Two great scenes end volume III

Great scene no. 1: Prince Andrei, mortally wounded. Amazing descriptions that give you the grim sense of how horrible, primitive, painful medical treatment of the wounded was in the 19th century. His flesh rotting away, the smell of it and the look of it, the agony he feels as they turn him to dress the wounds. All this is going on in, or to, his body - but his mind is both delirious and so alive, as he remembers what he had perceived about love, when he was next to his dying rival, Kuragin, and came to understand that it was true love to love your enemy - because only then do we understand what it is to be human. He remembers Natasha, realizes he has loved and hated her, more than anyone, and she appears - real to us, but perhaps he thinks she is a vision. And then he offers her his hand, which we had seen before from Natasha's POV, and Tolstoy tells us then that she stays with him and nurses him, perhaps back to life, we're not sure. She, also, discovers true love - but for her it is almost a penance, whereas for Andrei it's a christlike gesture of benediction. As this segment unfolds, we also see Pierre, in the burning Moscow, still plotting to assassinate Napoleon, but he sees a woman, not attractive, not healthy-looking, in the street in tears and he goes into the burning city to rescue the woman's child. Pierre somehow becomes a hero. After the rescue, he steps in to stop a French soldier from stealing the boots off an Armenian man, as other soldiers bother his beautiful daughter. The French arrest Pierre - do they see that he is carrying a dagger and a pistol? - and take him away. Essentially, we have two different types of sacrifice, and two different types of suffering (mental and physical), and two different abasemnets at the end of volume III.