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Artwork for War & Peace Podnotes, A Study Guide
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War & Peace Podnotes, A Study Guide

Sean Roman

A chapter by chapter guide to Tolstoy's War & Peace. These are Summaries/Cliffnotes on a podcast, hence Podnotes. It is best used as a supplement to your reading of the classic.

The episodes and descriptions will provide information, context and commentary on each chapter -- and will likely take a lifetime to complete. The goal is for each episode to come in under 10 minutes. 

The original work fluctuates between French and Russian and there are multiple English translations of War & Peace. [French was the language aristocrats in the Russian Empire used from the late 18th to early 20th century]. There are also variations on how War & Peace is chaptered. This podcast follows the commonly used chaptering contained in Penguin Classics and the Everyman's Library.

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  • S4 · E9
    September 2 · 9 min

    Bk. 2 Pt. 1 Ch. 7-8: The Most Solemn Mystery

    We move further into March of 1806 and return to Bald Hills, the estate of Andrei’s father. Despite letters and official inquiries, Andrei’s body had not been found nor was he on the list of prisoners. The newspapers had reported the defeat at Austerlitz in brief and vague terms -- after months of detailing a series of optimistic and brilliant engagements. Nikolai was able to read between the lines and intuited the extent of the defeat. Eventually came a correspondence from Kutuzov: “Your son fell before my eyes, a standard in his hand and at the head of a regiment—he fell as a hero, worthy of his father and his fatherland.” However, no body was recovered. The elder Bolkonsky became grim and withdrawn and revealed what he learned to his daughter. He focuses on the likelihood that Andrei is dead. Marya embraced her father with great love and empathy. She wished to mourn together, but her father exhorts disgust about the use and fate of the Army. “Scoundrels! Destroying the army and men! And why?" He instructs Marya to convey what is known to Andrei’s wife. The princess sank into an armchair and wept. She visualized her brother as he had been when he left -- when he was tender and amused as she placed the little icon on him. She wondered if he grasped a faith of The Almighty and repented of any unbelief. She deliberated whether he was now in the realm of "eternal peace and blessedness." Nikolai focuses on his belief that Andrei was likely killed as so much of the Glory of the Country. Marya tries to speak to her sister-in-law. At first, Lise was caught up thinking and speaking about the wonder of baby she was about to have, how beautiful it felt within her and how much she would love it. Marya thinks it best to break the news in small doses –– and first conveys, through tears, how worried she has been over her husband. Before dinner, Nikolai, whom Lise was always afraid of, made an awkward attempt to visit his ailing daughter-in-law. Lise, lost in a world of thought only seen in pregnant women, began to cry and asked if there was word about Andrei. Neither Father or Daughter could pull up the curtain and Marya eventually relayed it was “too soon for news.” It would be better to wait until after the baby arrived, who was expected in a few days. Marya and her father carried and hid their grief in their own way. The old general would not cherish any hope. In one sense, he made up his mind that his son had been killed, but nevertheless sent an official to Austria to seek for any traces of his son. He would tell his acquaintances that his son had been killed and ordered a monument to his memory. He tried not to change his routine but his strength failed him. He walked, ate, and slept less. He became weaker. Marya still held out hope. The mood of the household became one of general sorrow. The Little Princess absorbed the mood and started to look sickly and pale. She became overwhelmed by the inevitable pain to come. The midwife, was sent for – as well as a German physician from Moscow. The midwife springs into action and preparations were made for the birth – such as furniture being arranged. Marya prayed. An old Nurse, a household serf, was keeping Marya company. She light candles for the Saints. An unspoken anxiety kept everyone awake and alert. It was determined that the Labor had begun. Tolstoy describes that “the most solemn mystery in the world continued its course.” Night came, which was a harsh March night with winter unleashing on of her last storms with desperate fury. No one slept. This was not an easy Labor. Men were sent in the storm to try to meet the doctor who was expected. Marya sat silent, her luminous eyes fixed on her nurse’s wrinkled face. The Nurse tried to assure Mary: “God is merciful, doctors are never needed.” Soon there was an arrival making his way to the provincial. It was thought to be the doctor. Marya dressed to meet him and started to go out. However, this was not the doctor. There was a familiar voice asking of the family while speaking to the House Steward. Marya recognized that it was none other than her brother! She felt it could not be! Yet there he was, in a fur cloak, covered with snow. Home! Andrei was pale, thin, with a changed and strangely softened but agitated expression. He came up the stairs and embraced his sister. He had sent a letter, but it never made it. Soon, the German doctor arrived…and got to his work.

  • S4 · E8
    August 22 · 9 min

    Reflecting on Le Duel - Tolstoy's Influences

    This episode examines some likely influences in Tolstoy’s writing of the Duel between Pierre & Dolokhov. Dueling is a romanticized part of aristocratic life that stemmed from Western Europe, where the precursor were the jousts and mêlées of medieval knights. With the later development of militaries, there were where occasions were tribunals & commanders could order disputing officers to fight it out in organized affairs. In Moscow of the early 19th century, engaging in a duel was a mark of sovereignty among the nobility. Just like in Western Europe and America, the practice was carried out with secrecy, explaining why Pierre’s duel was held around 8 a.m in the outskirts of a forest. Some of the Decembrists, who rebelled against the Czar in 1825 and were veterans of the Napoleonic Wars, built a reputation for dueling. The affairs themselves could be quite full of pageantry and tension. Only on the rare occasion would duels result in permanent injury or death. Alexander Pushkin, Russia’s national poet, was in 20+ duels yet never killed anyone. He ultimately lost his life in his final duel, in 1837, with George D’Anthès, over the French officer’s pursuit of Pushkin’s wife. Pushkin was shot in the stomach and died two days later. Like America’s Alexander Hamilton, great sympathy lied with the loser. It also appears that one of Tolstoy’s uncles , Fyodor Tolstoy, contributed to the characterization of Pierre’s adversary, Fyodor Dolokhov. The uncle was this wild man and adventurer of the 19th century, who died in 1848. He was born to a so-called poorer branch of the family and made the most of the opportunities his military service presented. A Polish friend, Faddey Bulgarin, once said: “Count Tolstoy was reckless to the point of frenzy.” Fyodor holds a reputation as a successful duelist. Though there is little proof of victims, there are reports Fyodor defeated over 10 adversaries, either wounding or killing them – or at least claiming credit for same. Leo Tolstoy relayed that when a close friend of his uncle was challenged, his uncle eagerly stepped up to take his friend's place. There are accounts that Fyodor came close to dueling the aforementioned Alexander Pushkin, after the writer accused Fyodor of cheating at cards. This matter was resolved amicably and the two became close friends. Fyodor really lived against the grain for a nobleman. Notably, he was bailed out of a massive gambling debt by a gypsy singer. He felt indebted and married her. From his travels, he even acquired a number of tattoos, which were exotic for one of his status. He would display these designs (reportedly of a gaudy bird, snakes and various patterns) to ladies and men in awe. He held the nickname, The American or Amerikanets, which appears to be based on his tales of traveling to Alaska, ventures which have been questioned by scholars. Part of early fun of W&P was Dolokhov leading his friends, including Pierre, in a night out in Petersburg, which led to tying a hapless police officer to a small bear and throwing them both into a River. The real Fyodor is reported to have done something similar. Fyodor let either a small bear or monkey loose in the Captain’s quarters of a military vessel. For that he was exiled at the next stop. Tolstoy's uncle was also a notorious gambler, which further influenced the character of Dolokhov. The uncle would take any occasion to gain an angle or cheat and Leo Tolstoy knows his relative to have said something like: “only fools rely on luck.” Leo Tolstoy likely crafted his famous duel involving Pierre, in part, through his own experience in with a fellow nobleman and writer. The only notable instance of any such Demand of Satisfaction is his well-known affair with Ivan Turganev, who was ten years Tolstoy's senior. The challenge came around May of 1861 when Tolstoy was working on W&P. His rage over what was a fairly silly dispute likely helped frame Pierre’s mindset. The quarrel was over a comment about childrearing within a years-long relationship that often involved debate. Turgenev relayed how proud he was that his only daughter was doing a salt-of-the-earth chore, mending clothes that the peasants could use. Tolstoy labeled the act "theatrical." Turgenev was insulted and threatened to slap Tolstoy. The two then sent caustic letters to one another, which resulted in Tolstoy issuing a challenge to Duel with rifles. They didn’t speak for 17 years but reconciled after some friendly missives and would meet at each other’s estates until Turgenev died in 1883.

  • S4 · E7
    August 13 · 9 min

    Bk. 2, Pt. 1, Ch. 6: Devil in The Galley

    Pierre wins the Duel and thereafter cannot stand to be in the presence of his wife. The night after the conflict he avoids the marital bedroom in preference of his late father’s room. Pierre desires to fall asleep and forget all. Yet a storm of emotions prevents any rest. Pierre relives his rash decision to marry, which he now realizes would inevitably lead to dreadful consequences. He acknowledges that even when he first expressed love for Hélène, it was not a genuine. Tolstoy brings you into Pierre’s soul. Pierre recognizes his own sinful pride in his wife’s majestic beauty and appreciation of how she glides through Society. She is so out-of-reach that he could not resist. Yet at her core, he knows her to be depraved. He recalls how her corrupt brother, Anatole, would come to borrow money and take un-natural liberties, like kissing her naked shoulders. He notes how she would assent to the affection. He then relives the time he asked if she felt any symptoms of pregnancy. She belittled him, laughing contemptuously, and voiced she was not the type of fool to want to have children and especially not with Pierre. Pierre digested these moral sufferings while his adversary faced physical wounds. He agonizes: Why did I say “I love you” (Je vous aime). His minds wonder to both philosophy and history – including the notion of causation and justification, a topic which Tolstoy pours over in his Second Epilogue. Pierre considers how Louis XVI was executed during the French Revolution when those who gained power labeled him dishonorable and a criminal. From a certain point, the King’s enemies were right. Yet so were those who canonized Louis. Everyone is right depending on their perspective. Pierre is paraphrasing a theme of the Biblical Book of Judges – where there was no King and every man did what was right in his own eyes. Pierre concludes that it is not worth tormenting oneself over life’s endless complexity when one has only a moment of life in comparison with eternity. He senses: if you are alive— one must live! Tolstoy is such a reader of the Biblical Wisdom literature that he is infusing his character with some of notions from the Book of Job and Ecclesiastes, namely: that our lives are but a shadow in the face of the vast heavens; that we will never understand the nature of the world; and that there is much more beyond cause and effect. For Pierre, he will never be able to fully grasp how his marriage led to such anguish. Pierre then references Moliére, the 17th Century French playwright. The famous quote goes through his mind – “But what the devil was he doing in that galley?” This phrase was a popular way of voicing frustration when someone gets tangled up in a mess of their own making. It is taken from 'The Imposture of Scapin,' 1671, where the cunning main character tricks an older man into believing his son was lured onto a Turkish ship and would be sold into slavery unless the father pays a ransom. As the father is tricked, he can only replay the quote in his mind. Pierre sees himself as someone caught in such a web of deceit. This frustration led Pierre to instruct his valet to pack as he would be leaving for Petersburg. He could not be around Hélène another moment. She does not let him leave without giving him a piece of her mind. She confronts him and lectures, “So it seems you’re a hero?, What was this duel about?” He doesn’t answer and she continues: “You believe everything you’re told….including that Dolokhov was my lover. Well, what have you proved? That you’re a fool,(que vous êtes un sot). But everybody knew that! And what will be the result? That I shall be a laughingstock…that everyone will say that you, drunk… challenged a man you are jealous of -- a man who’s a better man than you in every way!” She denies any affair while announcing that she should have taken a lover and concedes preferring Dolokhov’s company. Pierre begs her to stop, while violent feelings stir within. Pierre keeps composure at first and suggests they separate. Hélène demands a fortune for said privilege. Pierre then leaps up from the sofa and rushes at Hélène and threatens to kills her as he seized the marble top of a table with a strength he never felt. Her face expressed a base fear and she screamed. Some of Pierre’s father’s nature showed itself. Pierre felt the delight of frenzy. He flung down the slab, smashing it and swooped toward Hélène and shouted, “Get out!” Hélène retreated. A week later Pierre gave his wife what she asked for -- full power to control much of his land. He gave her control on one of the vastest estates in the land and left for Petersburg.

  • S4 · E6
    July 16 · 7 min

    Bk. 2, Pt. 1, Ch. 5: Better Lucky Than Good

    This chapter involves Tolstoy’s craftsmanship of one of the most famous duels in fiction. It starts with Captain Denísov announcing the formalities and giving a vigorous countdown. On the count of three, each can advance and fire their one shot before reaching sabres that marked ten paces from the other. Dolokhov walked calmly without raising his pistol. He donned a wry smile and looked intently as he traveled though a fairly clear path. Pierre, however, ambulated clumsily and found himself encumbered by snow. Pierre held the pistol in a way that made little sense, with his right hand fully extended from his body. He was afraid of shooting himself. Pierre visualized Dolokhov through the mist then bent his finger. He had fired his only shot. Pierre shuddered at the sound and then stood still The smoke from the gun mixed with the mist, making it difficult for anyone to see. There was no return fire! Eventually, Pierre saw and heard Dolokhov coming toward him through the smoke. Dolokhov’s face was pale and he was pressing a hand to his left side, where he had been hit. The hand was visibly bloody by reason a wound to the body. The other hand now clutched a drooping pistol. Rostov ran toward Dolokhov and tried to ascertain his condition but Dolohov repelled him saying “No! It’s not over.” After a few staggering steps up to the sabre, Dolokhov sank in the snow. Pierre was about to cry and began running toward his adversary, with the result being that this big man was making himself a bigger target. He was ready to cross the space between the barriers, when Dolokhov cried out: “To your barrier!” Pierre stopped and only ten paces divided them. Dolokhov, though severely weakened, had every intention of returning fire. He sat up, with his breathing consisting of sucking in and swallowing the cold air. His eyes found their target and with effort and exasperation he raised the pistol. Both Nesvitski and Denisov cried out for Pierre, who did not know the customs of dueling, to make himself a smaller target. Nevertheless, Pierre was overcome with remorse and become that gentle soul consistent with his nature. Each duelist is brought back to their essence. Dolokhov is trying take Pierre with him and Pierre, wearing a gentle smile of pity and remorse, involuntarily holds his arms and legs helplessly spread with his broad chest facing Dolokhov. Denísov, Rostov and Nesvítski closed their eyes…….and heard the return fire. What followed was Dolokhov’s angry cry of “Missed!” The experienced soldier and duelist was then reduced to a helpless mess, lying face down on the snow. Pierre clutched his temples and stumbled around muttering incoherently: “Folly! Vanity! Death! Lies!” Nesvitski soon took Pierre home while Rostov and Denisov carried Dolokhov to a sleigh. Dolokhov felt he was dying and became focused on what would be the reaction of his poor and elderly mother. This shocked Denisov and Rostov and is meant to surprise you – that this rogue and gambler who been through worst of war, was from a small family were he adored and cared for an elderly mother and crippled sister in Moscow. Dolokhov held Rostov’s hand and cried: “Mamma, my angel, my adored angelic mother.” He implored Nicholas to go on ahead and prepare her for the worst

  • S4 · E5
    June 11 · 16 min

    Mazepa!

    After Oleksandr Usyk defeated Tyson Fury in late 2024 for the heavyweight championship, the Ukrainian boxer held up a sabre that once belonged to the 17th Century Ukrainian Cossack Hetman, Ivan Mapeza, who this episode is dedicated to. Usyk’s fortitude spoke to Ukraine’s resilience against a larger foe who initiated the type of vainglorious War Tolstoy condemns, with all of his soul, in W&P. Showcasing the weapon was a transcendent moment of Usyk bringing history to Life. This ability is something Tolstoy shares given who often he reaches into the past to make literary points. In W&P, for example, Tolstoy cites the Classical world and more recent influences. He skillfully adapts the famous quote from Voltaire: "If god did not exist, it would be necessary to invent him." The Frenchman also had a well-known correspondence with Catherine II, who some of W&P’s characters look to as illustrative of an idealized past. Yet part of her reputation involves keeping so many under serfdom. Voltaire urged her to release her serfs. Quite forgotten is how Voltaire contributed to Mazepa becoming an icon of the Romantic age. Victor Hugo, Lord Byron & Franz List, also elevated Mazepa to a status Tolstoy himself briefly references in his 1857 work “Youth.” Tolstoy wrote that if he reaches the age of 70, he envisions that a lovely young woman could love him as easily as she could love….a Mazeppa. Mazepa was born to a noble Cossack family near Kyiv. His father was a town otaman (leader) and his mother instilled in her son a deep devotion to God and Cossack culture. Mazepa received a European education and served at the Polish royal court. While quite young, he is said to have fallen in love with the wife of a Polish nobleman and to have been punished through being tied to a wild horse and carried back to the Land of the Cossacks, where he was adopted by one of their communities and rose to leader. He was Hetman from 1687 – 1709. Mazepa remains a key figure in Ukrainian-Russian relations given he decided to turn his allegiance to Sweden over the Czar during the Great Northern War. This conflict was fought between Sweden and an anti-Swedish coalition led by Moscow. This intermittent affair lasted about 20 years and involved control over Northern Europe and the Baltics. Sweden initially did well causing Peter to move his troops inward and draw Charles to invade. The conflict made its way to Mazepa’s Cossacks, whose status and allegiance greatly changed over the previous generation. Since 1654, many were uneasy allies with the Czar after withdrawing support for Poland. They now felt subject to excessive demands for troops to be used in projects like building canals and fortresses, where they could be worked to sickness and death and used as proverbial “cannon fodder” Thus, in 1708, Mazepa aligned with Charles, giving him 5,000 Cossacks. Mazepa felt he was choosing the lesser of two evils. Later that year, there was a race of belligerents to Mazepa’s home city of Baturyn. 20,000 Russian soldiers commanded by Alexander Menshikov overwhelmed this military arsenal and food store. When the city fell, there was this infamous slaughter of the civilian population. A number were tied to makeshift crosses or boards and floated down the local river. The next summer, on June 27, 1709, the armies faced off near Poltava, where Peter & Charles were on-hand directing troops. The Czar prevailed and this turn in history explains why Sweden never became a great power. This battle also had a major role in propelling Russia to their status. Yet that fire in the hearts of Ukrainians for independence was not extinguished over the next few centuries. Today, a Ukrainian state exists which exacts quite the toll on Russian aggression. Ukrainians revere Mazepa for making the best choice he could. Mazepa was excommunicated from the Russian Orthodox Church and Czar Peter also ordered all portraits of the man destroyed. Similarly, Tolstoy, was separated from the Orthodox Church in 1901 through a Church Proclamation. Tolstoy’s writing on religion led to the church to declare him as a “false teacher” imbued with “intellectual pride.” This leads me to the second reference to I have found from Tolstoy on Mazppa, which is the book “Life of Tolstoy” by Tolstoy’s long-time English friend and translator, Alymer Maude. Maude describes how Tolstoy studied the life of Mazepa upon a friendly wager as a law student.

  • S4 · E4
    June 5 · 9 min

    Bk 2, Pt. 1, Ch. 4: Mad As Hell And Not Going To Take It!

    Pierre was stewing over his wife’s perceived infidelity with Dolokhov, who was sitting right across from him at the celebration for Bagration. As too often of late, Pierre was a glutton - eating and drinking in excess. He sensed what marrying into the Kuragin family would devolve into -- but could not resist that Siren’s call of Hélène. Pierre’s suspicions were roused by rumor as well as an anonymous letter informing him that his wife’s connection with Dolokhov was a secret to no one but himself. Pierre reflects while others give toasts. He recalled how Dolokhov arrived from Austerlitz, injured and need of a place to recover; and how he housed him and lent him money. It now made sense as to why Dolokhov would so often praise Hélène’s beauty. He senses Dolohkov gets a kick out of cuckolding him. He sees Dolokhov wearing a familiar & sadistic look, such as when he tied a policeman to the bear in Petersburg or when he shot some mail-carrier’s horse. Pierre considered, “to kill a man means nothing to him.” Yet Pierre felt a prideful need to make a stand. His mind was scrambling and did not even recognize Nicholas, who chides the Count when Pierre failed to toast Alexandr. Dolokhov suggests for Nichols to be nicer and renew their acquaintance. Denisov then suggests that Rostov should flatter the man with the biggest estate and most striking wife. Pierre sensed he was being talked about. Dolokhov directs himself to Pierre and makes a toast inadvertently funny or intentionally cutting: “Here’s to the health of lovely women, Peterkin—and their lovers!” Is he honoring Pierre or rubbing the whole matter in his face? Just then a footman was distributing leaflets of a vocal composition for guests to sing along with. One was laid one before Pierre. Dolokhov decided to take what was Pierre’s and perhaps Tolstoy is being symbolic. Dolokhov grabs the paper and began to peruse it, which was the straw that broke the camel’s back. We are not told if Dolokhov is being insolent or his rascal self nor whether there was any affair. We just know Pierre’s perceptions. Pierre looked at Dolokhov and with a ferocity he never demonstrated, yelled “How dare you take it, You shan’t have it!” The outburst alarmed those near, including Prince Nesvítski. Dolokhov returns a look which seemed to say “Ah! This is what I love!” Pierre continues, “You...! You Villain! I challenge you!” He is demanding satisfaction. In Pierre’s mind the question of his wife’s guilt was resolved. Within that gigantic heart, he hated his wife and was separated from her. Formal arrangements were made for the duel to take place the next day in the Sokolnik Forest. Rostov agrees to be Dolokhov’s second and Pierre choses Nesvitski. Pierre quickly goes home but Dolokhov stays at the English club, admiring the entertainment. When Rostov asked Dolokhov how he felt, the latter responded: “I’ll tell you the whole secret of dueling. If you make a will and write affectionate letters to your parents and think you may be killed, you are a fool and are lost. But if you go with the firm intention of killing your man as quickly and surely as possible, then all will be right…. À demain, mon cher.” We are brought to the next morning at the forest. Dolokhov, Denisov and Rostov arrive first. When Pierre appears, he carried the air of a man who already lost. He was absorbed by his wife’s guilt and thought his adversary had no reason to preserve the honor of a man who meant nothing to him. Pierre ponders "Either I shall kill him or he will me." There were moments he felt like running away and burying himself. He realized there was no getting out of this and considered “Will it be long before this begins? Is all ready?” The pistols were loaded and sabres stuck in the snow to mark the barriers by which the duelists could not pass to shoot. Nesvitski tries to talk Pierre down, saying there is no sufficient grounds for mortal conflict and that Pierre was impetuous. Pierre agrees the whole thing is horribly stupid but feels compelled to proceed. Pierre is almost wishing to be put out of his misery. This includes the gloom over his marriage, the wealth he cannot manage and his directionless life. He took the pistol and inquired about its working, as he had never even held a pistol. This as he was to face a man who been in various duels and acquitted himself well at Austerlitz. The spot chosen was some 80 paces from the main road, in a clearing in the pine forest that was still covered with snow. The duelists would start 40 paces apart from separate edges and walk to each other and fire at will. At this time of day, it was misty and neither belligerent could see the other. This delayed the ability to commence for a few minutes.

  • S5 · E8
    May 25 · 9 min

    Second Epilogue: Ch. 8: Hauling the Log

    Tolstoy addresses how divided opinions persist through the ages. There will be a prominent crisis grabbing Your attention where every opinion under the sun is stated. He posits there is a perception afforded to a select few people involved in whatever conflict is at hand. There will naturally be some who get close to an accurate prediction of how a matter turns out and are often mistaken with being responsible for the event. For example, if Napoleon orders an advance and wins the field, he will get credit for taking ground. Tolstoy has us examine if there is more to the story. To illustrate this, Tolstoy has us imagine the hypothetical of men hauling a log, where each expresses an opinion as to how and where to take it. Eventually, the log will be hauled to some location in a manner most similar to how one, or a small group, predict. We are led to the conclusion that those who predict most accurately are responsible for the task. However, Tolstoy’s goal is to relate to the complexity of attributing causes for events. He proffers that there is merely a perception of command and illusory nature of power. With the Log-haul, there will be various men doing most of the physical work and because of their attention to the task, do not often think so much about what they are doing. Tolstoy proposes that they are as much responsible for the result as so-called decision makers. Tolstoy infers that certain men who take initiative to “talk more” are often given accolades and find themselves with decision-making capacity and work less with his hands. Napoleon was one such man. In affairs of the military or other large-scale enterprises, masses direct themselves with grander objectives than hauling a log. The commanding is often done in small teams, who do little of the actual fighting. Tolstoy attributes to this group similar attributes to how man perceives himself when he works alone and develops values to draw from. Basically, considerations which directed past activity, justify present activity, as serve as a guide for his future actions. Tolstoy finds that this analytical process does not take the overriding values bestowed through the Gospel into account and allows us to devise justifications or rationalizations for collective activity. Tolstoy provides an example through the French Revolution. He notes: for reasons known or unknown the French began to drown and kill one another in that affair of 1789. There was an overriding belief that such was necessary for the welfare of France and for Liberty, Fraternity, and Equality. The People later felt differently and ceased to kill one another. It was then believed that a centralization of power was necessary as well as resistance to those who desired to stay attached to monarchies. This resolve led to another effort that involved marching out of country to kill at the behest of men like Napoleon. This was accompanied by phrases about the glory of France and baseness of England. It is such that every movement that occurs inevitably coincides with someone’s expressed wish and receives some justification. Tolstoy proclaims that the justifications made for such wars have no logic but have formidable significance. They serve to release people from moral responsibility for our collective crimes, such as how we kill millions of our fellows. Our intellect can excuse, reframe, or justify anything! Tolstoy is wrestling with the nature of life, like the Preacher in Ecclesiastes, who Tolstoy often cites. He is expressing that man must rely on more than what other men say -- no matter how convincing. As Andrei realized on the field of Austerlitz, man must look above and beyond himself and act as if he is accountable to the Almighty even when he is flowing with the strongest currents of conventional thinking. We all have a voice in where we are going and for the wars and oppression around us. We share the responsibility of not justifying the unjustifiable. He uses a metaphor to make the point: Think of a person on a boat who does not perceive the degree to which he is moving, as compared to someone who can see the ship from the shoreline. We are moving but do not feel it. We are all akin to passengers being led somewhere. This can be the narrow path of virtue or the wider path of frailty and sin. Tolstoy essentially is asking you to consider, while on board and looking at the sky: What is Your North Star? This is a stark reminder to not lose sight of the essential connection that those few names in history have to the masses. Power also lies with the people. It was not one man who led to the excesses of any movement. It was a combination of those considered leaders and the rest of us who actually haul the log.

  • S4 · E3
    May 16 · 10 min

    Bk. 2, Pt. 1. Ch. 3: The Cuckold

    The magnificent banquet honoring General Bagration was held in Moscow on March 3, 1806 at the English Club, a great marble hall with a series of smaller saloons. This celebration is remembered for its fervor amidst defeat. A source Tolstoy used for this was the first-hand account by the English writer & diplomat, Robert Ker Porter, who ironically notes that by 1806, there were not three English members of this social club. Tolstoy has all the rooms humming with conversation, like bees swarming in Spring. Many guests were elderly and respected personages who could be found at their usual places. A smaller set were younger, some returning from Austerlitz. This is symbolized by Denísov, Rostov and Dolokhov— the latter who is said to be having an affair with Pierre’s wife. The faces of youth expressed “We honor and respect you, our elders, but remember, the future belongs to us.” Pierre was surrounded by subservience to his wealth. He now belonged to a class he quickly grew contemptuous of. He was no longer that vibrant clumsy character when he had little to his name. He was fashionably dressed but appeared sullen. At his wife’s insistence, he let his hair grow and abandoned his spectacles. Many of the historic figures at the event rationalized the loss at Austerlitz. The night was filled with a passion for revival with much of the zeal directed toward Bagration. It was the most animated Porter ever recalled seeing aristocrats of Europe get. Count Rostov is presented as having the honor of hosting this event and he enthusiastically greets all who attend. His son was accompanied by Dolokhov, whose acquaintance Nicholas had come to value. When Bagration arrived, bells rang, servants rushed around and the better part of the 300 guests crowded to witness the arrival. Bagration was described as short and with a dark complexion, indicative of the warm climates he had served in. His face was perfectly Georgian and expressed an affability and sweetness. He was dressed in a green uniform covered with various awards. Bagration had the honor of entering the dining area first and walked reticently. He would look more comfortable in a field under fire. He was soon escorted by Count Rostov, who appealed for the guests to make way. Ilya carried a large silver tray, on top of which lied written verses that were read aloud and continued through the dinner announcement. The sentiment expressed was: You Bring Glory to Alexandr’s Reign; You are a Dreaded Foe, which Napoleon has Learned So Well; You carry the Wisdom and Tactics of Caesar; You are a Rhipheus (hero of Troy); But are in essence, a Good and Kind-Hearted Man. The guests grew hungry and found their seats, which corresponded to their rank and importance. The Count with a few choice peers sat facing Bagration. Ilyá presented his son to Bagration and was filled with joy when the two chatted. Nicholas, Denísov and Dolokhov sat almost at the middle of the table. Facing them were Pierre and Prince Nesvitski, Every selection at dinner was splendid. Between the courses was a stream of toasts. At one point, the Host shouted, “To the health of our Sovereign, the Emperor!” The band immediately struck up a traditional patriotic song, which led all to rise and shout “Hurrah!” Young Rostov’s ecstatic voice could be heard above the rest during his own toast to Alexandr. He emptied his glass at one gulp he thrashed it on the floor. Many followed the example and it was the job of the footmen to clean up the mess. Various officers were then toasted and the glasses continued to shatter. As I have been stressing, Bagration was embraced as National Hero and redeemer. However, Bagration did have his own embarrassments, which Tolstoy knew of and some scholars believe the author addresses indirectly. Notably, Bagration was shamed by his wife, the alluring Ekaterina, who carried the nickname, le Bel Ange Nu, the Beautiful Naked Angel, for her revealing and often translucent attire. They separated in 1805 and she was renowned for her liaisons. This included a long-term relationship with Clemence Von Metternich, the Austrian diplomat, by whom she bore her only child, Marie. Metternich informally adopted the child, allowing Marie to live with his family. Ekaterina remained married and Marie was raised with Bagration’s name – as mandated by Czar Alexandr, who was also said to have relations with Ekaterina years later. These the widely known affairs of Ekaterina appear to be thrust upon the fictional Hélène, Pierre’s wife. Rumors are swirling that Hélène is making a fool of Pierre, who is in many senses, is Tolstoy’s hero of the novel. In this chapter, we have Pierre present, stewing in anger and seated across from his new rival, while the historic hero, who had a similar problem, is honored.

  • S4 · E2
    April 28 · 8 min

    Bk. 2, Pt. 1, Ch. 2: In Need of a Hero

    On his return as a lieutenant in a fancy military jacket laced with silver as well as possessing a St. George’s Cross for bravery, Nicholas is treated magnificently. Nicholas gets used to it and develops an ego that leaves him open to being taken advantage of. The finances of his aristocratic family are brought out, noting how his affable father, Ilya, was bestowing a trove on his Prodigal son, as well as other celebratory events after remortgaging his estates. Illya purchased his son a fine horse that could enter races and also the most fashionable outfits. With his new look and demeanor, Nicholas would be seen at the elite social events. He also visited a woman on the boulevard…a fairly clear reference to a prostitute. He relished being home as a young man aware of the world. He left behind childish things, such as once feeling disconcerted about sneaking around his mansion kissing Sonya. He also visited the historical English Club – a social institution started by English merchants around 1770 that gathered at various stately houses. Men used the Club to socialize, drink, gamble and make connections. Tolstoy, Pushkin and Nikolai Gogol were members. Gogol is a writer with Ukrainian roots, from a Cossack family, which both Ukraine & Russia claim as theirs. Like much of Moscow, Rostov’s passion for the Czar cooled but he still expressed that there was something in his feelings for Alexandr that could not be understood by others. Rostov drifted even away further from Sonya, as Tolstoy expertly catches the nature of a young man who must have his freedom. He knew there were more women to know and Love would come later. It was now early March, and Ilya is arranging a dinner in honor of General Bagration at the aforementioned English Club. Ilya is presented as a long-time member. This celebration for actually happened and it is important to recognize why. The reason was that Bagration was viewed as the saving grace of the recent war. Tolsoty reveals how the news of Austerlitz traveled. High Society had generally been accustomed to victories, especially from era of Catherine the Great & General Suvorov, where the triumphs were common over the Ottomans and Poles. On receiving news of the absolute defeat at Austerlitz – much of Moscow did not believe it or chose not to. However, the truth could not be contained. When it spread, it had to be dealt with. Blame was cast on many, including Kutuzov. Many felt it was the general’s age, health, and lack of ingenuity that led to defeat. More quietly blame was cast the Czar, by way of his youth, inexperience and trust in worthless advisors. Still, a good portion considered Alexandr as the “angel incarnate.” Most vocally, the Austrians were blamed. The public felt compelled to throw their support behind the army. Some were singled out for having performed miracles of valor. The chief hero of was General Bagration, hailed for his effort at Schön Grabern and command of the rear-guard. It also helped that Moscow’s new hero was a stranger to the City. Tolstoy has Shinshin (a quick wit and relative of the Rostovs) parody the master of satire, Voltaire by voicing, “Had there been no Bagration, it would have been necessary to invent him.” The original quote was “Had there been no God, it would have been necessary to invent him.” The Frenchman reached something profound in few words. Tales of valor of numerous men were embellished and spread and characters like Rostov, Boris and Berg symbolized that wave. One may have saved a standard, another had reportedly killed five Frenchmen, while another was said to fight valiantly with an injury. There is a reference that nobody spoke of Andrei. Reports were that he was killed, leaving a pregnant wife with his eccentric father. Tolstoy references Andrei to symbolize the many, with such promise, who were wasted. This chapter plays up the elaborateness of the preparation for the event at the English Club, going through the choice of cook, food and entertainment. Nicholas jokes with his father that Bagration prepared less for battle at Schön Grabern. Ilya tells his son to go to Pierre’s, invite him and obtain the best fruit – strawberries and pineapples, as they are not available anywhere else. Anna Drubetskaya shows up and introduces the sordid affair that Pierre is affected by. There is a rumor that Dolokhov, who survived Austerlitz, is having an affair with Helene, Pierre’s wife. Helene, has always been presented as the type of woman who is a snare -- something of Delilah to the Biblical Sampson. She reveals that Pierre gave Dolokhov a place to stay upon his return and was betrayed. This has filled Pierre with a rage of biblical proportions.

  • S4 · E1
    April 6 · 8 min

    Bk. 2, Pt. 1, Ch. 1: Welcome Home

    We are brought to early 1806, where Tolstoy uses Nicholas and Denisov to transition the story to Peace. Rostov has went from witnessing Czar Alexander crying under a tree near Austerlitz to returning to his Moscow estate. This chapter addresses his warm embrace. Nicholas was traveling with Denisov, who is partially based on the literary Hussar, Dennis Davydov. Rostov persuaded Denisov to accompany him and the wild hussar enjoyed a great deal of wine on the journey. During the home stretch, it meant a great deal for Rostov to notice recognizable streets, stores and most especially his mansion. Rostov runs into the Great Hall but his family already retired. When servants notice Nicholas, they become elated. Word spread like joyful lightening and from all angles Rostov was attacked with hugs, kisses and shouts of ecstasy. The initial welcome included his father, Natasha, Vera, Sonya and little Petya, who clutched his brother’s leg. Finally, the entire hold household was flocking the room, including maids, serfs and footman. Tolstoy’s attention focuses on Sonya, now 16 and noted to be radiant. She looked eagerly at Nicholas and waited for an unspoken signal. At last, Rostov’s mother approached with uncharacteristic quick steps. He ran to her and when they met, she fell on his chest, sobbing. Denisov was overcome with emotion and wiped away tears. The family knew Denisov from letters and Natasha soon lunged at the Captain and delivered a hug and a kiss. It was a glorious moment that ended when the soldiers went off to bed. The travelers slept until ten the next morning. It was as if they were sleeping off the ill affects of war. Petya woke them up, breaching decorum by entering the room and exposing Denisov in his sleeping attire. Petya was soon playing with his brother’s saber and Natasha put on his spurred boots. The men were waited on hand and foot, including servants fetching hot water for shaving and providing a clean supply of clothes. Rostov felt the love and his childlike and soulful smile returned. A little later Natasha delivers a selfless message from Sonya, who Tolstoy uses to illustrate a most pure love. He is bestowed the type of affection a young man is fortunate to have but apt be careless with. Nicholas is ready to take on life and whatever else is bound to come his way. Natasha explains, in a childlike way, how devoted Sonya remains. Sonya has made it clear that she will always love Nicholas, but frees him of any obligations from previous vows. Tolstoy imbues her with wisdom beyond her years. Nicholas realizes that there are so many other pleasures before him and it is right to remain free. When Nicholas turns the tables and inquires of Natasha’s interest in Boris, Natasha brushes off any previous commitment. She does not think about Boris or anyone else in that way. She is now enamored with a celebrity dancer and wants to pursue dancing as her passion. She then demonstrates some amateurish steps and changes the topic to inquire of Denisov. When Rostov again meets Sonya in the drawing room in the presence of the rest of the family, Rostov did not know how to behave. He felt a different type of nervousness than on the battlefield but it was still very real. He kissed her hand and addressed her with an uncharacteristic formalness. Her eyes begged forgiveness for having dared, through Natasha, to remind Nicholas of his promise. His eyes thanked Sonya for offering him his freedom and relayed that, in one way but likely not the another, he would never cease to love her. It was his eldest sister Vera, the un-beloved member of the family, who announces …. “How strange it is that Sonya and Nicholas now use formal terms to address one another… and meet like strangers.” Vera’s remark was correct, as her remarks always were, but, like most of her observations, it made everyone feel uncomfortable.

  • S6 · E6
    April 1 · 12 min

    Sevastopol Sketch II (Part 2 of 3): Mikhailov & Co.

    This is part 2 of 3 on Tolstoy’s 2nd Sevastopol Sketch, which focuses on May of 1855 and declares the ineffable value of Truth as hero. 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.

  • S3 · E29
    March 8 · 10 min

    Bk. 1, Pt. 3, Ch. 19: little napoleon

    Andrei lies moaning from a head wound on the Pratzen Heights, symbolic of the numerous souls dead or wounded. 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.

  • S3 · E28
    March 3 · 9 min

    Aleksei Nikitin: In the Spirit of Tolstoy

    This project is approaching the final chapter of Book I, a critical juncture with Napoleon victorious and holding the greatest reputation man can bestow. Even after Napoleon suffered a string of defeats years later, his reputation was colossal when Tolstoy wrote War &Peace. 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.

  • S3 · E27
    February 15 · 8 min

    Bk. 1, Pt. 3, Ch. 18(B): Breaking the Ice

    This pivotal short section depicts one of the iconic episodes of Austerlitz, namely retreating Russian forces falling through ice amidst an artillery barrage. 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.

  • S3 · E26
    February 8 · 8 min

    Czar Alexandr: A Background

    This episode explores the background of the Czar reduced to tears after the Battle of Austerlitz. 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.

  • S3 · E25
    February 1 · 7 min

    Bk. 1, Pt. 3, Ch. 18(A): Alexandr Among the Ash Heap

    Nicholas continues on his mission looking for Kutuzov or the Emperor. He notices broken carriages along the roads and hordes of troops in worsening levels of disorganization. Many are wounded. He reaches an area safe from cannon fire coming from the Pratzen Heights and slows to realize that there is no point to what he is doing. He has nothing of import to convey to the Tsar or to Kutuzov, should they remain alive. He learns the direction surviving commanders headed and hears conflicting reports about Alexandr being wounded or killed. One soldier, however, expressed confidence the Tsar was driven away at full speed in a carriage pulled by his customary driver, Illya Ivanych, 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.

  • S3 · E24
    January 23 · 6 min

    For Whom Do You Sacrifice?

    Tolstoy hardly ends the novel with the revelation imparted to Andrei. Instead, it continues for another 1000 pages, in substantial part, exploring the triviality so paramount to those without such vision. 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.

  • S3 · E23
    January 11 · 9 min

    Bk. 1, Pt. 3, Ch. 17: Decimation of Uvaróv's Calvary

    Tolstoy brings you back from Andrei’s spiritual revelation to focus on Nicholas Rostov, who is imbued with the Confidence of Youth. General Bagratión had assented to Rostov’s request to be brought off the reserve line and selected him for a fool’s errand – as Bagratión is presented as understanding the futility of the attack. 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.

  • S3 · E22
    Dec 11, 2025 · 10 min

    Bk. 1, Pt. 3., Ch. 16: Oh, Chapter of Chapters!

    This paramount chapter involves Tolstoy using Andrei to grasp the transcendence of the Almighty God which the author revered. More particularly, when Andrei takes in the vastness of the sky, Tolstoy conveys the vulgarity of this earth compared with His infinite nature. Further, Tolstoy lays bare the senselessness of war for most of the men shooting and hacking each other. There will be a depiction of opposing soldiers in a tug-of-war over the most insignificant object – a broomstick, highlighting the meaninglessness many sacrifice themselves for. 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!

  • S5 · E7
    Nov 25, 2025 · 8 min

    Second Epilogue: Ch. 6: Only The Almighty Stands Alone

    Tolstoy affirms that only the will of the Deity, who is not dependent on time, can make sense of any monumental event or series of events. 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.

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