Scholars have been using the wrong card games to analyze Carl von Clausewitz’s analogies in On War, which has led to errors in understanding his ideas. This podcast identifies the games Clausewitz discusses, allowing for a more accurate interpretation of his original meaning for the study of war. Since Clausewitz’s ideas underpin strategy development within service education systems, it is critical his ideas are fully understood in context.
Read the article: https://press.armywarcollege.edu/parameters/vol53/iss2/12/
Episode Transcript: Geniuses Dare to Ride Their Luck: Clausewitz’s Card Game Analogies
Stephanie Crider (Host)
You’re listening to Decisive Point, a US Army War College Press production focused on national security affairs. The views and opinions expressed in this podcast are those of the authors and are not necessarily those of the Department of the Army, the US Army War College, or any other agency of the US government.
I’m talking today with Dr. Nicholas Murray. Murray designs and runs war games for the Secretary of Defense Strategic Thinkers Program at the Johns Hopkins School of Advanced International Studies and Professional Military Education. He also translates the works of Carl von Clausewitz and other theorists. He’s the author of “Geniuses Dare to Ride Their Luck: Clausewitz’s Card Game Analogies,” which was published in the Summer 2023 issue of Parameters.
Welcome to Decisive Point, Nick.
Nicholas A. A. Murray
Thank you very much for having me. It’s a pleasure.
Host
Your article asserts that scholars have been using the wrong card games to analyze Clausewitz’s analogies on war, which has led to errors in understanding his ideas. Please expand on that.
Murray
The reason I got into this . . . I think a bit of background might help . . . is the card games we use, which are typically blackjack, poker, or games like chess and bridge and things, didn’t seem to line up with what else I was reading and finding in his histories in terms of how he understood luck. And so, as I dug into it, the question struck me, which was what games would he have actually been familiar with, and what would he have played?
And except for chess, the other games weren’t popular or even invented at the time of his life or writing. So, I started to look into that. What I found was that the games that he had in mind and actually discussed often—sometimes explicitly—were different stochastically in terms of luck. And they were different in terms of player interaction. And they were different in terms of things like cheating, which was an inherent part of almost all the games with which he was familiar. Taking that into account, it meant that contemporary analogies, using, say, blackjack, where one can card count, you can change the strategy of playing against the casino in your favor, for example. That simply didn’t exist. And so, he wasn’t thinking about something like that. He was thinking about something far more chance ridden than we have in mind.
Host
Which card games was Clausewitz likely talking about?
Murray
The three I’ve been able to identify, along with something called würfel, which is a version of a variety of different dice games, which is simply you roll a dice and bet on it. Sort of like craps, I suppose.
But the three main ones are games called faro, skat, and ombre. And these were games that were familiar to Clausewitz. He explicitly references two and implicitly references skat via phrases that occur within that game.
These card games are much different from the ones we would think about in terms of blackjack or poker. I think it’s worth the reader just having a quick understanding, if that would be helpful, I think, of what these entail. Faro is often described as little better than playing dice. It’s a banking game based on an older game called basset. Multiple players can play. The banker turns over a card, and you bet on a number. And if your number is matched by the card that turns up, you can win. And then the bets, depending on how you play, typically, you can win 10, 20, 30, 40, 50, 60 times your stake, depending on the way the bank is set up. So, it’s enormously risky. It’s inherently wonderful for the banker. It’s typically known as one of the most fraudulent games . . . across cultures I found, as well, which is quite interesting. It’s all on the turn of a card. It’s essentially all about luck. There’s really no skill involved. And there’s no player interaction, either, which is one of the things that current scholars often, when they talk about card games, talk about the interaction between players. So, one of the main games that Clausewitz explicitly references has virtually no interaction with players and is almost exclusively luck based. It’s fundamentally different from often how we look at and interpret what he’s saying.
Skat is a trick-taking game that originated in Thuringia, just near where Clausewitz was living. It was popular at the time. It typically involves three players. Good luck or bad luck can overcome a bad hand or good hand, respectively, irrespective of the skill of the player. But skill is definitely required, as is a good strategy.
And then the third game, again, this is one of the two he explicitly references, is ombre, which was the (probably) card game of the seventeenth and early–eighteenth centuries. It requires an enormous amount of luck. Daring play is often celebrated and rewarded, even if it leads to losses. And so, it‘s the nature of the game, and how you play it is as important as the fact that it‘s a trick-taking card game, that’s inherently luck based. You can have a strategy, but players are celebrated for being exceptionally daring when they play, and that’s something to take into account when we’re thinking of context about how he and his contemporaries would have thought about what this means.
Host
Clausewitz writes about the relationship between risk and chance. Examining his writings through the lens of these card games you just told me about, how might this alter the meaning of previous interpretations of his work?
Murray
I think it’s profound. We tend to see and we tend to think about Clausewitz as, you know, making sure you understand what it is you’re getting into before you start anything. And I don’t think that changes, but it really drives home that if it’s as chance ridden as he is implying with the type of games he has in mind, then that behooves us really to emphasis that question, which is what is it you’re trying to achieve here? What do you think it’s going to take? Because chances are, as soon as you start, it’s going to be far more costly, far more difficult, and far less likely to match any of your preconceptions or ideas.
And so, when we think about it today, what we often see is, if we just do enough analysis (sometimes you’ll see if we’re using the example of whether it’s chess or bridge or things like this, if we count cards, if we play skillfully) we can pretty much guarantee X outcome or Y outcome. And what Clausewitz is saying is, “No, that may help us in terms of if luck is on our side. But in reality, luck plays such a big role, and emotion plays such a big role” particularly if the other side is cheating, and that’s something that’s often not taken into account when we think about this.
With the idea that if we can’t really predict these things, and one of the things that he tells us about this— and it gets often mentioned but ignored—is he talks about (Leonhard) Euler and (Sir Isaac) Newton, two of the greatest mathematical minds of the previous four or five centuries, I should think, and certainly the previous two centuries for Clausewitz. If they can‘t figure this stuff out, these are equations that are beyond them, as he puts, essentially, how are we meant to, sort of, as mere mortals actually figure this stuff out?
And so, one of the points that he’s driving home here is you’re always betting against the odds. And the bank essentially is the opponent or luck or whatever it is . . . fate. And he’s not necessarily always exactly clear about this. So, if that’s the case and we’re always betting against the odds, and luck plays a role, we have to be daring because we can make a series of small bets and hedge our bets or be cautious, but at the end of the day, we can make losses on each of those small bets and we’ll never win big. Even if we win the occasional bet, we’re not going to actually win the war or win that particular part of the campaign or whatever it is that we’re trying to do at that particular moment. So his argument, to a certain extent, is if you believe you’ve made all the right choices, you’ve amassed your force, you’ve done the things you’re meant to do, you need to commit and you need to dare to win, essentially.
So when he’s, then, looking at historical examples, he looks at Frederick. He looks at Napoleon. And he’s often sarcastic, as well, with both of them—but particularly with Napoleon. But one of the things he really highlights is how important daring is and the moral courage to make a bold decision. And he frequently excoriates those historical commanders who fail to do that. He’s absolutely scathing, “feeble minded beetles,” he calls the Austrian generals “scurrying around on the battlefields in 1796.” He’s really trying to drive home this connection between this moral courage, luck, and, obviously, his concept of genius.
Host
What do we need to consider, then, going forward?
Murray
It’s tough because I’m not necessarily 100 percent sure. Partly because, obviously, for me, I’ve been sort of in the middle of this, but also, I’ve been teaching PME (professional military education), and Clausewitz is fundamental to PM...