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

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

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

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

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

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

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

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

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

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 derives from the Greek name Kyrillos (Κύριλλος), which comes from Kyrios (κύριος), meaning “lord,” or “lordly.”  He is represented as one of Catherine the Great’s grandees, meaning a person of very high rank. In giving the character this particular name, Tolstoy captures the nature of his first character to die. The Count was representative of a dying era. In one sense, the age of serfdom is heading towards its own demise and the Count owned tens of thousands of people tied to the soil. New social arrangements are coming, exemplified by other characters, including the chief adversary of the novel, Napoleon

The Count is positioned in an invalid’s chair, propped up by pillows.  Tolstoy is highlighting the frailty of the human condition, showing how even the most powerful also have limited strength and time. Nevertheless, there is something transcendent about the Count. His “aristocratic” features include: a handsome face, stately wrinkles, grey curls, stout arms, broad shoulders as well as a wide brow and cheekbones.

There was a large case containing religious icons, illuminated by a reddish light, above the Count. Orthodox Clergy surrounded the old man while performing Last Rites. Those in attendance were holding candles and one was placed in the Count's hand. Pierre was given a candle but on each occasion that called for Pierre to cross himself (which the service often mandated), Pierre would absent-mindedly do it with the hand holding the candle. Sofia, the youngest of the Count’s nieces (and most "fun-loving") had to hide her face as she was on the verge of laughing. The eldest niece, Katerina, removed herself to speak with Prince Vasili. These two are working to divert the Count’s fortune away from Pierre.

Dr. Lorrian felt for a pulse and then gave the Count something to drink, a sign there is some life left. After the service, the Count was picked up and moved to his bed. Pierre witnessed the Count unable to respond to being moved and it crushed him to see his father so helpless. Nevertheless, Pierre found that his father’s facial features were not diminished by the approach of death. When settled, the Count fastened a look on Pierre with a gaze “of intent and significance that no mortal could fathom.” It was likely a last expression of love. Tolstoy describes this look as saying everything or an indication that there was nothing left to say.  

Anna coached Pierre, signaling for him to kiss the Count’s hand when appropriate and then take the seat next to him and Pierre nervously followed along. There was great solemnity in this moment. What broke the silence was when muscles in the Count’s face began to twitch and the Count's mouth was drawn to one side. It appeared that he wanted to get a few words out. However, only a hoarse sound issued.  Anna tried to interpret what the Count was trying to say but only received a look of frustration. A servant then opined that his Master wanted to be turned. Pierre assisted and experienced debilitating sadness upon noticing his father’s lifeless arm.   Father then responded to the caring touch of his son, perhaps noticing a look of genuine concern. A feeble smile appeared on the old man's face and it was a final communication. This caused a lump in Pierre’s throat and tears to well up. The count sighed and went to sleep.

Pierre is sleeping in the back of an open coach while being driven 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 officially reviewed by the Emperor. Prince Vassily Kuragin has been plotting to subvert the will of the Count and learned the testamentary papers are in the folio kept under the Count’s pillow. Vassily had been scheming with Katerina “Katishe” Mamontova (the Count’s niece) about what could be done to 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 and encourages him to “be a man” and face that there are expectations of him. She informs him that she will look out for Pierre’s “interests.” Pierre is overwhelmed by the gravity of the occasion. He wanted to hide out in his regular quarters but Anna steered him towards the Count. 

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

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

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

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 daughters. He eventually gets to the point: that his wife and the princesses would be expected to inherit by law and they all have to “think about the future.” Vassily notes the problem they face, namely that even in extreme sickness, the Count pointed to Pierre’s portrait in an effort to summon his favorite son.

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

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

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

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

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

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

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

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

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

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

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

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 movement. 

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

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

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

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

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

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

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

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 next to him are 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, whereby Russia joined the Coalition against Napoleon. The Manifesto also focuses on recruitment efforts. The discussion is filled with the excitement inherent in gearing up for war and without the proper insight toward the human toll.

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

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

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

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

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

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

Tolstoy presents his view on how academics view history. He essentially argues that 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 views these authors as attributing power to rulers or heroes in a superficial manner. This is the way he sees the way Julius Caesar or Napoleon are analyzed - as super-humans with incredible logistical knowledge who moved the course of humanity.  He feels such works are limited by subjective views. Some works try to deify so-called Great Men but others are overly critical of them. Tolstoy believes accuracy is undermined through authors having an agenda. In present times, let’s take someone writing about the United States: Do they present it our history as a land of opportunity," or are they presenting it more in accord with the N.Y Times 1619 project? 

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

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

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

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

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

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

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 funds, she has about 5% of what is needed. The Rostovs have provided assistance to Anna & Boris over the years and even let Boris live in the household. He is a relation but not one of the children.  The Countess concludes Boris must be treated like a true child in this circumstance. 

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

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

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