This episode examines Tolstoy’s influences in the sense that Tolstoy takes attitudes from major events of his day, including the humiliating defeat of the Crimean War of 1856, and imposes them on his characters. Tolstoy was conceptualizing and writing War & Peace in the 1850s and 60s, when liberal reforms were being pursued. Tolstoy therefore brings an idealism to his rendition of the victory over Napoleon in 1812. The episode also has a brief review of Part 1 of Book 1 to ready the reader to take on Part 3, as many major characters were absent from Part 2.

Over the first two parts of Book 1, there is a contrast of storing-telling. Part 1 involves the more relatable domestic affairs of high society combined with an eye toward Napoleon’s advances in the Summer of 1805. Part 2 is a historical exposition of the acceleration of the War of the Third Coalition during the Fall of 1805.

War & Peace is the product of thousands of pages of drafts as well as the unfinished works, “The Distant Field” and “The Decembrists.” Greater exposition of this process is detailed on the 1996 book by Kathryn B. Feuer, “Tolstoy and the Genesis of War and Peace.”

The Decembrist Revolt was a failed movement some characters of War & Peace would have been involved with after the story ends. The rebellion occurred after Emperor Alexander died in 1825 and one of the goals was to replace the autocracy of Czar with a Constitutional monarchy. Many involved were executed or sent to Siberia. Exiles were only released around 1856, when reforms sought in 1825 were being re-evaluated. In one sense, this novel involves men similar to Pierre and Andrei, who could not imagine what they were being thrown into in 1805 and ultimately became Decembrists 20 years later.

Pierre, who can described as "the heart" of the novel, unpredictably inherits the largest fortune in the country, and was exposed to the ideals of his time. He pursued the goal of absorbing and implementing the best of reforms. That is perhaps the greatest hero journey of War & Peace.

Tolstoy also takes the reader back to when serfs were conscripted to fight in the major wars, which he witnessed the final stages of. Ironically, it was the serfs contact with Central and Western Europe that highlighted Russian authorities could no longer keep citizens tied to the land. Later in the novel, you will meet the symbolic Platon Karataev, a simple serf, who lives in the moment with a wisdom and decency that escapes members of Tolstoy’s class.

Yet the enduring nature of this work is how it did not result in a novel centered on politics or history, but became a work of morality and even spirituality.

War & Peace also presents number of everlasting contrasts beyond class, including traditional values v. reform and urban/government centers v. the countryside. The latter aspect involves Tolstoy’s descriptions of cultured landowners, who he believes should manage their estates as if there are Garden of Edens.

Bagration’s men held off the French for as long as practical and retreated in the darkness. The goal was to fight until the sun went down.

Tushin accompanied the working guns and encountered officers as well as some wounded. He was overwhelmed with grief, having come down from his heroic effort. Orders were to leave the wounded but those affected felt it best to keep up with the retreat. Among the injured was Nicholas Rostov, pleading for a seat on the gun carriage. Tushin gave him a spot.

They reached the village of Gruntersdorf and heard a nearby skirmish that repelled the French for the final time. Sounds from a gloomy river were overshadowed by hoofs, wheels and groans of the wounded. The soldiers became agitated amidst confusing orders. All remained stationary on the muddy road and fires were lit. From pain and cold, a feverish shivering overtook Rostov. His eyes were transfixed by the dazzlingly red fire. Tushin held great sympathy for the young man. Other soldiers appealed to Tushin for courtesies such as a spot at the fire, water, or moving his carriage a trifle, all which he accommodated. In contrast, two nearby soldiers quarreled over a boot.

Tushin was summoned by Prince Bagration, who was nearby with other commanders. Bagration was offering platitudes and getting updates. His gathering included the stubborn general who was in the standoff, who was now flushed by vodka and enjoying dinner. Also present was Zherkóv and Andrei. In a corner stood the accountant, shaking his head. It dawned on him that he had no place on the battlefield. Close by was a French colonel taken prisoner.

The general in the standoff relayed what he had wished to have done. “When I saw, Your excellency, that their first battalion was disorganized, I stopped…and thought: ‘I’ll let them come on and will meet them with the fire of the whole battalion!” So much chaos enveloped the situation that he convinced himself of what he said. Zherkov joined in the congratulatory banter.

Bagration praised all divisions but inquired how the guns in the center were abandoned. He turned to the staff officer initially sent to Tushin, who could only relay how contentious the battle was. Tushin then presented himself. While Tushin was Herculean in the field, he was rendered timid. He stumbled over a captured French standard and was laughed at. Confronted, he felt undeserved guilt and could only offer, “I don’t know... Your excellency... I had no men.”

Andrei came to his defense, noting he found most of Tushin’s men and horses knocked out, two guns smashed, and no support. He announced, “We owe today’s success chiefly to the action of that battery and the heroic endurance of Captain Tushin and his company.” Andrei left the table and depression enveloped him over the reality of war being so unlike what he envisioned.

This section closes by centering on Rostov’s thoughts as sat by the fire. “When will all this end?” Rostov closed his eyes thinking rest could quell his pain. He envisioned his mother’s care for him, Sónya’s love and Natasha’s laughter. He compared this to current life, which included Captain Denísov as well as Telyánin and the affair over the stolen money. When able to sleep, nightmares would manifest that soldiers were pulling his wounded arm. He opened his eyes and noticed flakes of snow. “There is no one to help me or pity me. Yet I was once at home, strong, happy, and loved.” As Rostov absorbed the snowflakes and reflected on winters at home. He thought of his gliding sleigh, fur coat, and affection of his family. “And why did I come here?”

The next day the French army did not renew their attack and the remnants of Bagration’s detachment was reunited with Kutuzov’s army.

In his Sevastopol Sketches, Tolstoy develops his ability to depict the reality of death within military conflict.

His proficiency stemmed from service including three years in the Caucuses as well as action during the Crimean War (1853-56), both as a junior artillery officer.

During his time near Chechnya (north of Georgia and west of Dagestan), Tolstoy observed such brutal Russian tactics as punitive raids and the indiscriminate the shelling of small villages. He was also affected by the burning of forests to deny Chechens cover. This area hosts a Muslim population by reason of Ottoman influence. Russia has attempted to purge Chechens from what Russia claimed as a southern frontier multiple times and this area remains filled with tension.

With respect to the Crimean War, in 1853, Czar Nicholas declared war on the Ottoman Empire, Russia’s historic rival. Nicholas asserted the obligation to protect Christians in Ottoman territory and reasserted land-claims in the Danubian principalities. Russian leadership has long dreamed of retaking Istanbul (Constantinople), which was a center of Christianity for centuries.

Napoleon III was at the forefront of the response to the Czar’s ambitions in 1853. A coalition (Turks, French & English) united to neutralize Russian expansion and protect the balance of power in Europe. It was hardly lost on Tolstoy that Russia served as a similar bulwark against Napoleon I. Tolstoy lived through the great humiliation of losing of the Crimean War but immortalized one of Russia’s great triumphs in repelling Napoleon I in 1812. It makes his great influences -- A Tale of Two Napoleons.

A thread through The Sevastopol Sketches and War & Peace is that Tolstoy conveys war's horrific nature. He does not glorify the subject.

The Sketches involve three vignettes of the 11-month Siege: November of 1854, May of 1855, and August of 1855. It was late in the Summer of 1855 when Sevastopol finally fell.

The Sketches read like novellas. The first takes the reader on tour of Sevastopol – from the relative safety of a bay, through an infirmary, marketplace, and finally toward the front line. Notably, we are taken inside the Assembly Hall -- a make-shift hospital filled with causalities and disease. Tolstoy then depicts the everyday activity of soldiers and citizens. He discusses merchants going about their trade as well as carriage drivers delivering goods and transporting the dead.

The second vignette delves into the senseless vanity of war and pursuit of truth, which Tolstoy describes as the hero of any effort. The last and longest story provides a view of the end of the Siege through the eyes of fictional brothers. We are given a glimpse of the spectacle of incoming and outgoing artillery, the charges of the allies, and the valiant defense.

Amidst the Crimean war, Czar Nicholas died in March of 1855 and Alexander II took the throne. He holds the reputation of a reformer. There was societal reflection that so much of the fighting was done by serfs tied to the land. These serfs were exposed to ideas of freedom and nationhood and there was a reckoning that their system could not stand. The serfs (over 20 million souls) were freed in 1861.

Tolstoy also proceeds on one of his great explorations - regarding the cause of historical events. He finds that people hold the ultimate power and are often somehow (all at once) ready to be moved. This is opposed to the theory a few great leaders move men.

Lastly, the experience of the Crimean War transformed Tolstoy from traditional patriot to an everlasting dissident.

The 1790 Siege of Izmail is profiled as Tolstoy builds this experience into War &Peace characters who advanced to leadership roles, most notably General Kutuzov.

The Siege was led by General Alexander Suvorov against an Ottoman stronghold near the mouth of the Danube and along the northwest coast of the Black Sea. The Russian and Ottoman empires spent centuries fighting for influence in this area. The loss of Izmail was a factor in the Ottomans leaving the North Black Sea region. While the Turks withdrew, the Muslim population who remained evidence their legacy.

Kutuzov played a pivotal role in the Siege and was almost killed. He both trained and led a contingent of men across a formidable moat to approach the fortress. Once the walls were actually reached, improvised ladders were utilized by Cossack reserves. Kutuzov himself fell back on multiple occasions and persevered as bodies fell around him. Notably, Kutuzov did not captain from the back -- but was in the thick-of-it as much as anybody. His generalship contributed to his rise in rank. He proved he could lead men to victory, even when they faced the gravest of odds.

Throughout the ordeal, the invaders took tremendous casualties from cannon fire. Once Izmael was breached, the Russians unleashed a savagery whose reputation has endured.

The War of the Third Coalition (1805) was a monumental loss for Russian forces, while the Siege (1790) was moment of national triumph, which was immortalized in poetry and song, including “Let the Thunder of Victory Rumble.” Tolstoy notably describes the fictional Timokhin (who led a mad charge against Murat’s attack at Shöngrabern) as a veteran of Izmail

It is the character of the men at Izmail (both brave and savage) that Tolstoy is trying to represent, which would have been more apparent to late 19th century readers.

The infantry regiments that had been caught unaware and scattered in the woods amidst the French assault. Soldiers shouted, “Cut off!” - a most dangerous sentiment. “Surrounded?! We’re lost!” was the collective reply.

The General realized that he, an officer of 22 years, would be held responsible. He forgot his standoff with the cavalry colonel. Tolstoy notes, “The moment of moral conviction, which decides the fate of battles had arrived. Would his soldiers attend to the desperate voice of their commander or continue their flight?” Despite his shouts, the soldiers continued to run about in a panic.

Nevertheless, there was a sea-change! The French disappeared as a special unit emerged from the woods -- Timokhin’s company, filled with sharpshooters.

Timokhin was previously singled out by Kutuzov for his participation in the Siege of Izmail in 1790. Kutuzov recalled Timokhin had a penchant for drinking but was a good soul. Tushin and Timokhin are fictional, but symbolic to the Battle of Shöngrabern. Timokhin, brandishing a sword, rushed at the enemy with such a mad determination, it inspired the rest.

His behavior was reminiscent of the historic Siege, which has honorable and horrific aspects. The effort repelled the Ottomans from a critical position. After taking heavy casualties, Russian forces rampaged the city. Many were raped and executed. The massacre troubled Kutuzov’s soul.

The story turns to Dólokhov, who also possessed the fighting spirt that repelled the French. Dólokhov, running beside Timokhin, killed a Frenchman and seized a surrendering officer – who he dragged to a superior. Dolokhov brazenly approached his commander. “The whole company can bear witness. I beg you will remember this!” Dólokhov then untied his handkerchief and exhibited his wound.

The story moves to Tushin’s battery. Critical support had been moved yet this battery continued firing. The French could not surmise anyone would fire from such an undefended position.

The French eventually countered but Tushin was absorbed in the task before him and his artilleryman admired his resolve. In a childlike glee, the men only noticed when balls fell among them, tearing apart both men and horses. The horses were replaced and wounded carried off, as their four guns turned against ten. Tushin’s companion officer had been killed and 17 of 40 from the battery were casualties. Still they were merry.

Tushin was in a feverish delirium. It seemed so long ago since he fired the first shot. He regarded the corner of the field he stood as familiar. He gave his guns nicknames. “Matvévna, dear old lady, don’t let me down!” He imagined himself as a god throwing cannon balls. Around him, his crew bustled; and they all looked at Tushin as a father.

Suddenly a voice of a staff officer yelled out: “Captain Tushin! Are you mad? You have twice been ordered to retreat...”

Tushin was taken out of the zone. A cannon ball caused the officer to duck. As he galloped off – he shouted “Retire! All to retire!”

A moment later, Prince Andrei arrived. As one ball after another landed, he felt a shudder. He delivered the order and tried to have the guns taken. Andrei and Tushin did not speak -- as both were busy securing the only two working cannons on a cart and moving them down a hill.

Andrei then told Tushin. “Well, till we meet again...” holding out his hand. “Good-bye, my dear fellow,” replied Tushin. “Dear Soul! Good-bye, my dear fellow!” and tears suddenly filled Tushin's eyes.

The Battle of Schöngrabern intensifies upon Murat’s breaking of the truce and resultant barrage of cannon fire.

General Bagratión and his contingent reached the highest point of the right flank then rode down to where musketry was heard. On account of smoke, they could barely see. They quickly encountered wounded. One man was dragged by two soldiers after a bullet pierced his throat. He was gurgling and spitting blood. Another walked aimlessly, groaning while swinging a limp arm. Blood streamed over his coat as if it poured from a bottle. His face showed fear rather than suffering.

Some soldiers were ascending the hill Bagration was descending. Despite the general’s presence, most were too disorganized to be deferential. Rows of friendly soldiers became visible through the smoke. One officer catching sight of Bagration shouted at a crowd of retreating soldiers to STOP retreating.

Shots drowned out the sound of voices. The air reeked of smoke. Some men were using their ramrods while others fired. The atmosphere was filled with the whistling of bullets.

The commander of one regiment, a thin, feeble elderly man with a pleasant smile and drooping eyelids, rode up to Bagration and welcomed him as a host does an honored guest. He reported that his regiment had been attacked by cavalry. He was unclear on whether the attack had been repulsed. He could not account for the troops entrusted to him and did know whether his regiment had merely broken up. This is insightful exposition of the Fog of War.

Prince Andrei was struck by the changed expression on Bagration’s face. It expressed a concentrated and happy resolution. That dull, sleepy expression was gone. He now had the steady eyes of a hawk. Bagration turned to an adjunct and ordered the calling up of two battalions of Chasseurs for reinforcement.

Bagration was urged to fall back - as he was in an extraordinarily dangerous situation. He gave another order to cease firing and re-form. While he was speaking, the smoke began to move as if drawn by an invisible hand. It became clear that the French were advancing.

Right near Bagration marched a company commander, a round-faced man, with a silly and happy expression— who had previously rushed out of the shed with Tushin. This fella was thinking of how dashing he would appear as he passed the commander. He was strutting like a peacock, inattentive to the surrounding danger.

A throng of soldiers with knapsacks and muskets marched in step. Each seemed to be repeating to himself, at each alternate step, “Left... left... left...” A cannon ball the flew over the heads of Bagration and his suite, falling into that very column, taking out a high number.

Bagratión rode around the ranks and dismounted. He gave the reins to a Cossack, handed over his felt coat, stretched his legs and set his cap straight. “Well done, lads!” exhorted Bagratión. “Glad to do our best, your ex’len-lency!”. “Forward, with God!” continued Bagratión, in a resolute, sonorous voice. Andrei felt that an invisible power was leading them all forward.

The head of the French column, with its officers at the vanguard, appeared from below the hill. The French were near. Andrei could distinguish their bandoliers, red epaulets and even their faces. Bagration gave no further orders and silently continued to walk in front of the ranks.

One shot after another rang out. Several men caught bullets, among them the round-faced officer who had just marched so gaily. One moment he was full of life and pride, the next, like so many through the ages, he was laid to waste.

Bagration looked round and shouted, “Hurrah!”

“Hurrah!!!" came the response, which shouted from the ranks, with men passing Bagration and racing one another on their horses. They rushed in an irregular but joyous manner down the hill at their foe.

Andrei examined the position of the French, focusing on a puff of smoke from the cannon that fired. Two mounted Frenchmen galloped up the hill while a small column headed down to strengthen their front line. Another puff appeared and it was clear - the Battle of Schöngrabern had begun!

A messenger just arrived with Bonaparte’s stern letter and Murat, humiliated, moved his forces to attack the center and outflank both Russian wings, hoping for a quick victory before Napoleon's arrival.

Andrei was reflecting on how his chance arrived to save the army! Tolstoy is asking us to consider if one man can accomplish this. Also worth considering: Was Napoleon more able to get men to this mindset? Or, are men led to victory by a more passive leader, like Kutuzov’s depiction? Tolstoy argues victors will also need Providence or chance. Who prevails is often impossible to know -- yet how we search for causes!

Not long before, the men had been enjoying a welcome respite - eating porridge and drinking vodka. Now, impending death was heralded by the movement of soldiers forming ranks. On their faces, Andrei recognized the eagerness that filled his own heart. It was “dreadful but enjoyable!” He demonstrated both confidence and ambition in thinking, “where and how will my Toulon present itself?”

Andrei noticed Bagration riding toward him wearing a Cossack cloak. Bagration recognized Andrei, who conveyed what he thought would be the proper strategy. Bagration remained stoic. Andrei wondered, “Is there anything at all behind that impassive face?” Bagration’s posture implied that everything that took place was exactly in accord with what he had foreseen. Andrei noticed Bagration’s saber, which was a gift from Gen. Alexander Suvorov. This detail is meant to show the historical connection between the generals as Bagration, during campaigns in Italy, was a trusted protégé of Suvorov.

Bagration headed toward Túshin’s battery. Andrei followed, along with Zherkov and other officers. Riding with them was a civilian with connections —an accountant. He was a stout, full-faced man with a naïve smile. He looked unusual among the hussars, Cossacks and adjutants. “He wants to see a battle,” said Zherkóv “but feels a pain in the pit of his stomach.” Enemy fire soon struck ground near them and a Cossack crashed to earth with his horse.

Cossacks, many from territories in Ukraine, suffered in high casualties. They expected to be rewarded for their service, with increased rights. Instead they found their rights diminished and felt marginalized. Many developed quite the national identity.

Prince Bagration did not demonstrate concern over the causality. He turned as if to say: “Is it worth-while noticing trifles?” He reached the battery and observed gunners working their cannons. Bagration called to Tushin, who replied with an awkward salute - looking like a priest giving a benediction. Though the original plan was for Túshin’s guns to strike the valley, he was firing at the village of Schöngrabern, in front of which masses of French were advancing.

It is profound that Tushin, a fictional character, is attributed making this critical decision. Tushin decided, “Lets hit 'em in the most sensible part!” “Very good!” noted Bagration in reply to learning what was happening. As Bagration examined the battlefield, he noticed French coming around the flank to the right and ordered two battalions to reinforce the vulnerable area.

Adjutants rode up with a messages on where the French were attacking and being contained. There was back-and-forth with these types of updates. Andrei was able to hear Bagratión’s colloquies and, to his surprise, noticed no orders were really given. This was not necessary historically accurate, but Tolstoy depicts it this way to show a “greater truth.”

Bagration made it appear that everything was done by necessity, or by the will of subordinate commanders AND if not by his direct command, at least in accord with his intentions.

Andrei realized that ALL of consequence that happened was due to chance and independent of the commander’s will. Nevertheless, owing to the tact Bagration showed, his presence was valuable. Officers who approached him with disturbed countenances became calm. Soldiers greeted him gaily and grew more cheerful in his presence and were anxious to display their courage.