Book Review: 1812, Napoleon's Invasion of Russia, Paul Britten Austen

This single volume publication, on Bible-thin paper, is actually a three volume work. The product of 25 years of study, it collects and weaves together myriad short extracts from around 160 firsthand accounts, written by participants in these momentous events. The result is something really quite unique and very special.

Even in this single volume format it’s a weighty tome, and no mistaking! The one-thousand or so pages adding up to, as the author himself points out, something 'fairly vast.' He describes his book as a ‘word film’, and it really does have something of that quality. Certainly the drama of the events is heightened, coming as it were from the horses' mouths. 

And what horses! His sources range from the highest echelons (Caulaincourt, at Napoleon’s side), to the rank and file (the author’s own choice of lowlier men being ‘obscure little Swiss voltigeur Jean-Marc Bussy’). My only quibble on this score is that it's not always completely clear who's being quoted.

Caulaincourt and Bonaparte leaving Russia. [2]

Despite being ‘fairly vast’, the narrative sticks pretty resolutely to the central column of Napoleon’s Grande Armée. Amazingly, there's not sufficient space for much, if anything, about the flanking Corps. [1] I happened to have superb visual accounts of the 1812 campaign to hand, by Faber du Faur and Albrecht Adam, when I read this, which helped me visualise things. I just wish I had also had a really good book of maps; so much of the narrative info concerns movements, and particular locations, all of which would have been more easily followed if only one could glance back and forth between the text and some decent maps!

Pretty much all the books that I've been reading on this subject, at least amongst the more contemporary ones, make some use of firsthand accounts. But this particular telling of the story takes that modus operandi to new heights. In describing how he wrote the book Britten Austen said, I ‘invent nothing, hardly even a phrase, and certainly neither events nor persons. But resurrect them - in their own words.’ The book is remarkably vivid as a result, which is fantastic.

Swiss Infantry of the 4th Regt, Carle Vernet. [3]

For example, the adventures and sufferings of a certain Heinemann, survivor of a virtual massacre, as he escorts a wounded sergeant to the rear, before becoming a prisoner himself, are just one among many of the episodes that vividly convey the exciting, moving and gripping dramas this book is packed with. In this instance there's actually a happy end to the story - in fact two happy endings (but I'll let you read the book and find out what they are!) - a rare and pleasant thing, given the huge loss of life in this campaign.

Allowing his sources to speak for themselves is certainly not the author simply being lazy. Again in his own words*: ‘Naturally … [I] had to take my thousands of vivid fragments, longer or shorter, snip them and put them together in what I came to think of as a 'marching order', and generally help the reader not to go astray.’ But, rather endearingly, where his own voice is audible, I love it: I Iike a writer who says 'i'sooth'! Indeed, his writing style is quite different in tone to all the other authors I've read so far on this subject, which is refreshing. He's also the only author, besides Burns, that I've encountered using the term 'agley', as in 'aft gang agley', as in when things go 'wrong'!

Paul Britten Austen

In conclusion, this is a pretty unique account of the Russia 1812 campaign. Vivid, gripping, and, for my money, totally essential reading. Can't recommend it highly enough!

* In deference to the author's own style!

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NOTES:

[1] In a more academic book that sought to cover the whole campaign this might be a problem. But in this instance, the author is pursuing a different set of goals, chiefly to transport the reader to the time and place he’s writing about. And in this respect this book is a signal triumph.

[2] Given how much time Caulaincourt spent in close proximity to Napoleon, it's amazing how hard it is to find any contemporary images of them together!

[3] If pictures of Caulaincourt with the Emperor made me think of him as the invisible man, then what should I call poor old Jean-Marc Bussy? I could find no images of him at all. So instead I found some pictures by Carle Vernet, illustrating uniforms of the 1812 regulations (which Vernet also had a hand in designing). These guys playing footsie with each other look to be having an easier time of it than Bussy had! I did, however, find out that Bussy later became a police-man, and lived to the ripe old age of 88!

... then, a bit later, I found the picture below, by Knötel. This one has a Swiss Voltigeur, on the right. I guess Bussy must've looked something like this fellow?

Book Review, The Campaigns of Napoleon, David Chandler

Well, this one really is an essential classic. And I'm lucky enough to own the very handsome Folio Editions trilogy, in hardback, in a nice slipcase (as pictured above). Lovely!

Vol I

In the first volume one of this superb trilogy, Chandler sets the scene, telling us about Napoleon's rise, from the petit noblesse of Corsica, thought the turbulent waters of the French Revolution, to military fame in Italy. We see Bonaparte adventuring in the near 'Orient' of Egypt and Syria, before returning and assuming power in the coup of Brumaire. 

Rivoli, Napoleon's star rises.

Chandler's narrative conveys his enthusiasm for his exciting and colourful subject admirably, balancing a clear passion with lucid objectivity and judicious critical insights. A good deal of space is given over to an analysis of Napoleon's early ideas, and how they evolved; where they came from, and how he put them into practice and developed them. 

And this all happens surprisingly early, both before, during and following on from his Italian campaigns, showing, as Chandler notes, a precociousness and audacity that would see Napoleon's star rapidly ascend. This first part of the story/trilogy is tremendously exciting, charting the improbable but seemingly inexorable rise of the young Napoleon. It has the colour and grandeur of Greco-Roman myth, which Napoleon would've liked and appreciated.

Vol II

In broad brushstroke terms this second volume starts with Ulm/Asterlitz, and ends at Borodino, thus running from late 1805 to late 1812. Here Chandler covers the 1805 campaign against Austria and Russia, culminating in Austerlitz, the 1806 war with Prussia (Jena-Auerstadt), on into the 1807 campaign in Poland against Russia (Eylau and Friedland). 

He then takes a Peninsular diversion, focussing mostly, in keeping with his title, on Napoleon's part in this theatre; from his 'ill considered decision to intervene in Spanish affairs', deputising to oft-incompetent subordinates, to his brief but effective personal intervention in the war itself, before returning to more central-European affairs, with the campaign against Austria in 1809.

Napoleon visiting the bivouacs, in the eve of Austerlitz.

One thing that struck me in all this was, well... no, two things really, were: firstly how minor the Spanish business seems in the larger picture, even though it would ultimately prove, as the suppurating 'Spanish Ulcer', a decisive contributory factor in Napoleon's downfall (a fact not so easily appreciated from the British perspective, with our tendency to obsess over our part in these wars).  And secondly, that for all the talk of continual or 'total' war [1], there are large periods of relative peace within the bulk of the territories under the Imperial jurisdiction. 

For example, between the end of volume one, and the start of volume two, or roughly 1802-1805 [2]. And, excepting the ongoing rumblings of the Peninsular, between 1809 and 1812 [3], when the narrative jumps from Wagram and the treaty Pressburg to the invasion of Russia. The latter debacle ends part two, and marks a foreboding and decisive end to the period of Napoleon's almost unassailable ascendency, and, in consequence, makes for a narrative that continues to be both gripping and dramatic.

Vol III

Napoleon's regrouping and rebuilding of the French and Allied armies, and his waging of the defensive campaigns of 1813, clearly excite Chandler. And he communicates his enthusiasm for this period both ably and contagiously. And then of course there's the audacious return from exile and the Hundred Days. 

This is factual history with excitement levels to eclipse all but the very best fiction. Indeed, history like this is better than practically all fiction, in my opinion. If someone made up a story like this, who would believe it? Napoleon returns from Elba with barely 1,000 men. And within days he's back in Paris - this whole story is the subject of the excellent 1815, The Return of Napoleon, by Paul Britten Austin - a whirlwind of activity, as he seeks peace whilst preparing for war. Encroyable!

Leipzig.

As you'd expect, Chandler's coverage of this whole exiting episode, set within the equally exciting larger epoch, strikes a perfect balance between the big picture and the smaller interesting details. Who needs or wants to read fiction, with history as exciting as this? And in how many stories -  especially 'real life' stories - is the final act a rather disappointing damp squib? Not so here. Commensurate with Napoleons own rather grandiose estimate of himself, this is a story that remains hugely exciting right to the end. And what a tragic yet epic ending it is!

Conclusion

Although Chandler is hardly a rank radical of the Jacobin variety, being in sober fact - as a professional military academic - far more likely to be on the conservative side of the spectrum, nevertheless, like Andrew Roberts in his turn (a more blatantly politically Conservative historian), one clearly senses the admiration, perhaps even the affection, Chandler has for his subject. And yet, again like Roberts, his excitement and awe don't cloud his judgement. We still get a balanced and critical view that gives both credit and finds fault where they are due.

All told, as I previously said in a post about a few of my favourite troilogies - of which this is most certainly one - this an epic account in every way. Being both hugely informative and great fun to read. For my money, this has to be amongst the very best and most essential writing on Napoleon's military career, a career which defined the story of Europe in the days that bear his name.

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NOTES:

[1] I've lost track of the number of times I've read authors describing the Napoleonic Wars as a foretaste of the World Wars of the 20th Century.

[2] Interestingly, Chandler gets around a commonly glossed over aspect of historical nomenclature here by calling his work 'The Campaigns of Napoleon'. The issue arises, I guess, because - strictly speaking, and despite Napoleon's involvement - the Wars of the 1st and 2nd Coalitions come under the heading of The Revolutionary Wars, whereas those of the following [x] coalitions are the Napoleonic Wars 'proper'. 

[3] These volumes are concerned, as the title makes clear, with military history. But these large eras of peace throughout the areas of French dominance deserve more study, in my view. Not just to counter the persistent image of Boney as nowt more than a bloody warmonger, but simply because they're interesting in themselves. There has certainly been study made of the general unrest that bubbled away in and across Napoleonic Europe, such as Broer's excellent Napoleon's Oher War.

A Trinity Of Trilogies - Sometimes Good Things Come In Threes

An attractive edition of an essential Napoleonic work.

At the time of starting this post I'm currently retreating westwards across Europe with Eugéne, as Napoleon rebuilds his armies after the debacle of 1812, and prepares to take on his growing list of enemies, in volume three of David Chandler's superb Campaigns Of Napoleon. 

And with my recently acquired (Salute, 2016) tripartite version of Paul Britten Austin's monumental and superlatively wonderful 1812 narrative - which I've already read in a single volume edition (bought at another Salute some years back) - winking suggestively at me from the bookshelves, as pictured above, I find myself ruminating on the joys of the well-written trilogy.

The third of my three-parters in this 'holy trinity' of trilogies is John Gill's series on the 1809 Austrian campaign. I've already reviewed two of these series elsewhere - excepting only Chandler's, which at this point I haven't quite finished. This post is simply a place to explore and share some thoughts on these excellent epics.

I couldn't face unearthing my own Gill volumes from the mountain of boxed up books at ours. Nor could I find the whole set in one pic on't web. So it had to be all three covers individually!

One of my first experiences with the joys of the triple-decker literary sandwich banquet was Tolkien's fabulous Lord Of The Rings. He hadn't wanted it to be a trilogy, but was persuaded to partition it by his publishers. I first read that monster masterpiece (as with the PBA work) in a single volume budget edition - as pictured below - albeit that it was still subdivided into the three 'books': The Fellowship Of The Ring, The Two Towers, and The Return Of The King.

I first read Tolkien's fantastic meister-work in an Allen & Unwin paperback edition, sporting this rather attractive cover.

Although this isn't the best looking Folio Society edition of LOTR, it's the one I own, thanks to the generosity of my illustrator buddy, Tim Oliver. Cheers Tim!

And then, over the course of later years, I acquired various three-part editions of the LOTR, including a still as yet unread Folio Editions imprint, shown above. Coincidentally it's a gorgeous Folio Editions version of the Chandler trilogy I'm currently working my way through, as pictured at the top of this post. I think there's a strong argument to be made for investing in beautiful editions of favourite works, as it invests them (literally and metaphorically, I guess) with added value and appeal.

David Chandler 

This post isn't about in-depth reviews or analyses of these works or their authors, but is simply a celebration of a particularly enjoyable literary form. I also have Everyman Library editions - thanks mum! - of Gibbons' mammoth Decline And Fall Of The Roman Empire, which, with a nod to such works as these, they decided to format as two sets, each of three volumes. A kind of double-decker trilogy!

There's a fabulous quote from Gibbons himself about his gigantic undertaking: 'Unprovided with original learning, unformed in the habits of thinking, unskilled in the arts of composition, I resolved to write a book.' I just love that! And I'm eternally grateful to all those who pick up their pens, literal or metaphorical, to tell us these epic stories.

John H. Gill

Chandler and Gill both appear to fit the typical military buff profile, whereas Paul Britten Austin is intriguing to me because his other interests, in terms of published works, were pretty diverse (Swedish rococo poetry figures, I believe!). One thing they clearly all share, however - and who can blame them? - is an ardent interest in Napoleonic history.

Chandler was very prolific on both military topics generally, and Napoleonic era material in particular. I don't know much about Gill other than that he's written this trilogy, plus a companion volume, With Eagles To Glory, all focussing on the 1809 campaign against Austria. I was so blown away by PBA's 1812 trilogy, a masterful 'word film' [1] collage of authentic original accounts, that I desperately wanted to find more of the same by him. Alas, I've only been able to find one other Napoleonic book by him, entitled 1815, The Return of Napoleon, which relates the fascinating tale of Bonaparte's return to France from Elban exile, and the build up to Waterloo.

Paul Britten Austin

This last bit may seem like a very random digression, but, er... bear with me! Rather like the character Zelig, in the bizarre but excellent Woody Allen film of the same name, I often find myself imaginatively 'doing a Gibbons' when I watch a film, read a book, or listen to a song, inasmuch as, like Zelig becomes like the people he's around, I start to form imaginary plans of making my own book, film, song, or whatever. I'd love to think I have a trilogy of my own in me somewhere!

Some of the many faces of Leonard Zelig: as a 'red Indian', a Scot, boxer, fat man, Oriental, and, ummm... 

To really appreciate the excellence of Woody Allen's 'human chameleon' idea, as presented in this movie, you need to see the film itself, in which he also temporarily turns black, and appears alongside everyone from Charlie Chaplin and Al Capone to Hitler and the Pope! Oh, and to get back us on track; of course Woody Allen also did a Napoleonic era film, the highly enjoyable and entertaining Love & Death.

Allen as Boris Grushenko, in Love & Death (1975).

And finally, to really get back on topic: although when I started draughting this post I was retreating back towards France with Eugéne, by the time I actually posted it - the very day, in fact - I finally finished reading Chandler's superb tripartite epic. Having at last got around to reading this essential classic, I can now fully appreciate why the work merits both those adjectives. Merci beaucoup, Mr Chandler,  and Vive l'Empereur! I raise a glass of hearty French vin rouge to your memory, and thus do I salute you!

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NOTES:

[1] The phrase 'word film' was Paul Britten Austin's own way of describing his textual synthesis of firsthand accounts. It's a good phrase, accurately conveying the vivid quality of the material.