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.

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.

And that finally ends analysis Book 1 and about 25% of the novel.