War & Peace Podnotes, A Study Guide

Chapters 11-20 continue to establish background information on the main characters and central conflict (Napoleon's future invasion). It is slow going without piercing hooks. It is an exposition of the peace before the war. 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

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

Pierre is sleeping in the back of an open coach while being pulled by horses to his father’s magnificent estate. Count Bezukhov is incapacitated and his wishes were that Pierre takes his estate. However, Pierre has little idea of this intention. The Count drew up papers to “legitimize” Pierre, however, they were never delivered to the proper authorities nor signed off by Emperor Alexander. Prince Vassily Kuragin has been plotting to subvert the will of the Count and in the previous chapter he learned the testamentary papers are in the folio kept under the Count’s pillow. He had been speaking with Katerina “Katishe” Mamontova (the Count’s niece) about what could be done to retrieve and destroy the documents. 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 a

The chapter opens with a foreboding update about Count Kirill Bezukhov. As the Rostov affair was in full swing, the Count suffered his sixth stroke, which places him near death. His team of doctors thought it would be a matter of hours. Local undertakers were outside his estate, waiting to be paged while some of the elite of Moscow society marched in and out. Dr. Lorrain, the lead physician, was conspicuously seated under a portrait of Catherine the Great. Catherine died in 1796 so the Count's fictional lifespan was intertwined with Catherine's. The ultimate question is what will happen to the Count’s vast estate and there are discussions of that in the sizable crowd.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

The guests leave the dining area and head to the fancy entertainment rooms of the Rostov estate. These are the drawing rooms, sitting rooms, parlors, terraces, and libraries – the Rostov mansion has it all. 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 i

The extravagant Rostov feast is winding down and the political talk is reaching a zenith.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&#

Envision a locomotive the way many would circa 1860. What technology! It wasn’t brand new, as they were invented in 1804, but it was a Monster of the age in terms of making the world move. 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 train's movement. The first, a 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 the two more scientific thinkers embodied in the next two personages. The second hypothetical person looking at the locomotive is a more sophisticate

Before the Rostov dinner, the men get together to talk politics and smoke cigars. We get a look at Count Rostov’s personality among the boys. He earns a cheap thrill in getting his intimates to debate the issues of the day. Seated on each side of him is Shinshin (Pyotr Nikolaitch) and Lt. Alphonse Berg. Both think they are quite charming. 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, where Russia joined the Coalition against Napoleon. The Manifes

Tolstoy presents his view on how academics view history. He argues that the efforts of historians have limited reliability. Tolstoy embarks on the path of grappling with the nature of power. 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 sees 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 filled with bias. Some works try to deify so-called Great Men but others are overly critical of them. Tolstoy believes accuracy is undermine

A quick chapter centering on the emotions of Countess Natasha Rostova. Once Anna Mikhaylovna Drubetskaya left for the Bezukhov estate, Natasha becomes sentimental. Anna’s message, whether intended or not, affects her deeply. The Countess decides to help her childhood friend and not make Anna pursue a bequeathment from the sickly Count Bezukov who may be in no position to distribute anything. The Countess summons her husband through a servant and the good-natured Illya quickly answers. He is dripping from the fancy duck sauté his serf Taras is making for the extravagant dinner that lies ahead. Ilya notes that the 1000 rubles he paid for Taras was well worth it! The serf is a Russian who trained under a French chief. This "1000" ruble reference is likely a signal for what comes next -- the amount Natasha will give to her friend to set her son Boris on a noble path.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

Tolstoy starts his infamous epilogue by giving his definition of the term "history" as the life of nations and humanity. He describes that a limitation of this definition is the inability of man to sufficiently pin down the history of any nation or human movement. He posits there is more to it than the scientific approach of piecing together what happened and then attributing motivations based on objective analysis. For the most part, piecing together history is inadequate guesswork, some efforts more eloquent than others. 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

Some background on Pierre: He never got around to deciding on a career in the short time he was in St. Petersburg. He was then kicked out of the then-capital by reason of the scandal involving tying a police officer to a small bear and throwing them both into a river. 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 con

Anna Drubestkoya is able to borrow a horse and carriage from the Rostovs to head to Count Bezukhov’s mansion, where the Count is said to be on his deathbed.  Anna relays her plan to her son – to delicately ask Count Bezukhov for some financing…..in the Count's last moments. Humbly asking for money was surely as uncomfortable then as it is now. 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

The Countess Rostova and Anna Drubestkoya get to their brief discussion. Anna displays the art of asking for something, without directly asking. After some small talk, Anna divulges she needs 500 rubles to set her son up in the Imperial Guard. The money will be for uniforms and related equipment/supplies, which a recruit had to pay for. Officers could be expected to afford the expense as they were primarily from aristocratic circles while the general body of soldiers were taken from the Czar’s drafts and the recruitment of those without connections. 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 bei

This subset of episodes, characterized as Season 2, will take on the twelve chapters of the second epilogue of War & Peace. This somewhat controversial epilogue is a presentation of the author’s philosophy that underlies the book.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

The first part of chapter 11 focuses on the unbeloved Rostov child, Vera. Since it is one of the few sections devoted to her, this episode is dedicated to Vera.  As Countess Rostov 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 undig

This podcast has made it through a commentary on the first ten chapters of War & Peace. It has compiled literally dozens of views - okay, my attempts at humor can be self-effacing.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 farmer

The action goes briefly back in time to Chapter 8 when young Natasha Rostov leaves the drawing room, which is filled with guests for the name-day celebration. The name being celebrated: Natasha, which mother and daughter of the Rostov family share.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 n

At the Rostov dinner party at their Moscow estate, the genial Count Illya Rostov tell visitors that his son has joined the Hussars. A Colonel Schubert (fictional) is on leave, visiting the Rostovs, and is set to take their dear son away. The Count does not come across as overly worried. The intensity of the war to come is unknown and heavy engagement is not looked upon as realistic. There is always talk of war but Napoleon and his Grande Armée seem very far away.Though the Rostovs are fictional, the Pavlograd Hussars are not. They are a famed light calvary unit created by Peter the Great in 1723. They were based on the Serbian Hussars of the Habsburg dynasty. The officers were known for their distinctive uniforms as well as for carrying a sword and two pistols.The podcaster notes Pavlohrad is a city in Ukraine that wants nothing to do with Russia. Just as Napoleon invaded a people he could not defeat, the people of Pavlohrad overwhelmingly feel the same way about foreign encroachment. Pavlohrad (using the Ukr

While the Name-Day celebration (in honor of "Natasha") continues at the Rostov estate in Moscow, the children of the household make an appearance.A door burst open to the Drawing Room (a room near the front of an estate 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 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 is 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, about 15 (but the ages lack consistency in the novel), and grew up together