. 

The length of her novel may have caused Tolstoy to give her a nod. Madame de Genlis was slammed in the press, and public opinion was often less than kind toward her, mainly for undertaking ambitious pursuits that what were thought to be a man’s province. In fostering education for herself and young royals, as well as having a demeanor that wasn’t ingratiating, aristocrats as far away as Moscow knew Madame de Genlis well-enough to use her as an insult. This was Vera, somewhat rejected, but perhaps because she was ahead of her time in that she was not a placeholder for traditional feminine virtue.

There are over 360 chapters in this book (and chapter can differ by the version you are picking up). Nevertheless, every three and a half chapters will amount to 1% of the book. Covering 10 chapters indicates just over 3% of the novel has been discussed, so completion of this project can be expected………much further than I would like to imagine.

It is no overestimate to say classic literature is under-appreciated, even this classic of classics. Often not appreciated is that War & Peace centers on Napoleon and the lead-up to his June 1812 invasion of Russia. The connections between Russia and the French of also unexplored, as the aristocracy of Russia generally spoke French to one another (though it was a relatively crude form) and the Russian language was more popular among the peasantry. Ukrainian was also spoken among farmers and serfs of that geographical area and also among the free Cossacks of Zaporizhia.   

Tolstoy used his characters and families to symbolize the struggle in the War of 1812. Some of these were introduced early; including two of the great characters of literature -- Pierre Bezukhov and Prince Andrei Nikolayevich Bolkonsky.

The novel was written a bit over half a century from period depicted, and Tolstoy’s perspective was from his own class, as a member of the aristocracy.  Tolstoy was a Count (meaning from nobility or having a rank in government service) and the book contains various personages of rank – especially counts, princes and princess, titles used quite liberally. The title of County was introduced to Russian by Peter the Great.

This episode reviews the first ten chapters in about 15 minutes. 

Natasha appeared embarrassed the adults noticed her affection for Boris. She runs into the conservatory, hoping her young love would follow her. She hid behind some plants. Boris came in, saw nobody, and carefully looked at himself in the mirror. He is a quiet and serious type as well honest and forthright. Boris admired his own image and then left.

Before Natasha moved from behind the plants, Sonya came in crying. She was upset that her own young love, Nikolai Rostov, was getting overly friendly with another girl (Julie Kuragin) at the event. Nikolai followed Sonya and immediately comforted her. He took Sonya by the hand and revealed she meant everything to him. As far as Nikolai is concerned, they are the only two people in the world. He expressed that she should not be upset by such small trifles as him speaking to someone else at a dinner party. He brought her close and kissed her. It was quite reassuring for Sonya. Natasha thought her brother's actions were sweet and was influenced to find her own love interest.

Natasha found Boris and brought him back to the spot where she was hiding. They were alone and Natasha took charge of the situation - like her brother. She stood up on a little stool, grabbed Boris around the neck, threw her head back and kissed him. Boris was taken aback. He felt it was out of place for Natasha to kiss him - it was a reversal of expected roles. He said he loved Natasha BUT.... He implied they were not the right age for each other. However, in four years, he would ask for her hand in marriage. Natasha was comforted by that thought and considered the matter "settled." They walked out arm-in-arm.

Though the Rostovs are fictional, the Pavlograd Hussars are not. They are a light calvary unit created by Peter the Great in 1723. The identity was based on the Serbian Hussars of the Habsburg dynasty. The officers were known for their distinctive uniforms as well as carrying a sword and two pistols.

In modern times, Pavlohrad is a city in Ukraine that desires nothing to do with Russia. Just as Napoleon invaded a people he could not defeat, the people of Pavlohrad (using the Ukrainian-English spelling) overwhelmingly feel the same way about foreign encroachment. Pavlohrad was an important city historically; as it was the home of the Zaporozhian Cossacks, a group who greatly contributed the Ukrainian identity. The Cossacks were of various ethnicities, including Ukrainian, Russian, Polish and Tatar. As opposed to the serfs tied to the land and their lords (depicted quite extensively in War & Peace), the Cossacks of the Pavlohrad area went beyond the borders areas to chart their own course. Their legendary status is something akin to samurai or medieval knights.

The Russian Empire recognized this legacy and stamped the name "Pavlograd" on an Army regiment given the fierce history associated with the city. 

Back to Chapter 9: Nikolai explains to his father that the Army is his vocation as he does not see himself as a clerk or diplomat.  He is going where his talents, ability and interests lead him. His father accepts this with humor and grace. 

Sonya sees that Julie Karagina is getting close to Nikolai -- the two smile while in quiet conversation. Sonya gets jealous, tears up and leaves the drawing room. The adults get a a kick out of the youthful demonstration. Nikolai follows her. Nikolai’s mother starts relaying some timeless parental wisdom to her peers – including that the relationship between parent and child should be open. She praises her own relationship with Natasha but notes her relationship with her eldest daughter, Vera, is distant.

A door bursts open to the Drawing Room (a room commonly near the front of a mansion where guests are entertained), and Natasha Rostov, 13, leads the way. She appears to be a natural leader and radiates confidence. She is followed by her brother Nikolai as well as Boris and Sonya (15). Sonya is Count Rostov's niece. Pulling up the rear (and noticeably younger) is little Petya Rostov. Natasha is warmly welcomed by her father and tolerated by her mother. She is clearly her father's special "pet." There was a general feeling that kids should be kept in more private quarters and away from the guests.

The host, Ilya Rostov, is a warm man and happy to see the children. With the kids entering the domain of the adults, each has a different level of comfort. Boris and Nikolai are the same age, somewhere from 15-18 (but the ages lack consistency in the novel), and grew up together. Boris is quite comfortable among the adults while Nikolai is not. Boris is polished in his presentation while Nikolai can never find the right words. This is the same Boris who was recently accepted into the Imperial Guards. Nikolai is described as an "undergraduate," namely a student of some type. Russia was going through a period of educational reform as in 1802 a Minister of Education was appointed to adopt an educational system based upon French and English models.

There is some small talk about Natasha's old doll - nicknamed "Mimi." Boris was explaining the doll's history to the adults - that it was about five years old and looked quite raggedy. He remembered how the doll received most of her major defects. Natasha may have been a bit embarrassed at this subject and left. Boris helped arrange a carriage for his mother and then pursued Natasha.

The chapter shows that the young Rostovs are at the point they are ready to put away childish things like dolls.

Count Rostov, a pleasant sort, is welcoming guests and inviting them to partake in a grand dinner. He delights in calling everyone, regardless of social rank, "my dear."

So far, it is party after party in the first few chapters - the "Peace" in War & Peace - but the talk at the high society event turns to the threat of war.

Leading the discussion is Princess Anna Drubetskaya, a relation of the Rostovs. Her son Boris, who she got into the Imperial Guard through working her old connections, grew up, for long periods, within the Rostov household. Boris is a teenager - somewhere around 16-18 (though there are inconsistencies with the ages). The women are talking about more local matters; namely that Pierre's father, the elderly Count Kirill Bezukhov is very ill and a special doctor has been called. He is thought to be on death's door. There is curiosity on what will become of Kirill's vast estate -- millions of acres and rubles along with 40,000 serfs.

Count Kirill has no legitimate children and we find out that Vassily Kuragin is in-line to inherit through the Vassily's wife. However, there is talk of how the Count favors his illegitimate son Pierre, always taking special care of him, including how thoughtfully he directed Pierre's education. The women delight in such chatter.

The conversation turns to the "Talk of the Town," what Dolokhov and the gang did with the bear after leaving Anatole’s House in a drunken stupor.It seems the group was spotted by a local police officer, who tried to calm the men down. This was a bad idea as the group tied one end of the bear's chain to the officer and threw them both in the river! 

It led to Dolokhov being demoted in the Imperial Army and Pierre and Anatole being asked to leave St. Petersburg for a spell. The crowd certainly gets a kick out it, with the host, Count Rostov imagining, how silly the officer looked swimming with a bear on his back.

Upon leaving his friend’s home, Pierre enters an open carriage (an 1805 cab). Pierre promised Andrei he would go home but Pierre is pulled by the energy of the night. The brightness of the moon completely illuminated the streets and Pierre thinks to himself, “it would be nice to go to Kuragin’s.” Like a magnet he drawn to his debauched friend. Pierre rationalizes during the ride - - what are words of honor as to trivial matters when one day, we all will be dead?  He wants to do something that will stir the soul. He regarded his promise to Andrei a mere formality. So, off to Kuragin’s!

Anatole is hosting a night of cards for his friends, many of whom are in the military. Pierre hears a great deal of commotion as he enters. There are nine men gathered around a window yelling about some type of bet. Three others are “romping” around the room with a small bear on a chain. Now that’s a Party!

Feydor Dolokhov makes his debut. He is at the center of the bet and is going to try to down a huge bottle of rum while sitting on a window sill with his legs dangling into the abyss. The bottle can never leave his lips. It is a challenge nobody else could realistically attempt. The crew had to break Anatole's window and detach the frame to even attempt the stunt.  Dolokhov’s antagonist, for the purposes of the bet, is an English sailor. Anatole cheers his friend on and Pierre (out of fear for the celebrant) can barely watch. 

Dolokhov lives with Anatole and the two are known among the gambling crowd and rackets of St. Petersburg. Most of their acquaintances enjoy hanging with Dolokhov more because he is funny, and generally sociable. He has few connections and is a low level officer. He is described as of medium height and has striking blue eyes. Dolokhov comes out successful in the bet and the crowd cheers his accomplishment. 

Pierre wants to try the stunt himself, but his friends save him from hurting himself. Instead he is given the bear to pounce around with. Then the group heads out into the St. Petersburg night for more high-jinks.

The Princess is happy to see Pierre. She views him as a like-mind and is comfortable speaking freely around him. Pierre even brings up what has been crushing Lise's spirit, namely that Andrei is headed off to fight Napoleon. Her concern is Andrei's safety as well as being left behind late in her pregnancy.  She will be left to his family's country estate, staying with Andrei's father and sister. She remarks that men can’t get on in this world without war. For their ego, they feel compelled to chase some type of power and glory. Women on the other hand, want nothing of it. 

Lise notes that Andrei has a lot going for him in St. Petersburg, a good position, an opportunity to work with Emperor Alexander, and most of all -- he is going to be a father. She gets more passionate, a side she would never reveal to the society crowd. When she cries, Pierre makes a half-hearted attempt to console her but does not want to step between husband and wife.

Lise demands her husband to explain why he has become so uncaring towards her. Prince Andrei begs her to stop the barrage. With a "Mon Dieu, Mon Dieu," she kisses him and exits for bed, leaving Pierre and Andrei somewhat uncomfortable.

Once together in the luxurious dining room, Andrei drops his guard.  Andrei reveals feeling that he can speak honestly with Pierre as Pierre is the only “live soul” Andrei knows. Andrei gives this advise: Never marry until you’ve accomplished all you hope to accomplish and never marry until you no longer love the woman of your choice (a reference to how aristocratic marriages are often arranged). Pierre stays silent. Andrei relays the Princess is of excellent character but there is nothing he wouldn’t give to be free of her.

Andrei then references his adulation for Bonaparte, who was unencumbered by a wife in pursing monumental accomplishments. Andrei shares the desire to change the world. With the will power his hero demonstrates, he wants to push the progress of humanity. He dismisses the triviality of Society life.

Pierre can not believe Andrei thinks his life wrecked, when most people would covet all Andrei has; station, reputation, and intelligence. 

Andrei turns the discussion to focus on how Pierre is doing. Pierre, with a bit of his own disillusionment, announces nothing significant has changed as he remains the illegitimate son of his father, without name or a guarantee of future prospects.

Each of these protagonists have what the other covets – Pierre freedom and an uncharted future and Andrei station and a beautiful wife about to give him a child. 

Andrei gives Pierre advice: Beware of the Kuragins! This will be hard to do as that is who Pierre is staying with in St. Petersburg.  Andrei cautions Pierre to especially stay away from the womanizing, Anatole. Pierre gives his word that he will go straight home.

Tolstoy provides a description of Pierre. He uncommonly tall, stout and has large reddish hands. Whenever entering or leaving a room, he does so clumsily. At the soirée, instead of his own hat, he grabs the three-cornered hat of a General. He has a massive heart to go along with his frame. A level of favor seems to follow him, like many a Biblical character with a transcendent essence. It is important to remember that Tolstoy was heavily influenced by Scripture.

Prince Andrei has no interest in conversing with the society crowd - but he has a warm affinity for Pierre and looks forward to conversing with him after the party.

The scene shifts to Andrei's study, where Pierre picks out Julius Caesar's Commentaries. This is likely a subtle reference to the novel's anti-hero, Napoleon, being regarded as one of the all-time great generals. Tolstoy condemns war with uncanny ability but Napoleon's reputation still places him among the legends.

Pierre relays he is undecided on his path in life, though his father has given him two choices: to enter the Army (Calvary Division) or the Diplomatic Service. Neither are appealing. We receive background information that Pierre was sent away at around age 10 with a tutor to experience the great cities of Europe. At 20, he returned to Moscow (the ages aren't precise) and his father sent him to St. Petersburg.

Pierre knows one thing above all - he has no inclination to join the governments of England, Austria and Russia against "the Greatest Man in the World" (Napoleon). He then turns the conversation around and asks Andrei: with such a good life in St. Petersburg, why is Andrei is venturing to war? Andrei responds that his current life is not the one he was looking for. Andrei strives for something more.

Anna reminds Vasili of the old days in effort to get her son Boris a position with the Imperial Guard and also as an adjunct to the historic General Mikhail Kutuzov. Gen. Kutuzov has a central role in this work and holds the reputation of a great military leader whose chief virtue was patience. The impassioned appeal works and Vasili will take up her son's cause.

For those who have not left, the talk centers around Napoleon. The hostess feels the powers of Europe are bound to stop him. A French exile, the Vicomte de Mortemart is leading the choir against Bonaparte, the "Usurper."

Napoleon has his admirers among the aristocracy, including from the two main characters of the book, Pierre and Prince Andrei. The Prince handles the discussion with more polish, such as by quoting Napoleon at his coronation "Dieu me la donne; gâre à qui la touche." {God gave me this; beware who touches it!}

Pierre feels the need to be heard and forces his way in the discussion. He describes that the controversial execution of the Duke d'Enghien (of French nobility) was a political necessity. He argues Napoleon is a man for the ages towering above others; he restored order; preserved the ideals of the Revolution and stopped the abuses. Pierre is reduced to an awkward smile after general rebuke.

Prince Andrei suggests there are both noble and ignoble qualities of Napoleon, referencing his loyalty to his soldiers but also notes how some prisoners thought to be under his control (particularly in Egypt) were treated cruelly.

The beautiful Hélène gets a chance to walk between the groups and garner quite a bit of attention. A French expatriate, the Vicomte de Mortemart, tells a tale about Napoleon ordering the killing of a rival. The Vicomte explained that it was a romantic rival but historically it was a political rival from France, Louis Antoine de Bourbon, (the duc d'Enghien), who was generally regarded as a threat to the French Republic. 

Prince Andrei Bolkonsky arrives and is NOT thrilled to see his peers from High society, nor his lovely wife, who is pregnant.  He announces that he will be heading to war as an aide-de-camp to the historic General Mikhail Kutuzov.  Andrei is very happy, however, to see his old friend Pierre Bezukhov. The two agree to break bread after the event. Both acknowledge the loveliness of Hélène.

Princess Hélène Kuragina is noted by all to be strikingly gorgeous. Little Princess Lise is upset her husband, Price Andrei Bolknosky, has joined the military cooalition against Napoleon. She is pregnant with their first child and is worried about soon becoming a widow. 

She notes: “my husband is deserting me? He is going to get himself killed. Tell me what this wretched war is for?”

Little groups are forming and discussing the topics of the day, such as alliances and the latest plans for peace. 

Pierre Bezukhov then arrives. Pierre (not the most Russian of first names but one that would be common in the aristocracy that preferred speaking French) has returned home from about a decade studying abroad, including spending time in France. Pierre believes himself enriched by the ideals of the French Revolution and aftermath. 

Pierre is the illegitimate son of the most prominent Count in Russia, who is quite ill.  The Count holds many estates that are as big as actual states in the United States. Pierre struggles to get into conversations and once he sees an opening, feels the irresistible need to make his point known -- something Tolstoy notes -- young people are apt to do.

Chapter 1 introduces the antagonist, Napoleon, who is being discussed at an evening soirée as a threat to all Europe. The hostess, Anna Pávlovna Schérer, an unmarried socialite who is an attendant to the Empress, posits that only Emperor Alexander can save Europe from the legendary general referred to as an "Antichrist."

Anna is so concerned she notes,

“Can one be well while suffering morally? Can one be calm in times like these if one has any feeling?”

One of the guests, Prince Vasili Kuragin, a man of high rank and importance, turns the conversation to something more relatable, his unmarried children. There is the beautiful Hélène, the prodigal Anatole and the dull Hippolyte. Anna proposes to be matchmaker for Anotole, who has the reputation of a playboy. Anna believes that Princess Marya, the soulful daughter of old (fictional) General Nicholas Bolkonsky would be an ideal match. As Princess Marya is from a wealthy family, Count Vasili is encouraged by the idea.

Cover Image is from French painter Jacques Louis David, The Distribution of the Eagles, created 1809-10.

The episode descriptions can also assist readers with descriptions on how each chapter plays out. Each podcast is expected to come in under 10 minutes. A few may be a tad longer but 10 minutes is the goal.  Recitation (review) chapters and bonus episodes can be longer.

The episodes are something like summaries/Cliffnotes on a podcast, hence Podnotes. This introductory podcast provides some of the motivation for attempting this Herculean effort: namely, a belief that this fictional book that stands above all others. It is like the top part of the pyramid on the back of a dollar bill, somehow rising above and standing apart from all other fictional works.

This introduction also provides a quick background on Tolstoy and how his aristocratic background and military experience during the Crimean War informed War & Peace.