Book 4 Part 3 Chapter 12 (Chapter 307 overall)

Chapter Summaries: Dole: Pierre's experiences. Karatayef. Sufferings. The power of vitality.
Briggs: Pierre struggles on with the other prisoners. Karatayev is ill.
Maude (chapters 12-15): Pierre's journey among the prisoners. Karataev. His story of the merchant. His death. Pierre rescued
Pevear and Volokhonsky: Pierre's recent days with the prisoners. Karataev's illness. Pierre's reaction.

Translation:

XII.

About that party of captives, in which was Pierre, in the time only of their movements from Moscow, were from the French superiors no new orders. This party, on the 22nd of October, were found now not with those troops and wagons, with which it exited from Moscow. Half of the wagons with breadcrumbs, which were walking behind them in the first transitions, were repulsed by Cossacks, another half left forward; the on foot cavalrymen that went ahead were not one more; they all disappeared. The artillery, which at the first transitions could be seen ahead, were replaced now by the huge wagons of the marshal Juno, escorted by Westphalians. To the back of the captives rode wagons of cavalry things.

From Vyazma the French troops, before marching in three pillars, went now in one bunch. Those signs of disorder, that Pierre saw in the first halt from Moscow, now reached to the last extent.

The road by which they went, from both parties were laid dead horses; ragged people, outdated from different teams, incessantly changing, then attached, then again behind from marching columns.

A few times in the time of the trip were fake alarms, and the soldiers of the convoy raised guns, fired and ran headlong, crushing each other, but then again they were going and scolding each other for vain fear.

These three bunches, marching together — the cavalry depot, the depot of captives and the wagons of Juno, — all still formed something separate and whole, although that, and another, and the third melted fast.

In the depot, in which were 120 wagons at first, now stayed not more than 60; the rest were repulsed or thrown. From the wagon of Juno also was left and repulsed a few wagons. Three wagons were robbed by running backward soldiers from the corps of Davout. From the talking Germans Pierre heard that these wagons were placed in guard more than the prisoners, and that one of their friends, a German soldier, was shot by the order of the marshal himself for that on the soldier was found a silver spoon owned by the marshal.

More again only of these three bunches melted the depot of the captives. Of the 330 people, leaving from Moscow, now stayed less than one hundred. The captives still more than the saddles of the cavalry depot and than the wagons of Juno, burdened the escorting soldiers. The saddles and spoons of Juno, they understood how they could come in handy, but for what were the hungry and cold soldiers standing on guard and watching these same cold and hungry Russians, which died and were behind on the road, which were ordered to be shot — this was not only unclear, but nasty. And the convoy, as would be fearing in this woeful position in which they themselves were found out, not to give back the formerly in them feeling of pity to the prisoners and by that worsen their position, especially gloomily and strictly turned from them.

At Dorogobuzh, at that time as the convoy of the soldiers, locking the captives in the stable, went to rob their same shops, a few people of the captive soldiers undermined under the wall and ran away, but were captured by the French and shot.

The former, introduced at the output from Moscow, order, so that the captive officers went separately from the soldiers, now for a long time was destroyed; all those that could go, went together, and Pierre from the third transition now again was united with Karataev and the purple, curved-legged dog, which elected itself as a host of Karataev.

With Karataev, on the third day of the exit from Moscow, was made that fever, in which he lied in the Moscow hospital, and, by the least as Karataev weakened, Pierre was distant from him. Pierre did not know from what, but as Karataev had become weak, Pierre was to make an effort above himself, so that to come to him. And coming up to him and listening to those quiet moans, with which Karataev usually at halts lied down, and, feeling the intensified in him smell, which issued from Karataev himself, Pierre walked away from him a little farther and did not think about him.

In captive, in the booth, Pierre found out not his mind, but to all the essence of his life, that a person is created for happiness, that happiness is in his most satisfaction of natural, human needs, and that all misfortune going on was not from the lack of, but from the surplus; but now, in these last three weeks of the trip, he found out a still new, consolatory truth — he found out that in the world was nothing scary. He found out that as there is no in the world situation, in which a person was happy and quite free, so there is no situation in which he was quite unhappy and unfree. He found out what was the border of misery and the border of freedom and that this border was very close; that a person, which suffered from that on his pink bed was wrapped up by one sheet, exactly so the same suffered, as he suffered now, falling asleep on the naked, raw land, cooling down one side and warming another; that, when he happened to put on his ballroom, narrow shoes, he exactly so the same suffered as now, when he was walking now really barefoot (his footwear for a long time was disheveled), his feet covered in sores. He found out that when he, as to him it seemed, by his own will married his wife, he was not more free, than now, when he was locked up at night in the stable. Of only what he then called misery, but what then he almost did not feel, the main thing was his barefoot, raw, chilled legs. (The horse meat was tasty and nutritional, the saltpeter bouquet of gunpowder, used instead of salt, was even pleasant, it was not very cold, and the afternoon always happened to be hot, and at night there were fires; the lice, eating him, warmed his body). The one that was heavy in this first time — this was his legs.

In the second day of the transition, examining at the bonfire his sores, Pierre thought that it was impossible to set foot on them; but when all had risen, he went limping and then, when he warmed up, he went without pain, although in the evening it was still scarier to look at his legs. Yet he did not watch them and thought about others.

Now only Pierre got all the force of the vitality of a man and the saving force of transporting attention, invested in a man, similar to that salvation valve in engines, which releases excess steam, as only its density exceeds the famous norm.

He did not see and did not hear, how were shot the retrograded captives, although more than a hundred of them now died in such a way. He did not think about Karataev, who weakened with every afternoon and obviously soon should be subjected to that same fate. Still less Pierre thought about himself. The harder became his position, the scarier was his future, by that independent from this situation in which he was found out, came to him joyful and calming thoughts, memories and presentations.

Time: October 22d,
Mentioned: on the third day after leaving Moscow, second day's march

Locations: Dorogobuzh
Mentioned: French, Moscow, Westphalians, Vyazma, Germans, Russian,

Pevear and Volokhonsky Notes: We flip and flashback to Pierre's side of the story. "The signs of disorder, which Pierre had noticed at the first halt after Moscow, had now reached the final degree." We get details about the different factions of the retreat that have melted away. Pierre has been marching with Karataev, but Karataev has gotten sick again and Pierre finds that he has to make an effort to get close to him, preferring to stay away and not think about him.
Pierre "had learned that there is nothing frightening in the world...He had learned there is a limit to suffering and a limit to freedom, and that those limits are very close." What bothers Pierre more than anything is his feet. He chooses not to think about Karataev's future and decides to focus on "joyful and calming thoughts, memories, and images that came to him."

Characters (characters who do not appear, but are mentioned are placed in italics. First appearances are in Bold. First mentions are underlined. Final appearance denoted by *):

Pierre

Marshal Junot (and his Westphalians.)

Davoust (his corps)

Karatayef

The short-legged pink dog

Ellen ("his wife")

(also French commanders, Cossacks, and different departments of the French army. Also the other Russian prisoners. Also Germans, including the German soldier shot by Junot's orders.)

Abridged Versions: Start of Chapter 13 in Bell. Line break instead of chapter break at the end.

Gibian: Chapter 3: line break instead of chapter break.

Fuller: We pick up on the update on the dwindling party of prisoners, removing all the information about the army and its dwindling party broken up into warring factions. We also lose the last part of the chapter, which reflects on Pierre's inner recollections, really only leaving the information about the retreat and the update on Karataev. No line break.

Komroff: Chapter basically preserved. Followed by line break.

Kropotkin: Chapter 7: The details about the failing French party, including the details about Junot's men, are basically removed. We get to Karatayef's sickness much quicker. No break.

Simmons: Chapter 3: a lot of the description of the baggage train is removed. The section describing Pierre's newfound happiness is shortened. Line break instead of chapter break.

Additional Notes:

Book 4 Part 3 Chapter 11 (Chapter 306 overall)

Chapter Summaries: Dole: The start. The signal. The attack. Petya killed. Denisof's sorrow. Pierre set free.
Briggs: In his impetuosity Petya is soon killed. Pierre is among the men rescued.
Pevear and Volokhonsky: The attack on the French. Petya ignores Dolokhov's warning and is killed. The French taken and the Russian prisoners freed. Pierre is among them.

Translation:

XI.

Fast at the half-mountain dismantled the horses, pulled up the girths and exposed the teams. Denisov stood at the guards, giving back the last orders. The infantry parties, slapping a hundred feet, passed forward by the road and fast hid between the woods in the predawn fog. The esaul ordered something to the Cossacks. Petya held his horse about, impatiently expecting orders to sit down. Washed in cold water, his face, in particular his eyes burned with fire, chills ran through his back and in all his body something fast and evenly trembled.

— Well, are you all ready? — said Denisov. — Come on horses.

The horses were given. Denisov was angered at a Cossack for that the girths were weak, and, scandalizing him, sat down. Petya took for the stirrup. The horse, by habit, wanted to bite him behind the leg, but Petya, not feeling his weight, quickly jumped up on the saddle and, looking back at the setting off back in the dark hussar, drove to Denisov.

— Vasiliy Fedorovich, do you instruct me in something? Please... for God... — he said. Denisov seemed to forget about the existence of Petya. He turned back to him.

— About one thing I beg you, — he said strictly: — Listen to me and nowhere butt in.

In all the time of transporting Denisov spoke not a word more with Petya and rode silently. When they pulled up to the edge of the forest, in the field it now noticeably had begun to brighten. Denisov talked something in a whisper with the esaul, and the Cossacks began to drive through past Petya and Denisov. When they all drove through, Denisov touched his horse and went under the mountain. Sitting down on the backside and sliding, the horses went down with their own riders in the hollow. Petya rode nearby with Denisov. The shiver in all his body all intensified. It became all lighter and lighter, only the fog hid distant items. Having moved downwards and looking back, Denisov nodded his head to a Cossack standing beside him.

— The signal! — he spoke. The Cossack raised his hand, rang out a shot. And in that same moment was heard the clattering ahead galloping of horses, shouting from different parties and more shots.

In that same moment as was heard the first sounds of the stomp and scream, Petya, stroking his horse and releasing the reins, not listening to Denisov screaming at him, galloped forward. To Petya it seemed that suddenly completely, as in the middle of the day, was the bright dawn in that moment as was heard the shot. He jumped up to the bridge. Ahead by the road galloped the Cossacks. On the bridge he faced with a straggler Cossack and galloped farther. Ahead were some people — these must be the French, running from the right part of the road to the left. One fell in the mud under the feet Petya’s horse.

In one hut crowded Cossacks, doing something. From the middle of the crowd was heard a terrible shout. Petya jumped up to this crowd and the first that he saw was a pale with a shaking lower jaw face of a Frenchman, holding on behind the staff of a directed at him spade.

— Hoorah!.. Guys... Ours... — screamed Petya and, giving the reins flamed up his horse, galloping forward by the street.

Ahead were heard shots. The Cossacks, hussars and Russian ragged captives, fleeing from both parties to the roads, all loudly and awkwardly shouted something. A youngish, without hat with a red frowned face, Frenchman in a blue greatcoat repulsed a bayonet from a hussar. When Petya jumped up, the Frenchman now fell. Again late, flashed in the head of Petya, and he galloped there, where from were heard frequent shots. The shots were heard in the courtyard of this lordly home which he was at last night with Dolohov. The French settled there behind a hedge in thick, overgrown bushes and the garden and fired by the Cossacks, crowded at the gate. Driving to the gate, Petya in the powder smoke saw Dolohov, with a pale, greenish face, screaming something at the people. "To the detour! Wait for the infantry!" he shouted at that time as Petya drove to him.

— Wait?.. Uraaaa!.. — shouted Petya and, not hesitating one minute, galloped to that place, from where were heard shots and where thicker was the gunpowder smoke. Was heard a volley, squealing empty and in something slapped bullets. The Cossacks and Dolohov jumped up following behind Petya at the gate of the home. The French were in the hesitant thick smoke, some threw weapons and ran out from the bushes towards the Cossacks, others ran under the mountain to the pond. Petya galloped on his horse along by the lordly court and, instead of so that to keep the reins, weirdly and fastly waved both hands and all farther and farther got lost from the saddles to one side. The horse, having come running in the smoldering in the morning light bonfire, rested, and Petya heavily fell on the wet land. The Cossacks saw how fast twitched his hands and legs, despite that his head did not stir. The bullet broke through his head.

Having talked with the senior French officer, who got out to him from behind the home with a handkerchief on a sword and declaring that they handed over, Dolohov tore from his horse and came up to the still, with outstretched hands, lying Petya.

— Ready, — he said frowning and went to the gate towards the traveling to him Denisov.

— Killed?! — cried out Denisov, seeing still from afar that familiar to him, undoubtedly lifeless position, in which lied the body of Petya.

— Ready, — repeated Dolohov, as if pronouncing these words delivered him pleasure, quickly going to the prisoners, which surrounded the dismounted Cossacks. — We will not take! — he shouted to Denisov.

Denisov did not respond; he drove to Petya, tore from his horse and with trembling hands turned to himself the soiled in blood and mud, now pale face of Petya.

"I am used to something sweet. Great raisins, take them all," he remembered. And the Cossacks with surprise looked around at the sounds, similar to a dog barking, from which Denisov quickly turned away, coming up to the wicker and grabbing behind it.

In the number of the repulsed by Denisov and Dolohov Russian captives was Pierre Bezuhov.

Time: see previous chapter
Mentioned: middle of the day

Locations: see previous chapter
Mentioned: French, Russian

Pevear and Volokhonsky Notes: As everyone gets ready, Petya asks for an assignment, but Denisov tells him just to listen and to not put himself in danger. Petya immediately does the opposite, rides out in front and towards the fire. Dolokhov yells at him to go around and wait. Petya rides forward and then falls off his horse with a bullet through his head. Dolokhov says he was "Finished" while Denisov cradles the body and makes a strange sound "similar to a dog's barking". The last sentence of the chapter reveals that one of the prisoners rescued was Pierre.

Characters (characters who do not appear, but are mentioned are placed in italics. First appearances are in Bold. First mentions are underlined. Final appearance denoted by *):

Vasili Feodorovitch Denisof (and his Cossack)

The esaul (and his Cossacks)

Petya

Karabakh ("horse")

Dolokhof

Pierre Bezukhoi (among the Russian prisoners freed.)

(also the infantry detachment and the horses being brought out. Also the French in general, including one with his lower jaw trembling and a youthful one with a scowling face. Also hussars and the old French officer who surrendered.)

Abridged Versions: End of Chapter 12 in Bell.

Gibian: end of Chapter 2.

Fuller: See chapter 310

Komroff: Information that Pierre was one of the saved prisoners comes after the line break.

Kropotkin: Chapter is preserved. End of Chapter 6.

Simmons: some of the early description is cut. End of Chapter 2

Edmundson: Act 4 Scene 18: Platon's death scene is played out completely wordlessly.

Act 4 Scene 19: Andrei's death scene is played out completely wordlessly.

Act 4 Scene 20: Pierre sits around the fire and says that they cannot lock up his immortal soul.

Act 4 Scene 21: A short scene where Natasha and Sonya discuss where Andrei is now and Sonya tells her that she has written Nikolai and released him from their engagement. 

Act 4 Scene 22: A very brief scene with Dolohov telling Petya not to run forward. Pierre watches him killed and says his name. 

Additional Notes:

Chapters 19-23 of Resurrection: The Pontification of The Courtroom

Chapter 19: We go back to Nekhlyudov in the jury-room, finding himself ashamed and believing he is going to be put on trial himself. And, apart from the comedy and parody of the characters, this is how Tolstoy tears apart the legitimacy of the trial and the idea of judgment in general. The wrong character is on trial and the guilty one is the one that is supposed to convict here and, unlike the apparent ignorance of the prosecutor and the distracted nature of the judge, the protagonist in the jury knows and understands this. Obviously the entirety of the novel's plot runs on irony, but the ultimate irony of the sinner judging the one that has been sinned again. This is key to Tolstoy's anarchism as well, as the government, the ultimate oppressor of freedom and author of violence, creates a system of judgment against the ones that are the victims of the system, just as we judge (both metaphorically and politically) the actions of the poor when their actions are the result of the judgment, which creates the perpetual cycle of class violence that is being explored here.
A witness, the one who runs the brothel, speaks in a German accent (of course) that Edmonds turns into heavily accented spelling, a decision we see her make a lot. Looking at Katusha, "He (Nekhlyudov) experienced the same feeling he had when he was out hunting and had to put a wounded bird out of its misery: a mixture of loathing, pity and vexation. The wounded bird struggles in the game-bag: one is disgusted and yet feels pity, and is in a hurry to put an end to its suffering and forget it."
The hunting/animal metaphors, as well as the idea of just trying to forget mistakes or hardships continue. Recognizing these extended metaphors and repeated emphasizes not only help us allow Tolstoy to drive the point home, but it highlights just how forceful he is thematically. 

Chapter 20: The trial drags out and they have to look at the evidence and the assistant prosecutor makes the secretary read evidence only because he has the right to demand it. Tolstoy isn't afraid to mix the complex and serious inner feeling of his protagonist with outer humor, something we saw in the death scene of Count Bezukhov, Pierre's father. The humor also compares to the description of Pierre's initiation into the Masons. Nekhlyudov fixates on the description of the dead body and ties it to the rape of Katusha in his memory. This inner morbidity isn't something I really recognize as appearing in any of Tolstoy's other work that I've read, so it is kind of noteworthy and is somewhat psychological, though I think that Tolstoy wants to emphasize the metaphor and be blunt with the comparison and message that Nekhlyudov's rape of Katusha is like the death of the man (and, if Katusha were guilty of the murder, which he does not really appear she is, Nekhlyudov's actions lead to the man's death).

Chapter 21: The judge hopes the prosecutor would hurry, "hoping that he too, being human, might want to smoke and have some dinner himself, and therefore show a little mercy to the rest of them. But the assistant prosecutor had no mercy either for himself or them. Besides being very stupid by nature the assistant prosecutor had had the misfortune to finish high-school with a gold medal...which made him exceedingly self-assured and conceited (to which his success with the ladies contributed still further), and in consequence he was quite monumentally stupid."
This is Tolstoy at his most viscous, and also I think, his best, the writer that refers to military decorations as ribbons unfit for dressed up little girls. On a personal level, perhaps mainly based on generational biases, I find most complaints about the trophies and honors young people receive to be misguided and think self-esteem is an important combatant against self-doubt, but Tolstoy does bring up an important pedagogical point about rewarding or encouraging those that do not deserve it or do not do anything worthwhile. While encouraging and thinking about self-esteem is important, "stupid" behavior and outlooks have to be corrected, or else, when trying to encourage young people, you may encourage their negative traits, thus exaggerating them. There is also a classist point that I think we can make here is that those with status, but no real talent or intelligence, are often encouraged to believe that they do have something valuable because they have that status they are born with. There are countless examples that we don't need to add here.
With emphasis on his gold-laced uniform, he speaks for over an hour. "The assistant prosecutor spoke at great length, trying on the one hand to remember all the clever things he had thought of and, on the other -this was most important - not to stop for a moment...All the latest catchphrases then in vogue in his set, everything that then was and still is accepted as the last word in scientific wisdom was included in his speech - heredity and congenital criminality, and Lombroso and Tarde, evolution and the struggle for existence, hypnotism and hypnotic suggest, Charcot and decadence."
Just like the disposition in War and Peace I've referenced several times in the posts on Resurrection, Tolstoy loves to parody those that love to talk and say things that appear to be important but are ultimately meaningless (perhaps ironically considering the vast amount of writing Tolstoy did and how one of the biggest complaints readers have against him is his pontification). And, this is Tolstoy showcasing his "anti-scientific", which is a way he hasn't aged quite correctly, even though what he critiques was technically wrong anyway (including the German method of warfare, 19th century doctors, and the thinkers above). As "anti-scientific" religious people of today often complain, Tolstoy's main problems with "science" (it is worth noting that he doesn't really mean geology, biology, or physics, and often means "philosophy" that is in vogue that masquerades as science) are certainty and transitoriness, or the combination of the two. Those who march under the authority of science often use the word as an ultimate and all-encompassing authority, even using "science" outside of the bounds of what most scientists are comfortable with (some modern public figures come to mind but don't necessarily need to be mentioned here). This certainty or absolutism of course doesn't mesh with how science or philosophy really works, since knowledge changes and ideas and evidence leads people in many different ways over many different time periods. What many religious critics fail to see about science is that the transitoriness is not a bug but a feature of science, and Tolstoy, at his most dogmatic, makes this mistake, but we can also make the mistake of mistaking Tolstoy's criticisms of medicine and science of his time as applicable or descriptive of medicine and science in our time.
The hereditary criminality is discussed in the context of Katusha, who is literate, speaks French, but illegitimate (Edmonds uses "orphan", which seems less strong than Maude). Tolstoy completely rejects the idea that people are born criminal or that criminality is passed from generations, instead blaming social conditions, and following the "blank slate" or "noble savage" view of humanity, rejecting "original sin".
Maslova's counsel "tried to indulge in a little eloquence, describing how Maslova had been led into a life of debauchery by a man who had gone unpunished while she had had to bear the whole brunt of her fall but this excursion into the domain of psychology was so unsuccessful that everybody felt uncomfortable. When he meandered on about the cruelty of men and the helplessness of women the president, wishing to help him out, requested him to keep closer to the points of the case."
When someone tries to point out the way that women are mistreated in society and that these circumstances can lead to criminality or, at the very least, an outcast from what is "desirable", the court rejects it completely, claiming that it isn't relevant to the case. And this is one of the ultimate failures of judgment and the court system as whole. Its focus on "relevance" rejects contextualizing the society the event takes place and thus cannot properly put the actions in a way that makes any sense, making alienation and conviction possible, which is a pure rejection of fairness.
Maslova is compared to a hunted animal, Tolstoy's favorite metaphor, only crying and not talking while Nekhlyudov feels an overpowering sense of fear.

Chapter 22: Even though the president is ready to leave, he cannot stop himself from droning on to the jury before they decide on their verdict. Everything that has already been said is repeated again. "It seemed there could be nothing left to say. But the president could not let go of his right to speak - it gave him such pleasure to listen to the inspiring tones of his own voice". The repetition of theme throughout the court scenes drive the point home, destroying all credibility of everything that is being said.
Nekhlyudov "felt like a puppy when its master seizes it by the neck and rubs its nose in the mess it has made...appreciating the baseness of what he had done felt the mighty hand of the Master; but he still did not realize the significance of what he had done, or recognize the Master's hand".
This is a big difference we see in Resurrection from War and Peace is the explicit references to the way God is the one driving history. In War and Peace, the force that directs history is much more abstract and matches 19th century post-Hegelian philosophy, where we can insert God as the director of history, but are more encouraged to do so by general Will. Here in Resurrection, that doubt or ambiguity is removed. It is God that drives history and the circumstances the characters find themselves in (this is very helpful from a plot point, as the absurd coincidence of Nekhlyudov being on this jury can be hand-waved as "God willed it"), though in his typical convoluted compatibilist fashion, the characters still have the ability to choose their actions (in fact, the flashback of Nekhlyudov's actions, though we see how social circumstances have encouraged his decisions, are completely meaningless, and appallingly frightening, if he does not have free will, and even more of a free will than the end of The Kingdom of God is Within You can give him).

Chapter 23: The jury is described as "looking ashamed somehow and not knowing what to do with their hands...The unnaturalness and falseness of their situation which to a greater or less degree they had all been conscious of" Even though Nekhlyudov doesn't, just like the characters of War and Peace, doesn't understand the significance of his actions, the jury is conscious that what they are doing is insincere and lacks authenticity, the grave Tolstoy sin.
The jury messes up the verdict, accidentally leaving out the clause "but without intent to take life".
"Rabelais tells of a lawyer to whom people had come about a lawsuit who after quoting all sorts of laws and reading twenty pages of meaningless judicial Latin, invited the contending parties to throw dice: odds or even. If an even number turned up, the plaintiff was right; if odd - it was the defendant it was much the same in this case." Because so much had been said and so little of it had meant anything, the jury is no better than rolling dice because there is no way to possibly sort through all the necessary information. I really think Tolstoy saw the dangers of a bureaucracy that transcends the average or even the educated person in complexity, and as our society continues to become more and more complicated, the further the average person, not to mention the ones that are continually crushed by the system, falls behind and the further humanity falls from justice (which is why Tolstoy values simplicity and authenticity more than anything).
The president realizes that the verdict is "absurd" but is unable to get the other judges to cancel the judgement because one of them is concerned of what the papers will say to them. Again, we see how public opinion, or in this case, the conservative manipulation of public opinion, affecting the way the characters see their actions (this is huge in War and Peace, as the court drives so much of the military strategy of Russia, despite the protestations of Kutuzov).

Book 4 Part 3 Chapter 10 (Chapter 305 overall)

Chapter Summaries: Dole: Petya returns. Illusions. The orchestral concert. The sharpened sabre. Dawn in the woods.
Briggs: Night. Petya is in a magic kingdom, dreaming. He is ready for anything.
Pevear and Volokhonsky: Petya in Densiov's camp. Sleeplessness. A Cossack sharpens his saber for him. Petya's musical hallucinations.

Translation:

X.

Returning to the guardhouse, Petya caught Denisov at he canopy. Denisov, in agitation, anxiety and annoyance at himself for that he let Petya go, saw him.

— Thank God! — he shouted. — Well, thank God! — he repeated, listening to the enthusiastic story of Petya. — And damn you, for you I did not sleep! — spoke Denisov. — Well, thank God, now lie down to sleep. Still to take a nap before morning.

— Yes... no, — said Petya. — I still do not want to sleep. Yes and I myself know, should I fall asleep, so really it will be over. And then I am used to not sleeping before a battle.

Petya sat for some time in the hut, happily remembering the details of his trips and lively presenting to himself that what will be tomorrow. Then, noticing that Denisov was asleep, he got up and went in the yard.

In the courtyard it was still really dark. The rain passed, but the drops still fell from the woods. Near from the guards were seen the black figures of Cossack huts and related together horses. Behind the hut was two blackened wagons, at which were standing horses, and in the ravine blushed a burned out fire. The Cossacks and hussars were all not sleeping: somewhere was heard together with the sound of falling drops and the close sound of chewing horses, not loud, as would be whispering voices.

Petya got out from the canopy, looked around in the dark and came up to the wagon. Below the wagons snored someone, and around them were standing, chewing oats, saddled horses. In the dark Petya found his horse, which he called Karabah, although it was a little Russian horse, and came up to her.

— Well, Karabah, tomorrow will serve, — he said, smelling her nostrils and kissing her.

— What baron, you do not sleep? — said a Cossack, sitting under the wagon.

— No; but... Lihachev, it seems, you are called? Because I now only have arrived. We rode to the French. — and Petya in detail told the Cossack not only of his trip, but that why he drove, and why he considered that it was better to risk his life, than do an at random Lazarus.

— What the same would a nap be, — said the Cossack.

— No, I am used to it, — was the response of Petya. — But that you have flints for your pistols in abundance? I brought them with myself. Whether you do not need them? You take them.

The Cossack leaned out from under the wagon, so that to closer consider Petya.

— Because of how I am used to doing all accurately, — said Petya. —  Others are so somewhat not prepared, then pity it. I do not love to be so.

— This is exact, — said the Cossack.

— Yes still here is that, please, darling, sharpen my saber; it is blunt... (but Petya was afraid to lie) it was never sharpened. Can you do this?

— From what but I can.

Lihachev got up, rummaged in his pack, and Petya soon heard the militant sound of the beginning of the whetstone. He climbed on the wagon and sat down on its edge. The Cossack under the wagon made the saber.

— But what again are they asleep so well? — said Petya.

— Some are sleeping, but some are so here.

— Well, but the boy is what?

— Spring? He there in the canopy collapsed. With fear he is sleeping. He was really glad.

Long after this Petya kept silent, listening to the sounds. In the dark was heard steps and appeared a black figure.

— Is that sharpened? — asked the person, coming up to the wagon.

— But here is the master’s sharpened saber.

— Good business, — said the person, who appeared to Petya to be a hussar. — Whether you have a cup left?

— But out at the wheels. — The hussar took the cup. — I suppose it will soon be light, — he spoke yawning and passed somewhere.

Petya was to know that he was in the wood, in the parties of Denisov, at a verst from the roads, that he sat on the wagon, repulsed at the French, about which was attached horses, that under him sat the Cossack Lihachev sharpening his saber, that the great, black blur to the right — the guard, and the red, bright blur down and to the left — a burned out bonfire, that the person, coming for the cup, — a hussar, who wanted to drink; but he knew nothing and did not want to know this. He was in a magic kingdom, in which nothing was similar to reality. The great black blur may be exactly the guard, but maybe, it was a cave, which led in the very deep earth. The red blur maybe was a fire, but it may be the eye of a huge monster. Maybe, he sat exactly now on the wagon, but it may very well be that he sat not on the wagon, but on a fearfully high tower, from which should he fall, then he would fly to the earth a whole day, a whole month — all to fly and to never not fly. Maybe that under the wagon sat simply the Cossack Lihachev, but it very well may be that this was — the most kind, brave, most wonderful, and most superior person in the world, whom nobody knows. Maybe, this was exactly the passed hussar for water that went in the hollow, but, maybe, he not only disappeared from view, but really disappeared, and he was not.

What would Petya have seen now, nothing would surprise him. He was in a magic kingdom, in which all was possible.

He looked at the sky. The sky was such the same magic as the land. In the sky cleared above the tops of the woods quickly running clouds, as if open stars. Sometimes it seemed that in the sky cleared and showed up a black, clean sky. Sometimes it seemed that these black spots were clouds. Sometimes it seemed that the sky was high, highly lifting above his head; sometimes the sky really came down, so that he could get it with his hand.

Petya began to close his eyes and wiggle.

Drops dripped. Was walking a quiet dialect. Horses laughed and fought. Snored someone.

— Ozhig, zhig, ozhig, zhig... — whistled the sharpening saber.

And suddenly Petya heard the harmony of choir music, playing something unknown, a solemnly sweet anthem. Petya was musical, so the same as Natasha, and more Nikolay, but he was never taught music, did not think about music because the motifs suddenly coming to his head were for him especially new and attractive. The music played all the more audible and more audible. The tune had grown, going over from one instrument to another, was happening that what was called a fugue, although Petya did not have the slightest idea about what such was a fugue. Every instrument, that similar to a violin, that to pipes — but better and cleaner than violins and pipes — every instrument played it and, not having finished playing another motif, merging with another, began almost that same, and from a third, and from a fourth, and they all merged in one and again scattered, and again merged, in a solemnly church-like, then in a brightly brilliant and victorious.

"Ah, yes, because this is I in a dream," swinging forward, said Petya to himself. "This is in my ears. But maybe this is my music. Well, again. Go ahead my music! Well!.."

He closed his eyes. And from different parties, as if from afar, trembled sounds, beginning to get along, runaway, merging, and again all connected in that same sweet and solemn anthem. "Ah, this is something beautiful! How much I want and so want," said to himself Petya. He tried to lead this huge mansion of instruments.

"Well, hush, hush, freeze now." And the sounds listened to him. "Well, now completely, more fun. More, more joyful." And from unknown depths rose intensifying, solemn sounds. "Well, voice, stick!" ordered Petya. And first from afar was heard the voice of a male, then a woman. The voice grew, grew in uniform with the triumph of efforts. Petya fearfully and happily was heeding their extraordinary beauty.

With the solemn victorious march merging the song, and the drops dripped, and ozhig, zhig, zhig... whistled the saber, and again fought and laughed the horses, not breaking the chorus, but entered in it.

Petya did not know how long this went on: he enjoyed, and all the time was surprised at his enjoyment and pitied that no one reported to him. He woke up to the affectionate voice of Lihachev.

— Ready, your nobleness, at two the guardians spread out.

Petya woke up.

— Already it is dawn, right it is dawn! — he cried out.

Invisible before horses became visible to the tails and through naked branches was seen watery light. Petya shook himself, jumped up, took out of his pocket a ruble and gave it to Lihachev, waving, trying to check it and placing it in his sheath. The Cossacks untied horses and pulled up girths.

— Here is the commander, — said Lihachev.

From the guards got out Denisov and, calling out to Petya, ordered to collect.

Time: see previous chapter
Mentioned: daylight, whole day, whole month

Locations: see previous chapter
Mentioned: Arabian, Little-Russian, French

Pevear and Volokhonsky Notes: Petya talks with Denisov, and like his brother earlier in the novel, he doesn't sleep before a battle. Petya then talks to his horse and then a Cossack who he offers flints and then convinces to sharpen his saber. Petya "was in a magic kingdom, in which there was nothing resembling reality....Maybe he is indeed sitting on a wagon now, but it very well may be that he is sitting, not on a wagon, but on a terribly tall tower, from which if you fell, it would take you a whole day, a whole month, to reach the earth--you would keep falling and never get there."
"Petya was musical, like Natasha, and more so than Nikolai, but he had never studied music or thought about music, and therefore the melodies that unexpectedly came to his head were especially new and attractive to him."
He gets awaken from this experience by the Cossack and realizes it is getting light.

Characters (characters who do not appear, but are mentioned are placed in italics. First appearances are in Bold. First mentions are underlined. Final appearance denoted by *):

Petya (also "barin")

Denisof (also "commander")

Karabakh (Petya's Little Russian horse.)

Likhatchef (a Cossack. "Lihachov" in Edmonds. "Lihatchev" in Garnett. "Likhachov" in Briggs and Mandelker. "Likhachev" in Maude, Dunnigan, and Wiener. "Likhatchow" in Bell.)

Vesennui

Natasha

Nikolai

(also Cossacks and hussars, specifically the hussar who goes back for his cup. Also the French.)

Abridged Versions: No break in Bell.

Gibian: line break instead of chapter break.

Fuller: See chapter 310

Komroff: The dream Petya has, as well as the discussion about his relationship with music, is removed. Followed by a line break.

Kropotkin: Chapter 6: Only the final sentence, which is Denisof giving orders to get ready, is preserved.

Simmons: the description of the Cossacks' shanties and Petya talking to his horse is removed. His conversation with Likhachev is shortened and the section with Petya's dream and the music is severely shortened. Line break instead of chapter break.

Additional Notes:

Book 4 Part 3 Chapter 9 (Chapter 304 overall)

Chapter Summaries: Dole: The visit to the French camp. Dolokhof's audacity. Petya's enthusiasm.
Briggs: Dolokhov and Petya infiltrate the French camp to get information.
Pevear and Volokhonsky: In French uniforms, Dolokhov and Petya visit the village and come back safely.

Translation:

IX.

Dressed in French greatcoats and shakos, Petya with Dolohov went to that clearing, from which Denisov watched on the camp and, leaving from the forest in the perfect dark, came down in the hollow. Having moved out downwards, Dolohov told the accompanying him Cossacks to wait here and went largely trotting by the road to the bridge. Petya, freezing from excitement, rode with him nearby.

— If hit, I will not be given back alive, I have a pistol, — whispered Petya.

— Do not talk Russian, — in a quick whisper spoke Dolohov, and in that same moment in the dark was heard the call out “who is going?”972 and the ringing of a gun.

Blood threw on the face of Petya, and he grabbed for his pistol.

— Lancers of the 6th regiment,973 — spoke Dolohov, not shortening and not adding passage to the horses. The black figure of a sentry stood on the bridge.

— Review?974 — Dolohov held his horse and went a step.

— Say, whether Colonel Gerard is here?975 — he said.

— Mot d’ordre (Review)! — not answering said the watch, blocking the road.

—When an officer travels the chain, sentries do not ask reviews. — shouted Dolohov, suddenly flaring up, running over the horse to the sentry. — I am asking, is the colonel here?976

And, not waiting for an answer from the stranger sentry, Dolohov stepped as far as on the mountain.

Noticing the black shadow of the man rolling across the road, Dolohov stopped this man and asked where the commander and the officers were. This person, with a bag on his shoulder, a soldier, stopped, closely came up to the horses of Dolohov, touching to his hand, and simply and friendly told that the commander and officers have were higher on the mountain with the right parties in the courtyard of the farms (he so called the lordly manor).

Driving by the road, with both parties which was heard from the bonfires French dialect, Dolohov turned in the yard of the master's home. Driving to the gate, he tore from his horse and came up to a big, blazing bonfire, around which, loudly talking, sat a few people. At the kettle from the edge cooked something, and a soldier in a cap and blue greatcoats, standing up on the lap of the brightly illuminated fire, was hindered at his gunstick.

— With this devil are you not kidding...977 — spoke one of the officers sitting in the shadows with the opposite parties of the bonfire.

— He will penetrate them,978 — with a laugh said another. Both fell silent, peering in the darkness at the sound of the steps of Dolohov and Petya, approaching to the bonfire with their own horses.

— Hello, gentleman!979 — loudly, clearly reprimanded Dolohov.

The officers stirred in the shadows of the bonfire and one tall officer with a long neck, bypassing the fire, came up to Dolohov.

— Is this you, Clement? — he said. — Where from, damn...980 — but he did not finish, upon learning his mistake and a little frowning, as with strangers, greeted with Dolohov, asking him what he may serve. Dolohov told that he with his friend was catching up to his regiment and asked, turning to all, whether they did not know some of the officers of the 6th regiment. No one knew anything; and to Petya it seemed that the officers were hostile and becoming suspicious in examining him and Dolohov. For a few seconds all was silent.

— If you calculate on dinner, then you are late,981 — said with a holding laugh a voice from behind the bonfire.

Dolohov responded that they were full and that they needed to on the same night go farther.

He gave the horses to a soldier, disturbed at the kettle, and in squatting sat down at the bonfire nearby with the officer with the long neck. This officer, not lowering his eyes, watched Dolohov and asked him another time: which was his regiment? Dolohov did not respond, as if he not heard the issue, and, lighting up a French pipe, which he took out of his pocket, asked the officers about to what extent the road ahead of them was safe from Cossacks.

— These robbers are everywhere,982 — was the response of the officer from behind the bonfire.

Dolohov said that the Cossacks were scary only for those retrograded as he with his friend, but that to large detachments the Cossacks probably did not dare to assail, he added interrogatively. No one replied anything.

— Well now he will leave, — all the moment thought Petya, standing up before the fire and listening to his conversation.

But Dolohov started again the stopped conversation and all began to question how many people were in their battalion, how many battalions, how many captives. Asking about the captive Russians that were in their detachment, Dolohov said:

— A disgusting business to carry behind yourself these corpses. It would be better to shoot this riffraff,983 — and loudly bursted out laughing in such a strange laugh that to Petya it seemed the French now recognized the cheating, and he unwittingly stepped back a step from the bonfire. No one not replied to the words and laugh of Dolohov, and the French officer who was not seen (he lied wrapped up in an overcoat), rose and whispered something to a friend. Dolohov got up and called the soldier with the horses.

"Will they serve or not the horses?" thought Petya, unwittingly approaching to Dolohov.

The horses were given.

— Farewell, gentleman,984 — said Dolohov.

Petya wanted to say kind evening985 and could not finish the words. The officers whisperingly said something between themselves. Dolohov long sat down on his horse, which did not stand; then stepped from the gate. Petya rode beside him, wishing and not daring to look back, so to see the running or not running behind them French.

Leaving on the road, Dolohov went not backwards to the field, but along the village. At one location he stopped, listening.

— Do you hear? — he said.

Petya found out the sounds of Russian votes, seeing at the bonfires the dark figures of the Russian captives. Going down to the bridge, Petya with Dolohov drove through the sentry, who, not saying a word, gloomily went by the bridge, and left to the hollow, where were the waited for Cossacks.

— Well, now goodbye. Say to Denisov that at dawn, by the first shot, — said Dolohov, wanting to go, but Petya grabbed for his hand.

— No! — he cried out, — You are such a hero. Ah, so okay! So fine! How I love you.

— Okay, okay, — said Dolohov, but Petya did not let him go, and in the dark Dolohov considered that Petya bent down to him. He wanted to kiss. Dolohov kissed him, burst out laughing and, turning his horse, hid in the dark.

972 "qui vive?" ("who is alive?")

973 Lanciers du 6-me, (Lancers of the 6th,)

974 Mot d’ordre? (Order word?)

975 Dites donc, le colonel Gérard est ici? (Say, is Colonel Gérard here?)

976 Quand un officier fait sa ronde, les sentinelles ne demandent pas le mot d’ordre...Je vous demande si le colonel est ici? (When an officer makes his rounds, the sentries do not ask for the order word...I'm asking you if the colonel is here.)

977 Oh, c’est un dur à cuire, (Oh, he's a tough guy,)

978 Il les fera marcher les lapins... (He'll make them walk the rabbits...)

979 Bonjour, messieurs! (Hello, gentlemen!)

980 C’est vous, Clément? D’où, diable... (Is that you, Clément? Where from, devil...)

981 Si vous comptez sur la soupe du soir, vous venez trop tard, (If you are counting on the evening soup, you have come too late,)

982 Les brigands sont partout, (The brigands are everywhere,)

983 La vilaine affaire de trainer ces cadavres après soi. Vaudrait mieux fusiller cette canaille, (The ugly affair of dragging these corpses after you. It would be better to shoot this scoundrel,)

984 Bonjour, messieurs, (Hello, gentlemen,)

985 bonsoir (good evening)

Time: see previous chapter, a few seconds
Mentioned: daybreak

Locations: see previous chapter, the farm (thus they called the manorial estate)
Mentioned: French, Russian

Pevear and Volokhonsky Notes: Petya and Dolokhov put on French uniforms and try to sneak into the camp. Dolokhov argues with a sentry that lets him by. They then walk up to a camp fire and Dolokhov has a conversation with some French soldiers. They then leave and decide to attack in the morning. Petya embraces Dolokhov and calls him a hero, which makes him laugh before kissing him and leaving.

Characters (characters who do not appear, but are mentioned are placed in italics. First appearances are in Bold. First mentions are underlined. Final appearance denoted by *):

Petya

Dolokhof (also his Cossack again, as well as his horse.)

Denisof

Colonel Gerard (see chapter 214.)

(also the sentinel and the French soldiers who are sitting around the fire. Dolokhof calls one of them Clement as an intentional mistake. Cossacks are mentioned in general. Also Russian prisoners.)

Abridged Versions: No break in Bell.

Gibian: line break instead of chapter break.

Fuller: See Chapter 310

Komroff: Peter's idolization and kissing of Dolohov at the end of the chapter is not here. Otherwise basically preserved. Followed by a line break.

Kropotkin: Chapter is preserved. End of Chapter 5.

Simmons: The section where they are asked for the password is removed. Line break instead of chapter break.

Additional Notes:

Chapters 12-18 of Resurrection: The Unforgivable and Meaningless Actions of Nekhlyudov

Chapter 12: We flashback to when Nekhyludov first met Katusha, which was when Nekhlyudov was working on his thesis about land ownership. Much like the Anna Karenina plot is the main plot of the book bearing her name with Levin and his relationship with the peasants occupying a secondary and then final section of the book, Nekhlyudov's relationship with Katusha is clearly the main moral and plot thrust of the book, his relationship with land ownership and this political and practical development for Nekhlyudov seems to operate the same space and function (in War and Peace, this resembles the Pierre and Andrei arcs, though especially for the former, his love life and eventual marriage to Natasha is devoted a very small space). "Nekhlyudov experienced that rapturous state of exaltation when a young man discovers for himself, without any outside recommendation, all the beauty and significance of life, and the importance of the task allotted in life to every man; when he sees the endless perfectibility of himself and the whole universe; and devotes himself not only hopefully but in complete confidence to attaining the perfection he dreams of." Instead of sleeping or studying regularly, he is too happy and spends his time outside. We don't get a lot of "good" or "ideal" characters in Tolstoy's fiction, mainly focused on tortured protagonists and vapid side characters, but similar to Pierre when he gets back from being saved from the French retreat, we get to see how Tolstoy imagines a person should live and carry themselves, which is a little hard to see in his nonfiction (which, like his fiction, is mostly negative, mostly critiquing society rather than detailing how it should be run, since he isn't a systematic or utopian thinker) because it works in generalities, so I think it is important to look closely at these kinds of moments. Notice that happiness and moral clarity comes from inside of oneself rather than from anything outside of him. Instead, everything outside and all the people around him only serve as moral corrupters (we'll see this with more clarity later). This obviously plays with the idea of the "noble savage" for those who think reading Rousseau into Tolstoy is helpful, but it is also very "existentialist" and meshes with even modern motivation speaking (depending on the variety of "self-help"). You can't look for happiness in heroes (like Pierre does with Napoleon), marriage (as with Helene), wealth or philanthropy (see the money problems and his attempt to help the peasants), religious beliefs (the Masons), or in thinking you are doing something historically significant (such as his attempt to assassinate Napoleon). It only comes from your inner state and your reaction to the suffering around you. It is also significant that, even though Tolstoy made his money as a novelist, he made a point of working outside with the peasants, Nekhlyudov finds happiness outside, rather than staying inside and engaging in intellectual pursuits.
"If a woman figured in his dreams at all it was only as a wife. All the women who, according to his ideas, could not be his wife, were not women but just people."
There are a couple ways to take this important quote and which way you take it will probably tell a lot of how you view Tolstoy's work and the relationship it can have with a Western 21st Century progressive. Much like Nikolai Rostov in War and Peace, who views all women in relationship to possible marriage, except the one he does eventually marry, women are seen by young men in relationship to sex (and this is the key critique of The Kreutzer Sonata, though that novel does it in the worst possible way) and true equality comes from men loving women outside of the prism of sex (I think we should just substitute "wife" with "potential sexual partner") and this is where a positive reading of the passage could lie (I don't think you can say that Tolstoy doesn't endorse the statement, as this is clearly the ideal person possessing the innocence of a young person, just as Natasha does at the beginning of War and Peace, or really until she meets with Anatole). The negative viewpoint would most likely claim that this is still a narrow and low hurdle of equality and that you don't get anything better than this from Tolstoy. 
After playing an childish game with her, Nekhyludov kisses Maslova, but their relationship remains "innocent". Tolstoy is going to contrast this kiss with later kisses and it most closely mirrors the kiss that Natasha witnesses between Nikolai and Sonya early in War and Peace, a kiss that is completely about young love and from two people who care deeply for each other and have a solemn promise to each other (though it is somewhat broken late in the book in order to get Nikolai to marry the person he needs to marry to give the protagonists, which Sonya is not one and she slips in moral standing throughout the book to make it work, the "happy", i.e., comedic, ending.)
Tolstoy, as he is wont to do, then discusses contemporary literature and has it put into the narrative in a way that is noticeable but not incredibly intrusive since it is more reference than stopping the plot to have discussions about it.
"Nekhlyudov gave her Dostoyevsky and Turgenyev, whom he had just finished reading himself. She liked Turgenyev's A Quiet Nook best."
I have not read A Quiet Nook, which is also known as A Quiet Spot, which is how Briggs translates it, though Strahan translates it as Calm. It is also unclear what title you are supposed to find it under as well and internet searches haven't been particularly helpful. If you are an expert on Russian literature, then please let me know below and discuss the book and why Tolstoy mentioned it in the narrative.

Chapter 13: We cut to three years later, where Nekhyludov and Maslova haven't seen each other since the summer discussed in the previous chapter. Nekhyludov is now in the army and this colors a lot of the change he has undergone between the chapters. He is now selfish and worries more about the people around him than the world around him. He has lost his innocence and, repeated throughout the chapter, runs through money and supported by his family, who completely encourages his new behavior and become enablers. Tolstoy makes the emphasis that he has rejected the spiritual version of life and embraced the animal one. These contrasts all mashed together and the rapid change he has gone through in just a chapter needs to be broken down a little. For one, there seems to be a theme in Tolstoy's work where the early teenage to late teenage transition comes with a lost of innocence and embrace of society that corrupts the person (Natasha has already been discussed, and though Petya is tempting to discuss here, it seems that his character arc is set up from his introduction, where he is already obsessed with honor and patriotism, but the evolution of Sonya and Nikolai through his loss of innocence on the battlefield could be mentioned) that most people would probably say is at least apparently true. The focus on how the army strips away morality is something that is fully developed in The Kingdom of God is Within You, as the army rips away the moral and family center of the person and resets the entirety of the worldview of the person. His running through of money and the encouragement he gets reminds readers of Anatole, as does his rejection of his spiritual self. The animal analogy is fully developed in War and Peace and plays a rather prevalent role in this novel as well. Here Tolstoy's set up reminds one of Greek thought of the material versus the immaterial or the Pauline thought of spirit struggling against the flesh. The physical world is set with sin while the spiritual world not only exists but is something that has to be embraced, but playing off the previous chapter, it seems that embracing one's own soul and happiness, something intangible, is just as important as embracing some concept of God.
One sticking point with his family is Nekhlyudov's giving of the land to the peasants, which they argue will only make their lives worse because they will avoid doing work. This alienation of his principles from his family is matched by Nekhyludov's eventual alienation from them, including the embracing of smoking, drinking, and gambling. This rejection of the conservatism of his family followed not by a progressive mindset but an "animal" mindset is extremely interesting as a framework that still has a lot of relevance to our time, where teenagers often reject the authorities around them but rather than embracing something that will or could make their lives better, they embrace rebellion in the forms of self-destruction. Instead of spiritual, moral, or intellectual fulfillment being discovered by the necessary rejection of generational conservatism, so many young people find themselves searching for meaning or gratification in ways that are destructive to their inner and outer life. 
"Military service always corrupts a man, placing him in conditions of complete idleness, that is, absense of all intelligent and useful work, and liberating him from the common obligations of humanity..."
Much of the war sections in War and Peace revolve around either the squabbling of different commanders or, especially in the pre-1812 sections, what the soldiers do in their free time. War and Peace can certainly be said to hold back in this regard considering Tolstoy's later descriptions of the military, as there is much less decadence from the soldiers than one might expect from the above quote, but there is still threat of rape, greed, and violence. Tolstoy and other writers have channeled this idleness into literary output, but the vast majority of it is/was spent on pursuits that people would find strange in the real world ("where a civilian would not be able to help being secretly ashamed of such conduct, a soldier thinks it is the proper way to live"). This is heightened by the fact that Nekhyludov serves with other rich guard officers. Again, the most depraved class for Tolstoy is not the ignorant peasant, but the noble, which is incredibly borne out in War and Peace and Anna Karenina. 

Chapter 14: Tolstoy implies that Nekhyludov may have went to his aunts to see Katusha with the intent on seducing her already on his mind, but that he wasn't conscious of the fact. This further plays into the idea of humanity, when it is not spiritually free, acting as unconscious animals, driven by motives that they cannot fully understand. It is Good Friday and the ceremony around Easter will play a large role in the next chapter. There is even a bit of a gag where one of the characters is tired because of the fasting and the standing in church, which really sets up the way church services will be described in the novel and drawing a parallel to the court scenes. Tikhon (the same name of the character who plays the same function for the Bolkonskys in War and Peace) acts in a way that is both "respectful" and "stern" that causes Nekhlyudov to forget about himself for a minute and ask Tikhon polite questions about his family. Tolstoy again, while reflecting on Nekhyludov's love for Katusha, emphasizes the animal and spiritual side of every man. Petersburg and the army being attached to the animal nature, while his love for Katusha elevated to the spiritual. This juxtaposition I think is helpful in looking back at Nikolai's character arc or, rather, considering the epilogue, character makeup, with his love for Sonya and then Marya seen as a high view of life while his time in the army and his patriotism being seen as a low view of life. Nekhyludov makes the fateful decision to stay for a couple more days and goes to the midnight Easter service.

Chapter 15: This Easter service is seen by Nekhlyudov as the happiest memory of his life. While the book is famous for its portrayal of the church, the negativity really isn't here and it is attached to the happiness of Nekhlyudov, even though his happiness lies not in the religion but his relation to Katusha. The service and church gets a long description, "but best of all was Katusha in her white dress....here, and in the whole wide world, too - existed solely for Katusha". Tolstoy sees the love Nekhlyudov has for her that night as "unconscious, unreasoning and with nothing sensual about it."
This is the key for Tolstoy and why the innocent childhood, and even frivolous, love of Nikolai and Sonya and Natasha and Boris early in War and Peace is idealized. True love is asexual for Tolstoy, which is why Pierre and Andrei can have a truly deep love that isn't even hinted as being homosexual (and why Pierre can be disappointed with Boris as the novel moves on, though this subplot is unsatisfactorily developed). The statement itself, even if attributed as just the belief of Nekhlyudov, would probably seen as blasphemous by the Orthodox Church as Katusha is seen as higher than the service (Easter even!) itself. I don't think that Tolstoy is going with Nekhlyudov as making a mistake by putting her before God, though this might be a traditional Christian perspective.

Chapter 16: Nekhlyudov tries to get Katusha to stay in his room and even grabs her. She pleads with him not to do this, cementing what is now legally called sexual assault. He has a battle of conscience but decides to "behave as everybody else did." And this is where the animal, may we even say "herd" mentality, part of him takes over. Society's expectations, as we have seen with the way his family encourages his immoral behavior, leads to an animal life, showing how the public opinion that Tolstoy values so much in his political thinking has not reached the moral conception necessary for progress, instead making him embrace a low and anti-human view of life. He kisses her in a kiss that is contrasted with his previous kisses with her. And despite how anti-sex Tolstoy can get, I think this is an important emphasis. There is innocent contact based on love and then there is contact based on force or animal lust, which I think is an important distinction we can make if we want to "save" Tolstoy's philosophy as relevant for the person living today. She tries to avoid him, and Nekhlyudov's sneaky behavior is compared to a person preparing to commit a crime, which of course, at least in our culture (and rape was illegal in 19th century Russia as well), it is. Another important distinction a modern reader might make as well is the sexual life that is accepted openly and the sexual life that people try to hide. What kind of sexual life is allowed into public life depends on both the society and the individual itself and current sexual politics emphasizes the unshackling of shame and acceptance of sexual life that does not harm others (though with Nekhlyudov here, we do not have consent and it would not be accepted in progressive circles). Tolstoy here uses a conservative guilt-based approach to differentiate sexual life that is open and acceptable versus hidden and shameful. This has its flaws of course, since societal conditions (which Tolstoy discusses all the time) shape how the individual will approach sex and find shameful or acceptable. Two contrasting voices are personified in Tolstoy's description of his thoughts. This divided nature is done a little simplistically and may remind the reader too much of the angel and devil cliche rather than the divided modern-self (Tolstoy's hard generalizations do not allow for deep psychological portraits here, but more proverbial and allegorical). He tells her he will come to her that night when she is alone and we get this passage: "'What are you saying? On no account! No, no!' she said but only with her lips: the tremulous confusion of her whole being said something quite different." This is a slightly weirdly worded passage and may smack of "her mouth said yes, but her body said yes", but this is how Tolstoy shows Katusha's aversion and the way that Nekhlyudov is the active member, making her non-complicit.

Chapter 17: The sounds of melting ice introduce the chapter. "There on the river, in the mist, a slow and tireless labour was going on, and he could hear sounds as of something wheezing, cracking, showering down, and thin bits of ice tinkling like glass." The thematic background description is a classic novel trope of course and Tolstoy was a big fan of it, situating his scenes in highly specific contexts that help color the scene (in a way, all of War and Peace is this, a romance plot and philosophical novel set in the background of Russia and the French). The ice also stands in as a metaphor of innocence melting away and the noises mimicking the words and deeds of Nekhlyudov as he crosses a horizon is nearly unforgivable and usually the worst action a character can commit in a work of fiction: rape.
"She smiled only when he smiled - smiled as it were in submission to him: there was no smile in her heart, only fear."
Again we get the contrast of what she is feeling on the inside versus what she is displaying on the outside, the forced insincerity caused by her lack of freedom in this situation. Nekhlyudov eventually carries her to his room, despite her protestations. The novel cuts directly after this to his reflections after she left. It is tough to see the scandalous nature of the writing here and how this would have offended anyone at any time as being graphic (the only offense one can take is having a protagonist rape someone, even if it is portrayed as unequivocally negative as it is here, fiction rape politics can get tricky and have several different sides to them.)
"'What is the meaning of it all? Has a great happiness or a great misfortune befallen me?' he wondered. 'It happens to everybody, everybody does it,' he said to himself, and went to bed."
As often happens in Tolstoyan fiction, we have a male protagonist reflecting on meaning around the time of going to or rising from bed. Here, we get the emphasis on the emptiness of sex in its relationship to happiness and the fleeting nature of it. The shallow defense of societal expectations of toxic masculinity serves as what literally helps Nekhlyudov sleep at night.

Chapter 18: We are introduced to his friend Schonbock who is exaggeratedly generous despite owing money he cannot pay, a character trait that reminds us of Anatole. Nekhlyudov realizes that his rape of Katusha did not fulfill his happiness the way he thought it would and only thinks of his own feelings rather than hers. Again, this reminds us of Anatole, who gets almost no comeuppance (other than the cosmic one of his apparent death) for his attempted kidnapping of Natasha and doesn't seem to feel any guilty conscience, including his marriage to the Polish woman.
"he gave her a sum of money - as much as he thought proper according to their respective stations."
Classism and the meaningless of money and society is on full display here, showing the emptiness of all of Nekhlyudov's actions and just how meaningless they all have to be after his rape of her. Nothing, other than perhaps begging for forgiveness and a redemption arc (we'll talk about the controversy of it as we get there), can possibly have any meaning or be justifiable, so Tolstoy chooses to parody his actions, especially since we know that this money will be wasted by Katusha since she does not understand the value of money. Again he tries to defend his actions to himself by saying everyone else does it, but this does not work. He decides to not think about it in order to continue with his life. This serves as important theme throughout the book, as characters try not to think of difficult moments, but mental, spiritual, and moral growth only comes through confronting those moments directly.

Book 4 Part 3 Chapter 8 (Chapter 303 overall)

Chapter Summaries: Dole: Dolokhof's arrival. Petya volunteers to enter the French lines. Dolokhof's treatment of prisoners.
Briggs: Dolokhov and Denisov plan their attack. Petya insists on going with them.
Pevear and Volokhonsky: Dolokhov arrives. His stern simplicity and Petya's admiration.

Translation:

VIII.

From the drummer, to which by the order of Denisov was given vodka and mutton, and whom Denisov told to dress in a Russian caftan so that, not sending with the captives, to leave him in the parties, the attention of Petya was distracted by the arrival of Dolohov. Petya in the army heard many stories about the extraordinary bravery and cruelty of Dolohov with the French and because of this, as Dolohov entered in the hut, Petya, not lowering his eyes, watched him and all the more cheered up, twitching to raise his head so that to not be unworthy of even such a society as Dolohov.

The appearance of Dolohov weirdly struck Petya in its simplicity.

Denisov dressed in a Cossack kaftan, carried his beard and on his breast the form of Nikolay the Wonderworker and in a manner of speaking, in all receptions showed the feature of his situation. Dolohov the same as before in Moscow, carried a Persian suit, now, the opposite had the view of a prim guards officer himself. His face was purely shaved, he was dressed was in a guard’s cotton frock coat with a George in the buttonhole, and in all worn, searched cap. He stripped off in the corner his wet burka and, coming up to Denisov, did not greet with anyone, immediately again beginning to question about the cases. Denisov talked to him about the plans which he had to their transport of large detachments, about the sending of Petya, and about how he responded to both generals. Then Denisov told about all that he knew about the position of the French detachment.

— This is so, but we need to know what and how many troops, — said Dolohov — we will need to go. Not knowing rightly how much they are, to set off to business cannot be. I love to do business accurately. Here, whether someone of the gentlemen wants to go with me in their camp. I have a uniform with myself.

— I, I... I will ride with you! — cried out Petya.

— Really you do not need to ride, — said Denisov, turning to Dolohov, — but really I do not release him.

— Here is perfect! — cried out Petya, — From what again do I not go?..

— Because that is not what you are for.

— Well really you are sorry for me because of how... because of how... I ride, here and all. Will you take me? — he turned to Dolohov.

— From what?.. — was the absent-minded response of Dolohov, peering at the face of the French drummer.

— For a long time you have had this young fellow? — he asked Denisov.

— Now taken, and knows nothing. I left him with myself.

— Well, but the rest you are doing what? — said Dolohov.

— How what? I sent under the listings! — suddenly blushing, cried out Denisov. — And I boldly say that on my conscience is not one human. It isn’t difficult for you to send off 30 or 300 people under escort to the city, if not to dirty the honor of a soldier is all I say.

— Here the young count at sixteen years-old speaks these decent courtesies, — with a cold grin said Dolohov, — but you already left this time.

— What, I speak nothing, I only speak that I indispensably ride with you, — timidly said Petya.

— But for us it is time, brother, to throw these courtesies, — continued Dolohov, as if he found special pleasure in speaking about this subject, annoying Denisov. — Well for what do you take to yourself? — he said, shaking his head. — Then, what for do you pity him? Because we know these are your listings. You send them one hundred people, but comes 30. They will die from hunger or beatings. So do all care whether they are taken or not?

The esaul, squinting his bright eyes, approvingly nodded his heads.

— This is all I care, here to reason there is nothing. I do not want to take their soul. You say they will die. Well, okay. Only they would not die from me.

Dolohov burst out laughing.

— Who again told them twenty times not to be caught? But because they get caught, — you and I with your chivalry, all care, to the aspen. — He was silent. — However we need to do business. Send a prepared Cossack with a pack! I have two French uniforms. What, will you go with me? — he asked Petya.

— I? Yes, yes, it is indispensable, — blushing almost to tears, cried out Petya, looking at Denisov.

Again in that time, as Dolohov argued with Denisov about what was needed to do with the captives, Petya felt awkwardness and hurrying; but again he did not have time to understand very well what they said. "Should so think the large and famous, it is needed to be so, this is okay," — he thought. —"But the main thing needed is so that Denisov does not dare think that I will listen to him, that he may command me. It is indispensable to ride with Dolohov in the French camp. He may, and I can!"

To all the beliefs of Denisov not to ride, Petya responded that he was also used to doing all accurately, but not at a random Lazarus, and that he never thought about dangers to himself.

— Because of how — they agree themselves — if they do not know rightly how much there is, from this depends the lives of maybe a hundred, and here we are alone. And then I very much want this and it is indispensable, indispensable to ride, you really will not hold me, — he spoke, — only worse will be...

Time: see previous chapter

Locations: see previous chapter
Mentioned: Russian, French, Moscow, Persian

Pevear and Volokhonsky Notes: Dolokhov arrives and draws Petya's full attention. While Denisov is simple and singular, while Dolokhov dresses more prim and proper. Petya wants to go with Dolokhov, who rejects the niceties of Denisov, who sends the prisoners back and gets receipts for them. Dolokhov argues that many of them don't make it there anyway, so it doesn't matter what happens. Denisov doesn't want their deaths on his conscience as Dolokhov eyes the drummer boy.

Characters (characters who do not appear, but are mentioned are placed in italics. First appearances are in Bold. First mentions are underlined. Final appearance denoted by *):

Vincent Bosse ("drummer")

Denisof

Petya

Dolokhof

The esaul 

(also the French. St. Nicholas the Miracle-worker or Nikola Chudotvorets is referenced. Also the two generals mentioned throughout the last few chapters. Also Dolokhof's Cossack.)

Abridged Versions: Start of Chapter 12 in Bell. No break at the end.

Gibian: Line break instead of chapter break.

Fuller: See chapter 310

Komroff: We cut the chapter off after Peter convinces Dolohov to go. Followed by a line break.

Kropotkin: Chapter 5: Petya's last two paragraphs of reflection and motivation, after he has talked his way into going with Dolokhof, is removed. No break.

Simmons: Almost the entirety of the argument over whether they should take prisoners is removed. Line break instead of chapter break.

Additional Notes: