Psychology Study Guide: Neuropsychology, Sensory Systems, Perception, Learning And Memory, Thinking, Language, Intelligence, Development, Personality, Mind, Social & Abnormal Psychology, Psychoactive Drugs (Mobi Study Guides)

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The Souls of Black Folk is a classic work of American literature by W. E. B. Du Bois. It is a seminal work in the history of sociology, and a cornerstone of African-American literary history.
The book, published in 1903, contains several essays on race, some of which had been previously published in Atlantic Monthly magazine. Du Bois drew from his own experiences to develop this groundbreaking work on being African-American in American society. Outside of its notable place in African-American history, The Souls of Black Folk also holds an important place in social science as one of the early works to deal with sociology.

Strange Case of Dr Jekyll and Mr Hyde is the original title of a novella written by the Scottish author Robert Louis Stevenson that was first published in 1886. The work is commonly known today as The Strange Case of Dr Jekyll and Mr Hyde, Dr Jekyll and Mr Hyde, or simply Jekyll & Hyde. It is about a London lawyer named Gabriel John Utterson who investigates strange occurrences between his old friend, Dr Henry Jekyll, and the evil Edward Hyde. The work is commonly associated with the rare mental condition often spuriously called "split personality", referred to in psychiatry as dissociative identity disorder, where within the same body there exists more than one distinct personality. In this case, there are two personalities within Dr Jekyll, one apparently good and the other evil; completely opposite levels of morality. The novella's impact is such that it has become a part of the language, with the very phrase "Jekyll and Hyde" coming to mean a person who is vastly different in moral character from one situation to the next.

In London, Gabriel John Utterson, a prosecutor, is on his weekly walk with his relative Richard Enfield, who proceeds to tell him of an encounter he had seen some months ago while coming home late at night from Cavendish Place. The tale describes a sinister figure named Mr Hyde who tramples a young girl, disappears into a door on the street, and re-emerges to pay off her relatives with 10 pounds in gold and a cheque signed by respectable gentleman Dr Henry Jekyll (a client and friend of Utterson's) for 90 pounds. Jekyll having recently and suddenly changed his will to make Hyde beneficiary, Utterson is disturbed and concerned about this development, and makes an effort to seek out Hyde. This is instilled by Utterson's fear that Hyde is blackmailing Dr Henry Jekyll for his money. Upon finally managing to encounter Hyde, Utterson is amazed by how ugly the man seems, as if deformed; though Utterson cannot say exactly how or why, Hyde provokes an instinctive feeling of revulsion in him. Much to Utterson's surprise, Hyde willingly offers Utterson his address. After one of Jekyll's dinner parties, Utterson stays behind to discuss the matter of Hyde with Jekyll. Utterson notices Jekyll turning pale, yet he assures Utterson that everything involving Hyde is in order and to be left alone. A year passes uneventfully. One night, a servant girl witnesses Hyde beat a man to death with a heavy cane. The man is MP Sir Danvers Carew, who was also a client of Utterson. The police contact Utterson, who suspects Hyde of the murder. He leads the officers to Hyde's apartment, feeling a sense of foreboding amid the eerie weather (the morning is dark and wreathed in fog). When they arrive at the apartment, the murderer has vanished, but they find half of the cane (described as being made of a strong wood but broken due to the beating) left behind a door. It is revealed to have been given to Jekyll by Utterson. Shortly thereafter, Utterson again visits Jekyll, who now claims to have ended all relations with Hyde. Jekyll shows Utterson a note, allegedly written to Jekyll by Hyde, apologizing for the trouble he has caused him and saying goodbye. That night, however, Utterson's clerk points out that Hyde’s handwriting bear a remarkable similarity to Jekyll's own. For a few months, Jekyll reverts to his former friendly and sociable manner, as if a weight has been lifted from his shoulders. Later, Jekyll suddenly begins to refuse visitors, and Dr Hastie Lanyon, a mutual acquaintance of Jekyll and Utterson, dies suddenly of shock after receiving information relating to Jekyll. Before his death, Lanyon gives Utterson a letter, with instructions that he not open it until after Jekyll's death and disappearance. Utterson goes out walking with Enfield, and they see Jekyll at a window of his laboratory; the three men begin to converse, but a look of horror suddenly comes over Jekyll's face, and he slams the window and disappears. Soon afterward, Jekyll's butler, Mr Poole, visits Utterson in a state of desperation and explains that Jekyll has secluded himself in his laboratory for several weeks. Utterson and Poole travel to Jekyll's house through empty, windswept, sinister streets; once there, they find the servants huddled together in fear. They go to see the laboratory where they hear that the voice coming from inside is not the voice of Jekyll and the footsteps are light not the heavy footsteps of the Doctor. After arguing for a time, the two of them resolve to break into Jekyll's laboratory. Inside, they find the body of Hyde wearing Jekyll's clothes and apparently dead from suicide. They find also a letter from Jekyll to Utterson promising to explain the entire mystery. Utterson takes the document home, where first he reads Lanyon’s letter and then Jekyll's. The first reveals that Lanyon’s deterioration and eventual death were caused by the shock of seeing Mr Hyde drink a serum, or potion, and as a result of doing so, metamorphose into Dr Jekyll. The second letter explains that Jekyll, seeking to separate his good side from his darker impulses, discovered a way to transform himself periodically into a creature free of conscience, this being Mr Hyde. The transformation was incomplete, however, in that it created a second, evil identity, but did not make the first identity purely good. At first, Jekyll reports, he delighted in becoming Hyde and rejoiced in the moral freedom that the creature possessed. Eventually, however, he found that he was turning into Hyde involuntarily in his sleep, even without taking the potion. At this point, Jekyll resolved to cease becoming Hyde. One night, however, the urge gripped him too strongly, and after the transformation he immediately rushed out and violently killed Sir Danvers Carew. Horrified, Jekyll tried more adamantly to stop the transformations, and for a time he proved successful by engaging in philanthropic work. At a park, he considers how good a person he has become as a result of his deeds (in comparison to others), believing himself redeemed. However, before he completes his line of thought, he looks down at his hands and realizes that he has suddenly once again become Mr Hyde. This was the first time that an involuntary metamorphosis had happened in waking hours. Far from his laboratory and hunted by the police as a murderer, Hyde needed Lanyon's help to get his potions and become Jekyll again; when he undertook the transformation in Lanyon's presence, the shock of the sight instigated Lanyon's deterioration and death. Meanwhile, Jekyll returned to his home, only to find himself ever more helpless and trapped as the transformations increased in frequency and necessitated even larger doses of potion in order to reverse them. It was the onset of one of these spontaneous metamorphoses that caused Jekyll to slam his laboratory window shut in the middle of his conversation with Enfield and Utterson. Eventually, the stock of ingredients from which Jekyll has been preparing the potion ran low, and subsequent batches prepared by Jekyll from renewed stocks of the ingredients failed to produce the transformation effected by the original potion. Jekyll speculates that the one essential ingredient that made the original potion work must have been a trace contaminant that was absent from the ingredients he had subsequently purchased. He assumes that subsequent supplies all lacked the essential ingredient that made the potion successful for his experiments. His ability to change back from Hyde into Jekyll has slowly vanished in consequence. Jekyll writes that even as he composes his letter he knows that he will soon become Hyde permanently, and he wonders if Hyde will face execution for his crimes or choose to kill himself. Jekyll notes that, in either case, the end of his letter marks the end of the life of Dr Jekyll. He ends the letter saying "I bring the life of that unhappy Henry Jekyll to an end". With these words, both the document and the novella come to a close.

Siddhartha is a novel by Hermann Hesse that deals with the spiritual journey of self-discovery of a man named Siddhartha during the time of the Buddha.
The book, Hesse's ninth novel (1922), was written in German, in a simple, lyrical style. It was published in the U.S. in 1951 and became influential during the 1960s. Hesse dedicated Siddhartha to his wife Meiner Frau Ninon gewidmet  and supposedly afterwards to Romain Rolland and Wilhelm Gundert.
The word Siddhartha is made up of two words in the Sanskrit language, siddha (achieved) + artha (meaning or wealth), which together means "he who has found meaning (of existence)" or "he who has attained his goals". In fact, the Buddha's own name, before his renunciation, was Siddhartha Gautama, Prince of Kapilvastu. In this book, the Buddha is referred to as "Gotama".

The story takes place in ancient India around the time of Gotama Buddha (likely between the fourth and seventh centuries BCE). Siddhartha, the son of a Brahmin, decides to leave behind his home in the hopes of gaining spiritual illumination by becoming an ascetic wandering beggar of the Samanas. Joined by his best friend Govinda, Siddhartha fasts, becomes homeless, renounces all personal possessions, and intensely meditates, eventually seeking and personally speaking with Gotama, the famous Buddha, or Enlightened One. Afterward, both Siddhartha and Govinda acknowledge the elegance of the Buddha's teachings. Although Govinda hastily joins the Buddha's order, Siddhartha does not follow, claiming that the Buddha's philosophy, however supremely wise, does not account for the necessarily distinct experiences of each person. He argues that the individual seeks an absolutely unique and personal meaning that cannot be presented to him by a teacher; he thus resolves to carry on his quest alone.
Siddhartha crosses a river and the generous ferryman, who Siddhartha is unable to pay, merrily predicts that Siddhartha will return to the river later to compensate him in some way. Venturing onward toward city life, Siddhartha discovers Kamala, the most beautiful woman he has yet seen. Kamala, a courtesan of affluent men, notes Siddhartha's handsome appearance and fast wit, telling him that he must become wealthy to win her affections so that she may teach him the art of love. Although Siddhartha despised materialistic pursuits as a Samana, he agrees now to Kamala's suggestions. She directs him to the employ of Kamaswami, a local businessman, and insists that he have Kamaswami treat him as an equal rather than an underling. Siddhartha easily succeeds, providing a voice of patience and tranquility against Kamaswami's fits of passion, which Siddhartha learned from his days as an ascetic. Thus, Siddhartha becomes a rich man and Kamala's lover, though in his middle years realizes that the luxurious lifestyle he has chosen is merely a game, empty of spiritual fulfillment. Leaving the fast-paced bustle of the city, Siddhartha returns to the river and thinks of killing himself. He is saved only by an internal experience of the holy word, Om. The very next morning Siddhartha briefly reconnects with Govinda, who is passing through the area and remains a wandering Buddhist.
Siddhartha decides to live out the rest of his life in the presence of the spiritually inspirational river. Siddhartha thus reunites with the ferryman, named Vasudeva, with whom he begins a humbler way of life. Although Vasudeva is a simple man, he understands and relates that the river has many voices and significant messages to divulge to any who might listen.
Some years later, Kamala, now a Buddhist convert, is travelling to see the Buddha at his deathbed, escorted reluctantly by her young son, when she is bitten by a venomous snake near Siddhartha's river. Siddhartha recognizes her and realizes that the boy is his own child. After Kamala's death, Siddhartha attempts to console and raise the furiously resistant boy, until one day the child flees altogether. Although Siddhartha is desperate to find his runaway son, Vasudeva urges him to let the boy find his own path, much like Siddhartha did himself in his youth. Listening to the river with Vasudeva, Siddhartha realizes that time is an illusion and that all of his feelings and experiences, even those of suffering, are part of a great and ultimately jubilant fellowship of all things connected in the cyclical unity of nature. With Siddhartha's moment of illumination, Vasudeva claims that his work is done and he must depart into the woods, leaving Siddhartha peacefully fulfilled and alone once more.
Toward the end of his life, Govinda hears about an enlightened ferryman and travels to Siddhartha, not initially recognizing him as his old childhood friend. Govinda asks the now-elderly Siddhartha to relate his wisdom and Siddhartha replies that for every true statement there is an opposite one that is also true; that language and the confines of time lead people to adhere to one fixed belief that does not account for the fullness of the truth. Because nature works in a self-sustaining cycle, every entity carries in it the potential for its opposite and so the world must always be considered complete. Siddhartha simply urges people to identify and love the world in its completeness. Siddhartha then oddly requests that Govinda kiss his forehead and, when he does, Govinda experiences the visions of timelessness that Siddhartha himself saw with Vasudeva by the river. Govinda bows to his wise friend and Siddhartha smiles radiantly, having found enlightenment.

Characters

Siddhartha: The protagonist
Govinda: A friend and follower of Siddhartha
Vasudeva: An enlightened ferryman and spiritual guide
Kamala: A courtesan and Siddhartha's sensual mentor, mother of his child, Young Siddhartha
Gotama: A spiritual leader Buddha, whose Teachings are rejected, rather whose power of self-experience and self-wisdom is completely praised and followed by Siddhartha.
Kamaswami: A merchant who instructs Siddhartha on business.
Siddhartha’s Father: A Brahmin who was unable to satisfy Siddhartha's quest for enlightenment.
The Samanas: Traveling ascetics who tell Siddhartha that deprivation leads to enlightenment.

In Hesse’s novel, experience, the totality of conscious events of a human life, is shown as the best way to approach understanding of reality and attain enlightenment – Hesse’s crafting of Siddhartha’s journey shows that understanding is attained not through scholastic, mind-dependent methods, nor through immersing oneself in the carnal pleasures of the world and the accompanying pain of samsara; however, it is the completeness of these experiences that allow Siddhartha to attain understanding.
Thus, the individual events are meaningless when considered by themselves—Siddhartha’s stay with the Samanas and his immersion in the worlds of love and business do not lead to nirvana, yet they cannot be considered distractions, for every action and event that is undertaken and happens to Siddhartha helps him to achieve understanding. The sum of these events is thus experience.
A major preoccupation of Hesse in writing Siddhartha was to cure his 'sickness with life' (Lebenskrankheit) by immersing himself in Indian philosophy such as that expounded in the Upanishads and the Bhagavad Gita. The reason the second half of the book took so long to write was that Hesse "had not experienced that transcendental state of unity to which Siddhartha aspires. In an attempt to do so, Hesse lived as a virtual semi-recluse and became totally immersed in the sacred teachings of both Hindu and Buddhist scriptures. His intention was to attain to that 'completeness' which, in the novel, is the Buddha's badge of distinction." The novel is structured on three of the traditional stages of life for Hindu males (student (brahmacarin), householder (grihastha) and recluse/renunciate (vanaprastha)) as well as the Buddha's four noble truths (Part One) and eight-fold path (Part Two) which form twelve chapters, the number in the novel. Ralph Freedman mentions how Hesse commented in a letter "[my] Siddhartha does not, in the end, learn true wisdom from any teacher, but from a river that roars in a funny way and from a kindly old fool who always smiles and is secretly a saint." In a lecture about Siddhartha, Hesse claimed "Buddha's way to salvation has often been criticized and doubted, because it is thought to be wholly grounded in cognition. True, but it's not just intellectual cognition, not just learning and knowing, but spiritual experience that can be earned only through strict discipline in a selfless life". Freedman also points out how Siddhartha described Hesse's interior dialectic: "All of the contrasting poles of his life were sharply etched: the restless departures and the search for stillness at home; the diversity of experience and the harmony of a unifying spirit; the security of religious dogma and the anxiety of freedom."

A film version entitled Siddhartha was released in 1972. It starred Shashi Kapoor and was directed by Conrad Rooks.
In 1971, a surrealistic adaptation as a musical Western was released as Zachariah. John Rubinstein starred in the title role and George Englund was the director. Don Johnson played Matthew, the equivalent of Govinda.

War and Peace (Pre-reform Russian: «Война и миръ», Voyna i mir) is a novel by the Russian author Leo Tolstoy, first published in 1869. The work is epic in scale and is regarded as one of the most important works of world literature. It is considered Tolstoy's finest literary achievement, along with his other major prose work Anna Karenina (1873–1877).
War and Peace delineates in graphic detail events surrounding the French invasion of Russia, and the impact of the Napoleonic era on Tsarist society, as seen through the eyes of five Russian aristocratic families. Portions of an earlier version of the novel, then known as The Year 1805, were serialized in the magazine The Russian Messenger between 1865 and 1867. The novel was first published in its entirety in 1869. Newsweek in 2009 ranked it first in its list of the Top 100 Books. In 2003, the novel was listed at number 20 on the BBC's survey The Big Read.
Tolstoy himself, somewhat enigmatically, said of War and Peace that it was "not a novel, even less is it a poem, and still less a historical chronicle." Large sections of the work, especially in the later chapters, are philosophical discussion rather than narrative. He went on to elaborate that the best Russian literature does not conform to standard norms and hence hesitated to call War and Peace a novel. (Instead, Tolstoy regarded Anna Karenina as his first true novel.)

War and Peace is well known as being one of the longest novels ever written, though not the longest. It is actually the seventh longest novel ever written in a Latin or Cyrillic based alphabet and is subdivided into four books or volumes, each with sub parts containing many chapters.
Tolstoy came up with the title, and some of his themes, from an 1861 work of Pierre-Joseph Proudhon: La Guerre et la Paix ('War and Peace' in French). Tolstoy had served in the Crimean War and written a series of short stories and novellas featuring scenes of war.
He began writing War and Peace in the year that he finally married and settled down at his country estate. The first half of the book was written under the name "1805".
During the writing of the second half, he read widely and acknowledged Schopenhauer as one of his main inspirations. However, Tolstoy developed his own views of history and the role of the individual within it.
The first draft of War and Peace was completed in 1863. In 1865, the periodical Russkiy Vestnik published the first part of this early version under the title 1805. In the following year, it published more of the same early version. Tolstoy was dissatisfied with this version, although he allowed several parts of it to be published with a different ending in 1867, still under the same title "1805". He heavily rewrote the entire novel between 1866 and 1869. Tolstoy's wife, Sophia Tolstaya, wrote as many as seven separate complete manuscripts by hand before Tolstoy considered it again ready for publication. The version that was published in Russkiy Vestnik had a very different ending from the version eventually published under the title War and Peace in 1869.
The completed novel was then called Voyna i mir (new style orthography; in English War and Peace).
The 1805 manuscript (sometimes referred to as "the original War and Peace") was re-edited and annotated in Russia in 1983 and since has been translated separately from the "known" version, to English, German, French, Spanish, Dutch, Swedish, Finnish, Albanian, and Korean. The fact that so many extant versions of War and Peace survive make it one of the best insights into the mental processes of a great novelist.
Russians who had read the serialized version were anxious to acquire the complete first edition, which included epilogues, and it sold out almost immediately. The novel was translated almost immediately after publication into many other languages.
The novel can be generally classified as historical fiction. It contains elements present in many types of popular 18th and 19th century literature, especially the romance novel. War and Peace attains its literary status by transcending genres.
Tolstoy was instrumental in bringing a new kind of consciousness to the novel. His narrative structure is noted for its "god-like" ability to hover over and within events, but also in the way it swiftly and seamlessly portrayed a particular character's point of view. His use of visual detail is often cinematic in its scope, using the literary equivalents of panning, wide shots and close-ups, to give dramatic interest to battles and ballrooms alike. These devices, while not exclusive to Tolstoy, are part of the new style of the novel that arose in the mid-19th century and of which Tolstoy proved himself a master.

Tolstoy incorporated extensive historical research. He was also influenced by many other novels. A veteran of the Crimean War, Tolstoy was quite critical of standard history, especially the standards of military history, in War and Peace. Tolstoy read all the standard histories available in Russian and French about the Napoleonic Wars and combined more traditional historical writing with the novel form. He explains at the start of the novel's third volume his own views on how history ought to be written. His aim was to blur the line between fiction and history, in order to get closer to the truth, as he states in Volume II.
The novel is set 60 years earlier than the time at which Tolstoy wrote it, "in the days of our grandfathers", as he puts it. He had spoken with people who had lived through war during the French invasion of Russia in 1812, so the book is also, in part, accurate ethnography fictionalized. He read letters, journals, autobiographical and biographical materials pertaining to Napoleon and the dozens of other historical characters in the novel. There are approximately 160 real persons named or referred to in War and Peace.

Although Tolstoy wrote most of the book, including all the narration, in Russian, significant portions of dialogue (including its opening paragraph) are written in French with characters often switching between the two languages. This reflected 19th century Russian aristocracy, where French, a foreign tongue, was widely spoken and considered a language of prestige and more refined than Russian. This came about from the historical influence throughout Europe of the powerful court of the Sun King, Louis XIV of France, leading to members of the Russian aristocracy being less competent in speaking their mother tongue. In War and Peace, for example, Julie Karagina, Princess Marya's friend, has to take Russian lessons in order to master her native language.
It has been suggested that it is a deliberate literary device employed by Tolstoy, to use French to portray artifice and insincerity as the language of the theater and deceit while Russian emerges as a language of sincerity, honesty and seriousness. It displays slight irony that as Pierre and others socialize and use French phrases, they will be attacked by legions of Bonapartists in a very short time. It is sometimes used in satire against Napoleon. In the novel, when Pierre proposes to Hélène, he speaks to her in French — Je vous aime ('I love you'). When the marriage later emerges to be a sham, Pierre blames those French words.
The use of French diminishes as the book progresses and the wars with the French intensify, culminating in the capture and eventual burning of Moscow. The progressive elimination of French from the text is a means of demonstrating that Russia has freed itself from foreign cultural domination. It is also, at the level of plot development, a way of showing that a once-admired and friendly nation, France, has turned into an enemy. By midway through the book, several of the Russian aristocracy, whose command of French is far better than their command of Russian, are anxious to find Russian tutors for themselves.

War and Peace has been translated into many languages. It has been translated into English on several occasions, starting with Clara Bell working from a French translation. The translators Constance Garnett and Louise and Aylmer Maude knew Tolstoy personally. Translations have to deal with Tolstoy’s often peculiar syntax and his fondness for repetitions. About 2% of War and Peace is in French; Tolstoy removed the French in a revised 1873 edition, only to restore it later. Most translators follow Garnett retaining some French, Briggs uses no French, while Pevear-Volokhonsky and Amy Mandelker's revision of the Maude translation both retain the French fully.

The novel begins in the year 1805 during the reign of Tsar Alexander I and leads up to the 1812 French invasion of Russia by Napoleon. The era of Catherine the Great (1762–1796), when the royal court in Paris was the centre of western European civilization, is still fresh in the minds of older people. Catherine, fluent in French and wishing to reshape Russia into a great European nation, made French the language of her royal court. For the next one hundred years, it became a social requirement for members of the Russian nobility to speak French and understand French culture. This historical and cultural context in the aristocracy is reflected in War and Peace. Catherine's grandson, Alexander I, came to the throne in 1801 at the age of 24. In the novel, his mother, Marya Feodorovna, is the most powerful woman in the Russian court.
War and Peace tells the story of five aristocratic families — the Bezukhovs, the Bolkonskys, the Rostovs, the Kuragins and the Drubetskoys—and the entanglements of their personal lives with the then contemporary history of 1805 to 1813, principally Napoleon's invasion of Russia in 1812. The Bezukhovs, while very rich, are a fragmented family as the old Count, Kirill Vladimirovich, has fathered dozens of illegitimate sons. The Bolkonskys are an old established and wealthy family based at Bald Hills. Old Prince Bolkonsky, Nikolai Andreevich, served as a general under Catherine the Great, in earlier wars. The Moscow Rostovs have many estates, but never enough cash. They are a closely knit, loving family who live for the moment regardless of their financial situation. The Kuragin family has three children, who are all of questionable character. The Drubetskoy family is of impoverished nobility, and consists of an elderly mother and her only son, Boris, whom she wishes to push up the career ladder.
Tolstoy spent years researching and rewriting the book. He worked from primary source materials (interviews and other documents), as well as from history books, philosophy texts and other historical novels. Tolstoy also used a great deal of his own experience in the Crimean War to bring vivid detail and first-hand accounts of how the Russian army was structured.
The standard Russian text of War and Peace is divided into four books (fifteen parts) and an epilogue in two parts – one mainly narrative, the other thematic. While roughly the first half of the novel is concerned strictly with the fictional characters, the later parts, as well as one of the work's two epilogues, increasingly consist of essays about the nature of war, power, history, and historiography. Tolstoy interspersed these essays into the story in a way that defies previous fictional convention. Certain abridged versions remove these essays entirely, while others, published even during Tolstoy's life, simply moved these essays into an appendix.

War and Peace has a large cast of characters, the majority of whom are introduced in the first book. Some are actual historical figures, such as Napoleon and Alexander I. While the scope of the novel is vast, it is centered around five aristocratic families. The plot and the interactions of the characters take place in the era surrounding the 1812 French invasion of Russia during the Napoleonic wars.

The novel begins in July 1805 in Saint Petersburg, at a soirée given by Anna Pavlovna Scherer — the maid of honour and confidante to the queen mother Maria Feodorovna. Many of the main characters and aristocratic families in the novel are introduced as they enter Anna Pavlovna's salon. Pierre (Pyotr Kirilovich) Bezukhov is the illegitimate son of a wealthy count, an elderly man who is dying after a series of strokes. Pierre is about to become embroiled in a struggle for his inheritance. Educated abroad at his father's expense following his mother's death, Pierre is essentially kindhearted, but socially awkward, and owing in part to his open, benevolent nature, finds it difficult to integrate into Petersburg society. It is known to everyone at the soirée that Pierre is his father's favorite of all the old count’s illegitimate children.
Also attending the soireé is Pierre's friend, the intelligent and sardonic Prince Andrei Nikolayevich Bolkonsky, husband of Lise, the charming society favourite. Finding Petersburg society unctuous and disillusioned with married life after discovering his wife is empty and superficial, Prince Andrei makes the fateful choice to be an aide-de-camp to Prince Mikhail Ilarionovich Kutuzov in the coming war against Napoleon.
The plot moves to Moscow, Russia's ancient city and former capital, contrasting its provincial, more Russian ways to the highly mannered society of Petersburg. The Rostov family are introduced. Count Ilya Andreyevich Rostov has four adolescent children. Thirteen-year-old Natasha (Natalia Ilyinichna) believes herself in love with Boris Drubetskoy, a disciplined young man who is about to join the army as an officer. Twenty-year-old Nikolai Ilyich pledges his love to Sonya (Sofia Alexandrovna), his fifteen-year-old cousin, an orphan who has been brought up by the Rostovs. The eldest child of the Rostov family, Vera Ilyinichna, is cold and somewhat haughty but has a good prospective marriage in a Russian-German officer, Adolf Karlovich Berg. Petya (Pyotr Ilyich) is nine and the youngest of the Rostov family; like his brother, he is impetuous and eager to join the army when of age. The heads of the family, Count Ilya Rostov and Countess Natalya Rostova, are an affectionate couple but forever worried about their disordered finances.
At Bald Hills, the Bolkonskys' country estate, Prince Andrei departs for war and leaves his terrified, pregnant wife Lise with his eccentric father Prince Nikolai Andreyevich Bolkonsky and devoutly religious sister Maria Nikolayevna Bolkonskaya.
The second part opens with descriptions of the impending Russian-French war preparations. At the Schöngrabern engagement, Nikolai Rostov, who is now conscripted as ensign in a squadron of hussars, has his first taste of battle. He meets Prince Andrei, whom he insults in a fit of impetuousness. Even more than most young soldiers, he is deeply attracted by Tsar Alexander's charisma. Nikolai gambles and socializes with his officer, Vasily Dmitrich Denisov, and befriends the ruthless, and perhaps, psychopathic Fyodor Ivanovich Dolokhov.

Book Two begins with Nikolai Rostov briefly returning on home leave to Moscow. Nikolai finds the Rostov family facing financial ruin due to poor estate management. He spends an eventful winter at home, accompanied by his friend Denisov, his officer from the Pavlograd Regiment in which he serves. Natasha has blossomed into a beautiful young girl. Denisov falls in love with her, proposes marriage but is rejected. Although his mother pleads with Nikolai to find himself a good financial prospect in marriage, Nikolai refuses to accede to his mother's request. He promises to marry his childhood sweetheart, the dowry-less Sonya.
Pierre Bezukhov, upon finally receiving his massive inheritance, is suddenly transformed from a bumbling young man into the richest and most eligible bachelor in the Russian Empire. Despite rationally knowing that it is wrong, he is convinced into marriage with Prince Kuragin's beautiful and immoral daughter Hélène (Elena Vasilyevna Kuragina), to whom he is superficially attracted. Hélène, who is rumoured to be involved in an incestuous affair with her brother, the equally charming and immoral Anatol, tells Pierre that she will never have children with him. Hélène is rumoured to have an affair with Dolokhov, who mocks Pierre in public. Pierre loses his temper and challenges Dolokhov, a seasoned dueller and ruthless killer, to a duel. Unexpectedly, Pierre wounds Dolokhov. Hélène denies her affair, but Pierre is convinced of her guilt and, after almost being violent to her, leaves her. In his moral and spiritual confusion, Pierre joins the Freemasons, and becomes embroiled in Masonic internal politics. Much of Book Two concerns his struggles with his passions and his spiritual conflicts to be a better man. Now a rich aristocrat, he abandons his former carefree behavior and enters upon a philosophical quest particular to Tolstoy: how should one live a moral life in an ethically imperfect world? The question continually baffles and confuses Pierre. He attempts to liberate his serfs, but ultimately achieves nothing of note.
Pierre is vividly contrasted with the intelligent and ambitious Prince Andrei Bolkonsky. At the Battle of Austerlitz, Andrei is inspired by a vision of glory to lead a charge of a straggling army. He suffers a near fatal artillery wound. In the face of death, Andrei realizes all his former ambitions are pointless and his former hero, Napoleon (who rescues him in a horseback excursion to the battlefield), is apparently as vain as himself.
Prince Andrei recovers from his injuries in a military hospital and returns home, only to find his wife Lise dying in childbirth. He is stricken by his guilty conscience for not treating Lise better when she was alive, and is haunted by the pitiful expression on his dead wife's face. His child, Nikolenka, survives.
Burdened with nihilistic disillusionment, Prince Andrei does not return to the army but chooses to remain on his estate, working on a project that would codify military behavior to solve problems of disorganization responsible for the loss of life on the Russian side. Pierre visits him and brings new questions: where is God in this amoral world? Pierre is interested in panentheism and the possibility of an afterlife.
Pierre's estranged wife, Hélène, begs him to take her back, and against his better judgment and in trying to abide by the Freemason laws of forgiveness, he does. Despite her vapid shallowness, Hélène establishes herself as an influential hostess in Petersburg society.
Prince Andrei feels impelled to take his newly written military notions to Petersburg, naively expecting to influence either the Emperor himself or those close to him. Young Natasha, also in Petersburg, is caught up in the excitement of dressing for her first grand ball, where she meets Prince Andrei and briefly reinvigorates him with her vivacious charm. Andrei believes he has found purpose in life again and, after paying the Rostovs several visits, proposes marriage to Natasha. However, old Prince Bolkonsky, Andrei's father, dislikes the Rostovs, opposes the marriage, and insists on a year's delay. Prince Andrei leaves to recuperate from his wounds abroad, leaving Natasha initially distraught. She soon recovers her spirits, however, and Count Rostov takes her and Sonya to spend some time with a friend in Moscow.
Natasha visits the Moscow opera, where she meets Hélène and her brother Anatol. Anatol has since married a Polish woman who he has abandoned in Poland. He is very attracted to Natasha and is determined to seduce her. Hélène and Anatol conspire together to accomplish this plan. Anatol kisses Natasha and writes her passionate letters, eventually establishing plans to elope. Natasha is convinced that she loves Anatol and writes to Princess Maria, Andrei's sister, breaking off her engagement. At the last moment, Sonya discovers her plans to elope and foils them. Pierre is initially horrified by Natasha's behavior, but realizes he has fallen in love with her. During the time when the Great Comet of 1811–2 streaks the sky, life appears to begin anew for Pierre.
Prince Andrei accepts coldly Natasha's breaking of the engagement. He tells Pierre that his pride will not allow him to renew his proposal. Ashamed, Natasha makes a suicide attempt and is left seriously ill.

With the help of her family, especially Sonya, and the stirrings of religious faith, Natasha manages to persevere in Moscow through this dark period. Meanwhile, the whole of Russia is affected by the coming confrontation between Napoleon's troops and the Russian army. Pierre convinces himself through gematria that Napoleon is the Antichrist of the Book of Revelation. Old prince Bolkonsky dies of a stroke while trying to protect his estate from French marauders. No organized help from any Russian army seems available to the Bolkonskys, but Nikolai Rostov turns up at their estate in time to help put down an incipient peasant revolt. He finds himself attracted to Princess Maria, but remembers his promise to Sonya.
Back in Moscow, the war-obsessed Petya manages to snatch a loose piece of the Tsar's biscuit outside the Cathedral of the Assumption; he finally convinces his parents to allow him to enlist.
Napoleon himself is a main character in this section of the novel and is presented in vivid detail, as both a thinker and would-be strategist. His toilette and his customary attitudes and traits of mind are depicted in detail. Also described are the well-organized force of over 400,000 French Army (only 140,000 of them actually French-speaking) which marches quickly through the Russian countryside in the late summer and reaches the outskirts of the city of Smolensk. Pierre decides to leave Moscow and go to watch the Battle of Borodino from a vantage point next to a Russian artillery crew. After watching for a time, he begins to join in carrying ammunition. In the midst of the turmoil he experiences firsthand the death and destruction of war. The battle becomes a hideous slaughter for both armies and ends in a standoff. The Russians, however, have won a moral victory by standing up to Napoleon's reputedly invincible army. For strategic reasons and having suffered grievous losses, the Russian army withdraws the next day, allowing Napoleon to march on to Moscow. Among the casualties are Anatol Kuragin and Prince Andrei. Anatol loses a leg, and Andrei suffers a grenade wound in the abdomen. Both are reported dead, but their families are in such disarray that no one can be notified.

The Rostovs have waited until the last minute to abandon Moscow, even after it is clear that Kutuzov has retreated past Moscow and Muscovites are being given contradictory, often propagandistic, instructions on how to either flee or fight. Count Rostopchin is publishing posters, rousing the citizens to put their faith in religious icons, while at the same time urging them to fight with pitchforks if necessary. Before fleeing himself, he gives orders to burn the city. The Rostovs have a difficult time deciding what to take with them, but in the end, Natasha convinces them to load their carts with the wounded and dying from the Battle of Borodino. Unknown to Natasha, Prince Andrei is amongst the wounded.
When Napoleon's Grand Army finally occupies an abandoned and burning Moscow, Pierre takes off on a quixotic mission to assassinate Napoleon. He becomes an anonymous man in all the chaos, shedding his responsibilities by wearing peasant clothes and shunning his duties and lifestyle. The only people he sees while in this garb are Natasha and some of her family, as they depart Moscow. Natasha recognizes and smiles at him, and he in turn realizes the full scope of his love for her.
Pierre saves the life of a French officer who fought at Borodino, yet is taken prisoner by the retreating French during his attempted assassination of Napoleon, after saving a woman from being raped by soldiers in the French Army. He becomes friends with a fellow prisoner, Platon Karataev, a peasant with a saintly demeanor, who is incapable of malice. In Karataev, Pierre finally finds what he has been seeking: an honest person of integrity (unlike the aristocrats of Petersburg society) who is utterly without pretense. Pierre discovers meaning in life simply by living and interacting with him. After witnessing French soldiers sacking Moscow and shooting Russian civilians arbitrarily, Pierre is forced to march with the Grand Army during its disastrous retreat from Moscow in the harsh Russian winter. After months of trial and tribulation—during which the fever-plagued Karataev is shot by the French—Pierre is finally freed by a Russian raiding party, after a small skirmish with the French that sees the young Petya Rostov killed in action.
Meanwhile, Andrei, wounded during Napoleon's invasion, has been taken in as a casualty and cared for by the Rostovs, fleeing from Moscow to Yaroslavl. He is reunited with Natasha and his sister Maria before the end of the war. Having lost all will to live, he forgives Natasha in a last act before dying.
As the novel draws to a close, Pierre's wife Hélène dies from an overdose of abortion medication (Tolstoy does not state it explicitly but the euphemism he uses is unambiguous). Pierre is reunited with Natasha, while the victorious Russians rebuild Moscow. Natasha speaks of Prince Andrei's death and Pierre of Karataev's. Both are aware of a growing bond between them in their bereavement. With the help of Princess Maria, Pierre finds love at last and, revealing his love after being released by his former wife's death, marries Natasha.

The first part of the epilogue begins with the wedding of Pierre and Natasha in 1813. It is the last happy event for the Rostov family, which is undergoing a transition. Count Rostov dies soon after, leaving his eldest son Nikolai to take charge of the debt-ridden estate.
Nikolai finds himself with the task of maintaining the family on the verge of bankruptcy. His abhorrence at the idea of marrying for wealth almost gets in his way, but finally he marries the now-rich Maria Bolkonskaya and in so doing also saves his family from financial ruin.
Nikolai and Maria then move to Bald Hills with his mother and Sonya, whom he supports for the rest of their life. Buoyed by his wife's fortune, Nikolai pays off all his family's debts. They also raise Prince Andrei's orphaned son, Nikolai Andreyevich (Nikolenka) Bolkonsky.
As in all good marriages, there are misunderstandings, but the couples–Pierre and Natasha, Nikolai and Maria–remain devoted to their spouses. Pierre and Natasha visit Bald Hills in 1820, much to the jubilation of everyone concerned. There is a hint in the closing chapters that the idealistic, boyish Nikolenka and Pierre would both become part of the Decembrist Uprising. The first epilogue concludes with Nikolenka promising he would do something with which even his late father "would be satisfied..." (presumably as a revolutionary in the Decembrist revolt).
The second part of the epilogue contains Tolstoy's critique of all existing forms of mainstream history. The 19th century Great Man Theory claims that historical events are the result of the actions of "heroes" and other great individuals, Tolstoy argues that this is impossible because of how rarely these actions result in great historical events. Rather, he argues, great historical events are the result of many smaller events driven by the thousands of individuals involved, (he compares this to Calculus, and the sum of infinitesimals). He then goes on to argue that these smaller events are the result of an inverse relationship between necessity and free-will, necessity being based on reason and therefore explainable by historical analysis, and free-will being based on "consciousness" and therefore inherently unpredictable.

Principal characters in War and Peace:

Count Pyotr Kirillovich (Pierre) Bezukhov — The large-bodied, ungainly, and socially awkward illegitimate son of an old Russian grandee. Pierre, educated abroad, returns to Russia as a misfit. His unexpected inheritance of a large fortune makes him socially desirable. Pierre is the central character and often a voice for Tolstoy's own beliefs or struggles.
Prince Andrey Nikolayevich Bolkonsky — A strong but cynical, thoughtful and philosophical aide-de-camp in the Napoleonic Wars.
Princess Maria Nikolayevna Bolkonskaya — Sister of Prince Andrew, Princess Maria is a pious woman whose eccentric father attempted to give her a good education. The caring, nurturing nature of her large eyes in her otherwise thin and plain face are frequently mentioned.
Count Ilya Andreyevich Rostov — The pater-familias of the Rostov family; terrible with finances, generous to a fault.
Countess Natalya Rostova — Wife of Count Ilya Rostov, mother of the four Rostov children.
Countess Natalya Ilyinichna (Natasha) Rostova — A central character, introduced as "not pretty but full of life" and a romantic young girl, she evolves through trials and suffering and eventually finds happiness. She is an accomplished singer and dancer.
Count Nikolai Ilyich (Nikolenka) Rostov — An hussar, the beloved eldest son of the Rostov family.
Sofia Alexandrovna (Sonya) Rostova — Orphaned cousin of Vera, Nikolai, Natasha, and Petya Rostov.
Countess Vera Ilyinichna Rostova — Eldest of the Rostov children, she marries the German career soldier, Berg.
Pyotr Ilyich (Petya) Rostov — Youngest of the Rostov children.
Prince Vasily Sergeyevich Kuragin — A ruthless man who is determined to marry his children well, despite having doubts about the character of some of them.
Princess Elena Vasilyevna (Hélène) Kuragin — A beautiful and sexually alluring woman who has many affairs, including (it is rumoured) with her brother Anatole.
Prince Anatole Vasilyevich Kuragin — Hélène's brother and a very handsome and amoral pleasure seeker who is secretly married yet tries to elope with Natasha Rostova.
Prince Ippolit Vasilyevich — The eldest and perhaps most dim-witted of the Kuragin children.
Prince Boris Drubetskoy — A poor but aristocratic young man driven by ambition, even at the expense of his friends and benefactors, who marries for money, rather than love, an heiress, Julie Karagina.
Princess Anna Mihalovna Drubetskaya — The mother of Boris.
Fyodor Ivanovich Dolokhov — A cold, almost psychopathic officer, he ruins Nikolai Rostov by luring him into an outrageous gambling debt (by which he, Dolokhov, profits), he only shows love to his doting mother.
Adolf Karlovich Berg — A young Russian officer, who desires to be just like everyone else.
Anna Pavlovna Sherer — Also known as Annette, she is the hostess of the salon that is the site of much of the novel's action in Petersburg.
Maria Dmitryevna Akhrosimova — An older Moscow society lady, she is an elegant dancer and trend-setter, despite her age and size.
Amalia Evgenyevna Bourienne — A French woman who lives with the Bolkonskys, primarily as Princess Marya's companion.
Vasily Dmitrich Denisov — Nikolai Rostov's friend and brother officer, who proposes to Natasha.
Platon Karataev – The archetypal good Russian peasant, whom Pierre meets in the prisoner of war camp.
Napoleon I of France — the Great Man, whose fate is detailed in the book.
General Mikhail Ilarionovich Kutuzov — Russian commander-in-chief.
Osip Bazdeyev — the Freemason who interests Pierre in his mysterious group, starting a lengthy subplot.
Tsar Alexander I of Russia — He signed a peace treaty with Napoleon in 1807 and then went to war with him.
Many of Tolstoy's characters in War and Peace were based on real-life people known to Tolstoy himself. His grandparents and their friends were the models for many of the main characters, his great-grandparents would have been of the generation of Prince Vassily or Count Ilya Rostov. Some of the characters, obviously, are actual historic figures.

The novel which has made its author "the true lion of the Russian literature" (according to Ivan Goncharov)upon its publication enjoyed great success with the reading public and spawned dozens of reviews and analytical essays in the press, some of which (by Pisarev, Annenkov, Dragomirov and Strakhov) formed the basis for Tolstoy scholars' later research. Yet the Russian press's initial response to the novel was muted, most critics feeling bewildered by this mammoth work they couldn’t decide how to classify. The liberal newspaper Golos (The Voice, April 3, #93, 1865) was one of the first to react. Its anonymous reviewer posed the question which was later repeated by many others: "What could this possibly be? What kind of genre are we supposed to file it to?.. Where is fiction in it, and where is real history?"

Writer and critic Nikolai Akhsharumov, writing in Vsemirny Trud (#6, 1867) suggested that War And Peace was "neither a chronicle, nor a historical novel", but a genre merger, this ambiguity never undermining its immense value. Pavel Annenkov, who praised the novel too, was equally vague when trying to classify it. "The cultural history of one large section of our society, the political and social panorama of it in the beginning of the current century," was his suggestion. "It is the [social] epic, the history novel and the vast picture of the whole nation's life," wrote Ivan Turgenev in his bid to define War and Peace in the foreword for his French translation of "The Two Hussars" (published in Paris by Le Temps in 1875).
In general, the literary left received coldly the novel which, as they saw it, was totally devoid of social critique and keen on the idea of national unity. The major fault with the novel, being, as they saw it, "author's inability to portray a new kind of revolutionary intelligentsia in his novel," as critic Varfoomey Zaytsev put it. Articles by D.Minayev, V.Bervi-Flerovsky and N.Shelgunov in Delo magazine characterized the novel as "lacking realism", showing its characters as "cruel and rough", "mentally stoned", "morally depraved" and promoting "the philosophy of stagnation". Still, Mikhail Saltykov-Schedrin, who's never expressed his opinion of the novel publically, in the private conversation was reported to have expressed delight with "how strongly this Count has stung our higher society". Dmitry Pisarev in his unfinished article "Russian Gentry of Old" (Staroye barstvo, Otechestvennye Zapiski, #2, 1868) while praising Tolstoy's realism in portraying members of high society, still was unhappy with the way the author, as he saw it, 'idealized' the old nobility, expressing "unconscious and quite natural tenderness towards" the Russian dvoryanstvo. On the opposite front, the conservative press and "patriotic" authors (A.S.Norov and P.A.Vyazemsky among them) were accusing Tolstoy of consciously distorting the 1812 history, desecrating the "patriotic feelings of our fathers" and ridiculing dvoryanstvo.
One of the first comprehensive articles on the novel was that of Pavel Annenkov, published in #2, 1868 issue of Vestnik Evropy. The critic praised Tolstoy's masterful portrayal of man at war, marveled at the complexity of the whole composition, organically merging historical facts and fiction. "The dazzling side of the novel", according to Annenkov, was "the natural simplicity with which [the author] transports the worldly affairs and big social events down to the level of a character who witnesses them." Annekov thought the historical gallery of the novel was incomplete with the two "great raznotchintsys", Speransky and Arakcheev, and deplored the fact that the author stopped at introducing to the novel "this relatively rough but original element". In the end the critic called the novel "the whole epoch in the Russian fiction".
Slavophiles declared Tolstoy their 'bogatyr' and pronounced War and Peace "the Bible of the new national idea". Several articles on War And Peace were published in 1869-1870 in Zarya magazine by Nikolai Strakhov. "War and Peace is the work of genius, equal to everything that the Russian literature has produced before," he pronounced in the first, samller essay. "It is now quite clear that from 1868 when the War And Peace was published the very essence of what we call Russian literature has become quite different, acquired the new form and meaning," the critic continued later. Strakhov was the first critic in Russia who declared Tolstoy's novel to be a masterpiece of level previously unknown in Russian literature. Still, being a true Slavophile, he could not fail to see the novel as promoting the major Slavophiliac ideas of "meek Russian character'ss supremacy over the rapacious European kind" (using Apollon Grigoriev's formula). Years later, in 1878, discussing Strakhov's own book The World as a Whole, Tolstoy criticized both Grigoriev's concept (of "Russian meekness vs. Western bestiality") and Strakhov's interpretation of it.

Among the reviewers were military men and authors specializing in the war literature. Most assessed highly the artfulness and realism of Tolstoy's battle scenes. N.Lachinov, a member of the Russky Invalid newspaper stuff (#69, April 10, 1868) called the Battle of Schöngrabern scenes "bearing the highest degree of historical and artistic truthfulness" and totally agreed with the author's view on the Battle of Borodino which some of his opponents were disputing. The army general and respected military writer Mikhail Dragomirov in an article published in Oruzheiny Sbornik (The Military Almanac, 1868-1870), while disputing some of Tolstoy's ideas concerning the "spontaneity" of wars and the role of commander in battles, advised all the Russian Army officers to use War and Peace as their desk book, describing its battle scenes as "incomparable" and "serving for an ideal manual to every textbook on theories of military art."
Unlike professional literary critics, most prominent Russian writers of the time supported the novel wholeheartedly. Goncharov, Turgenev, Leskov, Dostoyevsky and Fet have all gone on record as declaring War and Peace the masterpiece of the Russian literature. Ivan Goncharov in a July 17, 1878, letter to Pyotr Ganzen advised him to chose for translating into Danish War and Peace, adding: "This is positively what might be called a Russian Ilyad. Embracing the whole epoch, it is the grandiose literary event, showcasing the gallery of great men painted by a lively brush of the great master... This is one of the most, if not the most profound literary work ever.  In 1879, unhappy with Ganzen having chosen Anna Karenina to start with, Goncharov insisted: "War and Peace is the extraordinary poem of a novel, both in content and execution. It also serves as a monument to Russian history's glorious epoch when whatever figure you take is a colossus, a statue in bronze. Even [the novel's] minor characters carry all the characteristic features of the Russian people and its life." In 1885, expressing satisfaction with the fact that Tolstoy's works have now been translated into Danish, Goncharov again stressed the immense importance of War and Peace. "Count Tolstoy really mounts over everybody else here [in Russia]," he remarked.
Fyodor Dostoyevsky (in a May 30, 1871, letter to Strakhov) described War and Peace as "the last word of the landlord's literature and the brilliant one at that". In a draft version of the Teenager novel he described Tolstoy as "a historiograph of the dvoryanstvo, or rather, its cultural elite." "The objectivity and realism impart wonderful charm to all scenes, and alongside people of talent, honour and duty he exposes numerous scoundrels, worthless goons and fools," he added. In 1876 Dostoyevsky wrote: "My strong conviction is that a writer of fiction has to have most profound knowledge - not only of the poetic side of his art, but also the reality he deals with, in its historical as well as contemporary context. Here [in Russia], as far as I see it, only one writer excels in this, Count Lev Tolstoy."
Nikolai Leskov, then an anonymous reviewer in Birzhevy Vestnik (The Stock Exchange Herald), wrote several articles praising highly War and Peace, calling it "the best ever Russian historical novel" and "the pride of the contemporary literature". Marveling at the realism and factual truthfulness of Tolstoy's book, Leskov thought the author deserved the special credit for "having lifted up the people's spirit upon the high pedestal it deserved". "While working most elaborately upon individual characters, the author, apparently, has been studying most diligently the character of the nation as a whole; the life of people whose moral strength came to be concentrated in the Army that came up to fight mighty Napoleon. In this respect the novel of Count Tolstoy could be seen as an epic of the Great national war which up until now has had its historians but never had its singers," Leskov wrote.
Afanasy Fet, in a January 1, 1870, letter to Tolstoy, expressed his great delight with the novel. "You've managed to show us in great detail the other, mundane side of life and explain how organically does it feed the outer, heroic side of it," he added. Ivan Turgenev gradually re-considered his initial skepticism as to the novel’s historical aspect and also the style of Tolstoy's psychological analysis. In his 1880 article written in the form of a letter addressed to Edmond Abou, the editor of the French newspaper Le XIX-e Siecle, Turgenev described Tolstoy as "the most popular Russian writer" and War and Peace as "one of the most remarkable books of our age". "This vast work has the spirit of an epic, where the life of Russia of the beginning of our century in general and in details has been recreated by the hand of a true master... The manner in which Count Tolstoy conducts his treatise is innovative and original. This is the great work of a great writer, and in it there’s true, real Russia," Turgenev wrote. It was largely due to Turgenev's efforts that the novel started to gain popularity with the European readership. The first French edition of the War and Peace (1879) paved the way for the worldwide success of Leo Tolstoy and his works.
Since then many world famous authors have praised War and Peace as a masterpiece of the world literature. Gustav Flaubert expressed his delight in a January 1880 letter to Turgenev, writing: "This is the first class work! What an artist and what a psychologist! The first two volumes are exquisite. I used to utter shrieks of delight while reading. This is powerful, very powerful indeed." Later John Galsworthy has called War and Peace "the best novel that had ever been written". Romain Rolland, remembering his reading the novel as a student, wrote: "this work, like life itself, has no beginning, no end. It is life itself in its eternal movement." Thomas Mann thought War and Peace to be "the greatest ever war novel in the history of literature." Ernest Hemingway confessed that it was from Tolstoy that he'd been taking lessons on how to "write about war in the most straightforward, honest, objective and stark way." "I don't know anybody who could write about war better than Tolstoy did," Hemingway asserted in his 1955 Men at War. The Best War Stories of All Time anthology.
Isaak Babel said, after reading War and Peace, "If the world could write by itself, it would write like Tolstoy." Tolstoy "gives us a unique combination of the 'naive objectivity' of the oral narrator with the interest in detail characteristic of realism. This is the reason for our trust in his presentation."

Film
The first Russian adaptation was Война и мир (Voyna i mir) in 1915, which was directed by Vladimir Gardin and starred Gardin and the Russian ballerina Vera Karalli. F. Kamei produced a version in Japan in 1947.
The 208-minute long American 1956 version was directed by King Vidor and starred Audrey Hepburn (Natasha), Henry Fonda (Pierre) and Mel Ferrer (Andrei). Audrey Hepburn was nominated for a BAFTA Award for best British actress and for a Golden Globe Award for best actress in a drama production.
The critically acclaimed Soviet version by the director Sergei Bondarchuk was released in four parts in 1966 and 1967. It starred Lyudmila Savelyeva (as Natasha Rostova) and Vyacheslav Tikhonov (as Andrei Bolkonsky). Bondarchuk himself played the character of Pierre Bezukhov. The series' length was some seven hours; it involved thousands of extras and took six years to finish the shooting, as a result of which the actors age changed dramatically from scene to scene. It won an Oscar for Best Foreign Language Film for its authenticity and massive scale. Bondarchuk's film is considered to be the best screen version of the novel. It attracted some controversy due to the number of horses killed during the making of the battle sequences and screenings were actively boycotted in several US cities by the ASPCA.
Television
War and Peace (1972): The BBC (British Broadcasting Corporation) made a television serial based on the novel, broadcast in 1972–73. Anthony Hopkins played the lead role of Pierre. Other lead characters were played by Rupert Davies, Faith Brook, Morag Hood, Alan Dobie, Angela Down and Sylvester Morand. This version faithfully included many of Tolstoy's minor characters, including Platon Karataev (Harry Locke).
La guerre et la paix (2000): French TV production of Prokofiev's opera War and Peace, directed by François Roussillon. Robert Brubaker played the lead role of Pierre.
War and Peace (2007): produced by the Italian Lux Vide, a TV mini-series in Russian & English co-produced in Russia, France, Germany, Poland and Italy. Directed by Robert Dornhelm, with screenplay written by Lorenzo Favella, Enrico Medioli and Gavin Scott. It features an international cast with Alexander Beyer playing the lead role of Pierre assisted by Malcolm McDowell, Clémence Poésy, Alessio Boni, Pilar Abella, J. Kimo Arbas, Ken Duken, Juozapas Bagdonas and Toni Bertorelli.
War and Peace (2015): On 18 February 2013, the BBC announced plans for a six-part adaptation of the novel to be scripted by Andrew Davies and aired on BBC One in 2015.
Opera
Initiated by a proposal of the German director Erwin Piscator in 1938, the Russian composer Sergei Prokofiev composed his opera War and Peace (Op. 91, libretto by Mira Mendelson) based on this epic novel during the 1940s. The complete musical work premiered in Leningrad in 1955. It was the first opera to be given a public performance at the Sydney Opera House (1973).
Theatre
The first successful stage adaptations of War and Peace were produced by Alfred Neumann and Erwin Piscator (1942, revised 1955, published by Macgibbon & Kee in London 1963, and staged in 16 countries since) and R. Lucas (1943).
A stage adaptation by Helen Edmundson, first produced in 1996 at the Royal National Theatre, was published that year by Nick Hern Books, London. Edmundson added to and amended the play for a 2008 production as two 3-hour parts by Shared Experience, directed by Nancy Meckler and Polly Teale. This was first put on at the Nottingham Playhouse, then toured in the UK to Liverpool, Darlington, Bath, Warwick, Oxford, Truro, London (the Hampstead Theatre) and Cheltenham.
A musical adaptation by OBIE Award-winner Dave Malloy, called Natasha, Pierre & The Great Comet of 1812 premiered at the Ars Nova theater in Manhattan on October 1, 2012. The show is described as an electropop opera, and is based on Book 8 of War and Peace, focusing on Natasha's affair with Anatole. 
Radio
The BBC Home Service broadcast an eight-part adaptation by Walter Peacock from 17 January to 7 February 1943 with two episodes on each Sunday. All but the last instalment, which ran for one and a half hours, were one hour long. Leslie Banks played Pierre while Celia Johnson was Natasha.
In December 1970, Pacifica Radio station WBAI broadcast a reading of the entire novel (the 1968 Dunnigan translation) read by over 140 celebrities and ordinary people.
A dramatised full-cast adaptation in 20 parts, edited by Michael Bakewell, was broadcast by the BBC. Transmission Times: 30.12.1969 to 12.5.1970 Cast included: David Buck, Kate Binchy, Martin Jarvis
A dramatised full-cast adaptation in ten parts was written by Marcy Kahan and Mike Walker in 1997 for BBC Radio 4. The production won the 1998 Talkie award for Best Drama and was around 9.5 hours in length. It was directed by Janet Whitaker and featured Simon Russell Beale, Gerard Murphy, Richard Johnson, and others.
Music
Composition by Nino Rota
Referring to album notes, the first track "The Gates of Delirium", from the album Relayer, by the progressive rock group Yes, is said to be based loosely on the novel.

On the Origin of Species by Means of Natural Selection; Or, The Preservation ...

-Included TOC for Reader.

-Included biography the author.

This is example in ebook ;

Present distribution cannot be accounted for by differences in physical conditions. Importance of barriers. Affinity of the productions of the same continent. Centres of creation. Means of dispersal, by changes of climate and of the level of the land, and by occasional means. Dispersal during the Glacial period co-extensive with the world.

In considering the distribution of organic beings over the face of the globe, the first great fact which strikes us is, that neither the similarity nor the dissimilarity of the inhabitants of various regions can be accounted for by their climatal and other physical conditions. Of late, almost every author who has studied the subject has come to this conclusion. The case of America alone would almost suffice to prove its truth: for if we exclude the northern parts where the circumpolar land is almost continuous, all authors agree that one of the most fundamental divisions in geographical distribution is that between the New and Old Worlds; yet if we travel over the vast American continent, from the central parts of the United States to its extreme southern point, we meet with the most diversified conditions; the most humid districts, arid deserts, lofty mountains, grassy plains, forests, marshes, lakes, and great rivers, under almost every temperature. There is hardly a climate or condition in the Old World which cannot be paralleled in the New—at least as closely as the same species generally require; for it is a most rare case to find a group of organisms confined to any small spot, having conditions peculiar in only a slight degree; for instance, small areas in the Old World could be pointed out hotter than any in the New World, yet these are not inhabited by a peculiar fauna or flora. Notwithstanding this parallelism in the conditions of the Old and New Worlds, how widely different are their living productions!

In the southern hemisphere, if we compare large tracts of land in Australia, South Africa, and western South America, between latitudes 25 deg and 35 deg, we shall find parts extremely similar in all their conditions, yet it would not be possible to point out three faunas and floras more utterly dissimilar. Or again we may compare the productions of South America south of lat. 35 deg with those north of 25 deg, which consequently inhabit a considerably different climate, and they will be found incomparably more closely related to each other, than they are to the productions of Australia or Africa under nearly the same climate. Analogous facts could be given with respect to the inhabitants of the sea.

Madame Bovary
By
Gustave Flaubert

"AESOP'S FABLES  - Top Classic Novels" This edition included NEW illustrations, Clickable Table of Contents for both the list of included books and their respective chapters. Navigation couldn't be easier. The text and chapters are perfectly set up to match the layout and feel of a physical copy, rather than being haphazardly thrown together for a quick release.

Aesop's Fables or the Aesopica is a collection of fables credited to Aesop, a slave and story-teller believed to have lived in ancient Greece between 620 and 560 BC.

Apollonius of Tyana, a 1st century AD philosopher, is recorded as having said about Aesop:

... like those who dine well off the plainest dishes, he made use of humble incidents to teach great truths, and after serving up a story he adds to it the advice to do a thing or not to do it. Then, too, he was really more attached to truth than the poets are; for the latter do violence to their own stories in order to make them probable; but he by announcing a story which everyone knows not to be true, told the truth by the very fact that he did not claim to be relating real events.

Aesop was a fabulist or story teller credited with a number of fables now collectively known as Aesop's Fables. Although his existence remains uncertain and (if they ever existed) no writings by him survive, numerous tales credited to him were gathered across the centuries and in many languages in a storytelling tradition that continues to this day. Many of the tales are characterized by animals and inanimate objects that speak, solve problems, and generally have human characteristics.

Scattered details of Aesop's life can be found in ancient sources, including Aristotle, Herodotus, and Plutarch. An ancient literary work called The Aesop Romance tells an episodic, probably highly fictional version of his life, including the traditional description of him as a strikingly ugly slave (δοῦλος) who by his cleverness acquires freedom and becomes an adviser to kings and city-states. Older spellings of his name have included Esop(e) and Isope. A later tradition (dating from the Middle Ages) depicts Aesop as a black Ethiopian. Depictions of Aesop in popular culture over the last 2500 years have included several works of art and his appearance as a character in numerous books, films, plays, and television programs.