Objectives

• Analyse how Tolstoy uses free indirect discourse and ironic narrative voice to expose the performance of identity in Russian aristocratic society.
• Trace how Prince Andrei Bolkonsky's disillusionment is constructed across specific scenes — Austerlitz, the sky passage, and the oak tree — and explain what structural choices those scenes reveal about Tolstoy's view of glory.
• Explain how Natasha Rostova's near-elopement with Anatole Kuragin in Chapters 7–8 functions as a crisis of selfhood, using close reading of Tolstoy's free indirect thought.
• Analyse how Pierre Bezukhov's encounter with Platon Karataev in Chapters 12–13 enacts Tolstoy's argument that wisdom belongs to the ordinary rather than the great.
• Write an evidenced analytical paragraph that integrates quotation, method, and effect in response to a question about power, fate, or identity in War and Peace.
• Evaluate Tolstoy's Second Epilogue as a philosophical argument and test its claims against specific narrative moments in the novel.

The sequence

1. Lesson 1: The Salon as Stage: Irony and Social Performance in Book One

   60 min · ch. 1

   Do now

   The opening sentence of Chapter 1 describes Anna Pavlovna's salon as 'a workshop for manufacturing public opinion.' This metaphor suggests that Tolstoy sees this social world as a place where ideas and beliefs are crafted and shaped, highlighting the active role that social interactions play in forming public perception.

   Teacher input

   Model a close reading of the passage in Chapter 1 where Prince Vasily Kuragin greets Anna Pavlovna. Pay particular attention to Tolstoy's description of his smile as "the smile of an actor who has played the same part many times." Illustrate how free indirect discourse allows Tolstoy to capture Vasily's self-satisfaction while subtly undermining it. The narrator doesn’t explicitly state that Vasily is hollow, but the theatrical comparison does that effectively. Guide students to identify the technique, quote the phrase, and discuss the disparity between Vasily's self-perception and what the prose actually conveys.

   Independent task

   Students choose one additional character introduction from Chapter 1 — either Hélène Kuragina's first appearance described by 'her beautiful shoulders and bosom' or Pierre's clumsy entrance, noted as 'massive and fat… with spectacles.' In a single PEEL paragraph of 150–200 words, they analyze how Tolstoy's word choices and narrative positioning reveal the disparity between social appearances and inner truths. They submit the paragraph with the quotation underlined.

   Exit ticket

   Free indirect discourse is a narrative technique that blends the narrator's voice with a character's thoughts and feelings, allowing readers to access the character's perspective while still maintaining an external viewpoint. Tolstoy uses this technique in the salon scenes of Chapter 1 to create a deeper emotional connection to the characters and their inner experiences, rather than relying solely on a detached third-person narration.

2. Lesson 2: The Sky at Austerlitz: How Tolstoy Dismantles the Idea of Glory

   60 min · ch. 3, 6

   Do now

   Without opening the book, take three minutes to reflect on what the word 'glory' might signify for a soldier in 1805. After that, jot down a sentence predicting how Tolstoy — who believed that history isn't shaped by influential individuals — would likely approach a soldier's yearning for glory.

   Teacher input

   Model the sky passage in Chapter 3, where the wounded Andrei lies on the Pratzen Heights and sees 'only the sky — the lofty sky, not clear, yet still immeasurably lofty, with grey clouds gliding slowly across it.' Illustrate how Tolstoy employs syntactic expansion through the repeated qualifications 'not clear, yet still immeasurably lofty' to convey Andrei's mind slowing down and expanding. Then, highlight how Napoleon's appearance right after, with his remark 'What a beautiful death!', feels anticlimactic in contrast: his words seem insignificant against the vast silence of the sky. Contrast Andrei's earlier heroic charge with this moment of quiet stillness.

   Independent task

   Students read the oak-tree passage in Chapter 6, where Andrei encounters the same dead oak twice — first in early spring ('I have no spring, no love, no happiness') and then again in full leaf after meeting Natasha. They write a 200-word comparative analysis discussing how Tolstoy uses the oak as an objective correlative for Andrei's inner state, quoting from both instances. The task is introduced by providing students with the two passages on a printed extract sheet. They submit their written analysis.

   Exit ticket

   One structural technique Tolstoy uses in Chapter 3 to make Napoleon seem diminished is the inclusion of detailed descriptions of the chaos surrounding him, which illustrates how historical events are shaped by a multitude of factors rather than by a single individual's actions, thereby challenging the 'great man' theory of history.

3. Lesson 3: Natasha and Anatole: Identity, Desire, and the Limits of Free Will

   60 min · ch. 7, 8

   Do now

   Read this sentence from Chapter 8, where Natasha thinks of Anatole: 'She did not think about him, but she felt him near.' Write two questions this sentence raises for you as a reader. Then write one sentence on what Tolstoy might be implying about the connection between thought and feeling.

   Teacher input

   In Chapter 7, Natasha sits in the opera, her eyes drawn to Anatole, who stands out against the backdrop of the stage. Tolstoy captures the scenery—described as merely 'cardboard' and 'paint'—and through Natasha's eyes, it all feels so fake. In contrast, Anatole's gaze feels alive and captivating to her, making the rest of the world fade into insignificance. This moment highlights how Tolstoy employs free indirect thought to reflect Natasha's shifting perceptions: the opera, her engagement, and the expectations of society all start to seem contrived. At the same time, Anatole's intense attention becomes strikingly vivid and alluring. To help students understand this shift in Natasha's focus within a single paragraph, they can annotate the verbs of perception—like 'she saw,' 'she felt,' and 'it seemed to her'—to track how her perspective evolves.

   Independent task

   Students read the passage in Chapter 8 where Natasha writes her letter ending her engagement to Andrei, along with Sonya's reaction. In 200 words, they analyze how Tolstoy portrays Natasha's sense of self as uncertain—quoting Natasha's own words from the letter and including at least one instance of Sonya’s contrasting viewpoint. They need to discuss whether Tolstoy depicts Natasha as a victim, an agent, or both. They submit their written argument.

   Exit ticket

   Focalisation refers to the perspective through which a narrative is presented, determining what the reader knows and experiences. In today's reading, Tolstoy shifts focalisation when he describes Natasha's thoughts during the ball, revealing her inner conflict between societal expectations and her true desires.

4. Lesson 4: Pierre and Platon: Ordinary Wisdom and Spiritual Freedom in Captivity

   60 min · ch. 12, 13

   Do now

   Look at this quote from Chapter 12, spoken by Platon Karataev: 'Where there is law, there is injustice.' Take three minutes to reflect: what sort of person do you think would express this sentiment? What does it reveal about Tolstoy's perspective on the wisdom of peasants compared to the education of the aristocracy?

   Teacher input

   Model the passage in Chapter 12 where Pierre first meets Platon in the French prisoner enclosure, focusing on the description of Platon as 'round'—his face, his movements, his entire being characterized by circularity. Highlight Pierre's feeling that 'something round' has entered his life. Illustrate how Tolstoy's imagery of roundness contrasts with the angular, ambitious geometry associated with Napoleonic ideals, presenting a philosophical argument: wholeness and acceptance in opposition to conquest and ego. Guide students to transition from concrete imagery to abstract ideas: the physical description serves not merely as decoration but as a fundamental argument.

   Independent task

   Students read the passage in Chapter 13 where Pierre observes the French executing Russian prisoners and then quickly recalls Platon's words. In a 200-word analytical paragraph, they explore how Tolstoy contrasts the execution scene with Platon's remembered voice to illustrate Pierre's spiritual transformation. They need to include quotes from both moments. They submit the paragraph.

   Exit ticket

   Tolstoy conveys that 'spiritual freedom' for Pierre is the ability to transcend societal norms and embrace a deeper sense of self. This is illustrated when he feels a profound sense of "peace" amidst the chaos around him.

5. Lesson 5: History Without Heroes: Testing the Second Epilogue Against the Novel

   60 min · ch. 9, 10, 17

   Do now

   Tolstoy suggests that Napoleon's role in the 1812 invasion was less about individual agency and more a result of larger historical forces. The novel complicated my understanding of this belief by illustrating how personal decisions and broader societal dynamics intertwined during the war.

   Teacher input

   Model a close reading of the opening argument of Chapter 17 (Second Epilogue), where Tolstoy asserts that 'a king is history's slave' and claims that 'the more we try to explain such events in history rationally, the more irrational and incomprehensible they become.' Illustrate how to interpret a philosophical digression as a literary argument: demonstrate to students how Tolstoy's syntax — lengthy, cumulative, and self-interrupting — reflects the very complexity of history he is discussing. Next, compare this with the Borodino scene in Chapter 10, where Pierre realizes that no single commander controls the battle, highlighting how the novel acts out the themes presented in the epilogue.

   Independent task

   Students are tasked with crafting a 250-word structured response to the question: 'To what extent does Tolstoy's narrative in Chapters 9–10 bolster the claim he presents in Chapter 17 that history is influenced more by numerous everyday actions than by prominent leaders?' They need to include at least one quote from either Chapter 9 or 10, as well as one sentence from Chapter 17. Once completed, they will submit their written response.

   Exit ticket

   Tolstoy's central claim in the Second Epilogue is that true happiness comes from a simple life dedicated to love and community rather than material pursuits. One moment that supports this claim is when Levin finds peace while farming his land, illustrating the fulfillment he gains from embracing a humble and connected existence.

Activities

Assessment

• Exit ticket Lesson 1: checks whether students can define free indirect discourse and connect it to Tolstoy's satirical purpose in the Chapter 1 salon — look for the word 'gap' or equivalent between surface and reality.
• Exit ticket Lesson 2: checks whether students can name a specific structural technique (juxtaposition, syntactic expansion) from the Austerlitz sky passage and link it to Tolstoy's anti-'great man' argument.
• Lesson 3 independent paragraph: checks whether students can sustain a claim about Natasha's unstable selfhood using focalisation as a named method and quoting from both the letter and Sonya's response.
• Exit ticket Lesson 4: checks whether students have internalised Tolstoy's concept of spiritual freedom as distinct from physical liberty — look for reference to Platon's words or the roundness imagery rather than a generic definition.
• Lesson 5 independent response: checks whether students can move between the novel's narrative (Chs.9–10) and the philosophical epilogue (Ch.17) within a single argument — look for quotation from both and an explicit evaluative stance.

Standards covered

Common Core 11 12

• RL.11-12.1 — Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
• RL.11-12.3 — Analyse the impact of the author's choices regarding how to develop and relate elements of a story or drama (e.g. where a story is set, how the action is ordered, how the characters are introduced and developed).
• RL.11-12.4 — Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyse the impact of specific word choices on meaning and tone.
• RL.11-12.5 — Analyse how an author's choices concerning how to structure specific parts of a text contribute to its overall structure and meaning as well as its aesthetic impact.
• RL.11-12.6 — Analyse a case in which grasping a point of view requires distinguishing what is directly stated in a text from what is really meant (e.g. satire, irony, understatement).

AP Literature

• Literary Argumentation (LAN-1) — Develop a thesis that makes a defensible claim about an interpretation of literature and establish a line of reasoning to defend it.
• Figurative Language (FIG-1) — Explain the function of specific words and phrases, including extended metaphor and imagery, in a literary text.
• Narration (NAR-1) — Explain the function of point of view, including free indirect discourse and shifts in focalisation, in a literary text.
• Character (CHR-1) — Explain the function of contrasting characters and how their development across a text contributes to an interpretation of the whole work.
• Structure (STR-1) — Explain the function of structure, including juxtaposition and the placement of philosophical digression, in a literary text.

AQA

• AO1 — Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression.
• AO2 — Analyse ways in which meanings are shaped in literary texts, including Tolstoy's use of free indirect discourse, juxtaposition, and imagery of roundness versus angularity.
• AO3 — Demonstrate understanding of the significance and influence of the contexts in which literary texts are written and received, including Tolstoy's response to the 'great man' theory of history and the cultural memory of 1812.
• AO5 — Explore literary texts informed by different interpretations, including the debate over whether War and Peace supports or contradicts Tolstoy's own philosophical epilogue.

Edexcel

• AO1 — Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology and coherent, accurate written expression.
• AO2 — Analyse ways in which meanings are shaped in literary texts, with specific attention to Tolstoy's narrative voice, structural juxtaposition, and free indirect thought.
• AO3 — Demonstrate understanding of the significance and influence of the contexts in which literary texts are produced and received, including the 1812 invasion as cultural trauma and Tolstoy's Crimean War experience.
• AO4 — Explore connections across literary texts, including the relationship between the novel's narrative and the Second Epilogue as philosophical argument.