This is going to be, probably, the first of various comments I will be writing about Tolstoy's masterwork War and Peace. Of the many things that can be said of the hardly first one hundred pages, I will focus on one of the elements that I found strikingly interesting; the social stratification within the Russian nobility. But before moving on, a note for those that have not read the novel is warranted: I will abstain from spoilers that might ruin the story.
The first paragraph already hints the historical background of the entire novel: Bonaparte's threat to the European society of absolute monarchies. The first events take place in a social gathering at one of the Empress' favorites, and we already feel the meaning of the novel's title; the frivolities of the nobility's daily life, with their gossiping and mundane chatter, mingled with the ever present long of some to fall in politics and war. We can tell that the Russian high society is between the denial of events, and stupefied by the terror coming from the West. But the two topics stand in parallel, isolated from each other. Mundane chatter becomes almost like a refuge from the discomfort caused by the threat of war. In this, almost superficial, shift from gossip to fear, the first pages of the novel fill us with both the lightness of good life, and the burdensome weight of serious matters. The environment of private relations, with their characteristic touch of pretense and socially enforced good manners, is where our main and second characters are introduced. All of them are noble by birth; but sooner than later we realize that they are not of the same status.
The novel begins as Prince Vasily Kuragin enters Anna Pavlovna's (the Empress favorite) soiree at her mansion. She greets him by chiding him for not taking actions against Bonaparte's France. Tolstoy makes the reader feel just like Prince Vasily when entering the house; surprised by an unexpected attack! (An amazing beginning by the way) The first paragraph hasn't finish and the reader (just as Prince Vasily) is already at war, not wit Napoleon, but with the warmongers. Peace is being threatened from the first sentence of the more than one thousand pages novel. Quickly, and almost like a slap, Anna Pavlovna changes the subject to mere gossiping. The main topic is, naturally, marriages and families, one of the main social institutions that work specifically for the purpose of asking and paying favors in high society. Both of these characters stand as the highest of nobility; i.e. both are extremely rich, and both have influence with the throne. Prince Vasily as a high officer to the Tzar, and Anna Pavlovna with the Tzarina, of whom she speaks with the greatest veneration (I will get back to this topic).
Soon we get introduced to more obscure members of the high society. Princess Anna Drubetskoy attends Anna Pavlovna's soiree uninvited (already a sign of social disgrace), for the specific purpose of talking with Prince Vasily into pulling the strings for her son Boris into getting a higher post in the armed forces. The princess is poor (interesting, isn't it?) and after the death of her husband, she lost most of his connections in St. Petersburg. Prince Vasily acknowledges in order to get rid of her (the reader realizes that this princess is irrelevant). But, contrary to modern plebeian civil servants whose words must be bought with money or influence, Prince Vasily is a noble; and honor is one of the nobility's central virtues. He gave his word, and even though he can lie to her, he would never do so. This nobility's honor is one of the many things at stake in the war against Napoleon's progressive ideas. As a matter of fact, this honor was lost with the revolution. In its place, the substituting bourgeoisie's ethics that rests on hard work and money, looks more like a caricature.
The first thing to note in this conversation at Anna Pavlovna's soiree is that, Prince Vasily and Princess Drubetskoy, belonging to the same superior caste, stand at different levels. The prince, powerful and rich, treats the poor and unknown princess with contempt; however not without courtesy, something that a nobleman can never avoid from doing! Courtesy for the sake of it doesn't seem to be widely practice by the plebeian castes in the courts of the bourgeoisie and the working class. But Princess Drubetskoy doesn't lack friends either. At Moscow, the Rostovs are a prosperous and happy family of counts. The countess is the princess best friend, and helps her out with some money. But the Rostovs are nothing else but rich; they don't seem to be particularly influential in the high politics of St. Petersburg (after all, they live in Moscow).
Another character that plays an important role in the first chapters without actually participating in any action is the old and dying Count Kirill Bezukhov, who is immensely rich. He has no immediate inheritors except his favorite bastard son, the young and impetuous Pierre (the character with which I feel identified so far). The inheritance is in dispute, and all the gossip and chatting gathers around this fact. Prince Vasily has also rights to claim the inheritance, and Princess Drubetskoy is trying to get a peace of the action by the fact that her son Boris is the Count's godson (one of many, one presumes). But the most interesting aspect of the dying Count is the heroic aura that surrounds him; he was among the most powerful men during Catherine the Great's reign. To his wealth, this heroic aura accompanies him. Tolstoy divides Russian nobility into the following:
a) Count Bezukhov with his immense wealth, accompanied with the tales of his life during the reign of Catherine the Great, which makes him highest among the highest.
b) Prince Vasily, who is rich and very influential in the court.
c) The Rostovs, who are rich but have no important influence in the court.
d) Princess Drubetzkoy who is not even rich, and has no influence in court, and who depends on the sense of honor of those above her.
I cannot finish this brief survey of Tolstoy's picture without addressing the crowning figures of this entire society. The Tzars do not show their faces in the first chapters, but are addressed by the different characters as the source of all nobility. Theirs is an omnipresence in the minds of the main characters. The veneration to these figures of such a high birth, imagined almost like demigods or saints, owners of the highest virtues, is almost alien to the Western mind, who always took the monarchs' absolute power with a touch of skepticism. This aura of supreme sanctity that surrounds the Tzars is one that must be taken to heart when understanding the Russian spirit, that Tolstoy so masterly portrays.
As a conclusion it is not spurious to talk about the mujiks; i.e. the Russian peasants, who have such a minor, if not negligible role in the early pages. However, we see them in their anonymous roles as waiters, maids, messengers, carriage drivers, etc. The nobility's power rests on these men and women that obediently carry on their orders. But their presence goes almost unnoticed. Maybe the biggest and most important difference between noble and low birth lies in this noticing-ness of the nobility and the anonymity of the private life of the peasant, the workers and the bourgeois. One hundred years ahead of our story, they become the tragedy's main characters during revolutionary times.
The Russian nobility, at the down of the 19th century, stood between invisible forces. From above, the sainthood of the Tzars, the source of all their glory. From below, the anonymity of the populace, the base of all their real power and dominance. From outside, the threatening West with its ideas and technologies. This, almost neurotic, historical and social place, is the background of Tolstoy's novel War and Peace.
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