War & Peace Podnotes, A Study Guide

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

The action moves from St. Petersburg to Moscow, to the home of another wealthy family, the Rostovs, who will be followed throughout the novel.Count Rostov, a pleasant sort, is welcoming guests and inviting them to partake in a grand dinner. He delights in calling everyone, regardless of social rank, "my dear."So far, it is party after party in the first few chapters, the "Peace" in War & Peace - but the talk at the high society event turns to the threat of war on the horizon.Leading the discussion is Princess Anna Drubetskaya, a relation of the Rostovs. Her son Boris, who she got into the Imperial Guard through working her old connections, grew up, for long periods, within the Rostov household. Boris is a teenager - somewhere around 15-18 (though there are inconsistencies with the ages). The women are talking about more local matters; namely that Pierre's father, the elderly Count Kirill Bezukhov is very ill and a special doctor has been called. He is thought to be on death's door.

The second part of Chapter VI brings some pure unaltered fun in the form of "Boys being Boys." Mundane background about the state of political affairs and the society crowd’s complaints and disillusionments take a backseat. This chapter has bragging, gambling, drinking, a death-defying stunt and…..a bear on a chain.Upon leaving his friend’s home, Pierre takes an open carriage (an 1805 cab). Pierre promised Andrei he would go home but Pierre is pulled by the energy of the night. The brightness of the moon completely lit the streets. Pierre thinks to himself, “it would be nice to go to Kuragin’s,” and like a magnet is drawn to his debauched friend. Pierre rationalizes his decision during the ride, he thinks - what are words of honor as to trivial matters when one day, we all will be dead?. He wants to do something that will stir the soul. He regarded his promise to Andrei to go home a mere formality. So, off to Kuragin’s!Anatole has hosted a night of cards for his friends, many of whom are in the milita

Andrei and Pierre are interrupted by Princess Lise (Elisabeta Karlovna Bolkonskaya), who has changed from her formal wear into night attire. While the day is ending for Lise, the night remains young for Pierre.The Princess is quite happy to see Pierre. She views him as a like-mind and is comfortable speaking freely around him. Pierre brings up what has been crushing Lise's spirit, namely why is Andrei headed off to fight against the Napoleonic army. Her concern is Andrei's safety as well as being left behind late in her pregnancy.  She will be left to his family's country estate, staying with Andrei's father and sister. She remarks that men can’t get on in this world without war -- for their ego, they feel compelled to chase some type of power and glory. Women on the other hand, want nothing of it. Lise notes that Andrei has a lot going for him in St. Petersburg, a good position, an opportunity to work with Emperor Alexander, and most of all -- he is going to be a father. She gets more passion

The guests at Anna Pavlovna's event are leaving. The horse carriages and coats are readied by the footmen. Prince Andrei Bolkonsky and Pierre Bezukhov enjoy briefly interacting with one another. They are two of the great characters of literature and throughout the novel they are not together all that often, so these are special moments.Tolstoy gives a physical description of Pierre: uncommonly tall, stout and large reddish hands. Whenever entering or leaving a room, he does so clumsily. At the party, instead of his own hat, he grabs the three-cornered hat of a General. He has a huge heart to go along with his frame. A level of favor seems to follow him, like many a Bible character with a pure essence. Tolstoy was heavily influenced by Scripture.Prince Andrei has no interest in conversing with the society crowd - but he has a warm affinity towards Pierre and looks forward to conversing with him after the soirée.The scene shifts to Andrei's study, where Pierre picks out Julius Caesar's Commentaries.