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He approaches it through the mind of an onlooker, Napoleon or Kutusov or the little girl by the stove in the corner, borrowing the value of indirectness, the increased effect of a story that is seen as it is mirrored in the mind of another. But he chooses his onlooker at random and follows no consistent method.
It is now the war, with the generals and the potentates in the forefront, that is the matter of the story. Alexander and Kutusov, Napoleon and Murat, become the chief actors, and between them the play is acted out. In this story the loves and ambitions of the young generation, which have hitherto been central, are relegated to the fringe; there are wide tracts in which they do not appear at all.
Let goodly place be given to Minime and Pojarski, who drove forth barbarian invaders, goodly place also to Platov and Kutusov, who drove forth civilized invaders. Let there be high-placed niches for Ivan the Great, who developed order, for Peter the Great, who developed physical strength, for Derjavine and Karamsin, who developed moral and mental strength.
A well-trained Russian army of 400,000 men, under the stubborn, taciturn veteran, General Kutusov, was put in the field. War seemed imminent by April, 1812. After leisurely completing his preparations, Napoleon crossed the Niemen on 24 June, and the invasion of Russia had begun.
The size of the theme, and the scale upon which these scenes are drawn, imply a novel as long as our existing War and Peace; it would all be filled by Kutusov and Napoleon, if their drama were fully treated, leaving no room for another.
Pushing on into Russia, he captured the great fortress of Smolensk but still failed to crush the main Russian army. Then it was that he made the momentous decision to press on at once to Moscow. On 7 September, General Kutusov turned against him at Borodino and inflicted serious injury upon his army, but a week later he was in possession of Moscow.
Emperors and kings, nations, cities, and principalities, statesmen like Stein, philosophers like Fichte, poets like Arndt and Körner, warriors like Kutusov, Blücher, and Schwartzenberg, the peoples of Europe and the governments of Europe, the oppressed and the oppressors, the embittered enmities and the wrongs of a thousand years forgotten, had leagued together in this vast enterprise, whose end was the destruction of one nation and one sole man the world-deliverer of but fifteen years ago!
Eyiau and Friedland attested this, and many a later field, and the chronicle of his recent wars, from Potiamkin to Skobeleff, from Kutusov to Todleben, illustrate the justice of Napoleon's verdict, "unparalleled heroism in defence." And yet out of the sword the Slav has never forged an instrument for the perfection of a great political ideal.
That which rivets his attention, absorbs his energies, is the fatuity of all the generals indiscriminately, even of Kutusov; it is the supremacy of Hazard; and in the hour of battle itself he sees no heroisms, no devotions, or he turns aside from such spectacles to fasten his gaze upon the shuddering heart, the blanched countenance, the agonizing effort of the combatants to conquer their own terror, their own dismay; and to close the scene he throws wide the hospital, and points to the wounds, the mutilated bodies, the amputated limbs yet quivering, to the fever, and the revel of death.
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