Works of Leo Tolstoy: War and Peace. “War and Peace”: masterpiece or “wordy rubbish”? Analysis and conclusion

American poster for the film "War and Peace"

Volume one

St. Petersburg, summer 1805. At the evening with the maid of honor Scherer, among other guests, Pierre Bezukhov, the illegitimate son of a wealthy nobleman, and Prince Andrei Bolkonsky are present. The conversation turns to Napoleon, and both friends try to protect the great man from the condemnations of the hostess of the evening and her guests. Prince Andrei is going to war because he dreams of glory equal to the glory of Napoleon, and Pierre does not know what to do, participates in the revelry of St. Petersburg youth (here a special place is occupied by Fyodor Dolokhov, a poor but extremely strong-willed and decisive officer); For yet another mischief, Pierre was expelled from the capital, and Dolokhov was demoted to soldier.

Next, the author takes us to Moscow, to the house of Count Rostov, a kind, hospitable landowner, organizing a dinner in honor of his wife’s name day and youngest daughter. Special family life unites the Rostov parents and children - Nikolai (he is going to war with Napoleon), Natasha, Petya and Sonya (a poor relative of the Rostovs); it just seems like a stranger eldest daughter- Faith.

The Rostovs' holiday continues, everyone is having fun, dancing, and at this time in another Moscow house - at the old Count Bezukhov's - the owner is dying. An intrigue begins around the count's will: Prince Vasily Kuragin (a St. Petersburg courtier) and three princesses - all of them distant relatives of the count and his heirs - are trying to steal the briefcase with Bezukhov's new will, according to which Pierre becomes his main heir; Anna Mikhailovna Drubetskaya, a poor lady from an old aristocratic family, selflessly devoted to her son Boris and everywhere seeking patronage for him, prevents the briefcase from being stolen, and a huge fortune goes to Pierre, now Count Bezukhov. Pierre becomes his own man in St. Petersburg society; Prince Kuragin tries to marry him to his daughter, the beautiful Helen, and succeeds in this.

In Bald Mountains, the estate of Nikolai Andreevich Bolkonsky, the father of Prince Andrei, life goes on as usual; old prince He is constantly busy - either writing notes, giving lessons to his daughter Marya, or working in the garden. Prince Andrei arrives with his pregnant wife Lisa; he leaves his wife in his father's house, and he goes to war.

Autumn 1805; The Russian army in Austria takes part in the campaign of the allied states (Austria and Prussia) against Napoleon. Commander-in-Chief Kutuzov does everything to avoid Russian participation in the battle - at the review of the infantry regiment, he draws the attention of the Austrian general to the poor uniforms (especially shoes) of the Russian soldiers; right up to the Battle of Austerlitz, the Russian army retreats to unite with the allies and not accept battles with the French. So that the main forces of the Russians can retreat, Kutuzov sends a detachment of four thousand under the command of Bagration to detain the French; Kutuzov manages to conclude a truce with Murat (the French marshal), which allows him to gain time.

Junker Nikolai Rostov serves in the Pavlograd Hussar Regiment; he lives in an apartment in the German village where the regiment is stationed, together with his squadron commander, captain Vasily Denisov. One morning Denisov’s wallet with money disappeared - Rostov found out that Lieutenant Telyanin had taken the wallet. But this misconduct by Telyanin casts a shadow over the entire regiment - and the regiment commander demands that Rostov admit his mistake and apologize. The officers support the commander - and Rostov gives in; he does not apologize, but refuses his accusations, and Telyanin is expelled from the regiment due to illness. Meanwhile, the regiment goes on a campaign, and the cadet's baptism of fire occurs while crossing the Enns River; The hussars must cross last and set the bridge on fire.

During the Battle of Shengraben (between Bagration's detachment and the vanguard of the French army), Rostov was wounded (a horse was killed under him, and when he fell, he suffered a contusion); he sees the approaching French and, “with the feeling of a hare running away from dogs,” throws a pistol at the Frenchman and runs.

For participation in the battle, Rostov was promoted to cornet and awarded the soldier's St. George's Cross. He comes from Olmutz, where the Russian army is camped in preparation for the review, to the Izmailovsky regiment, where Boris Drubetskoy is located, to see his childhood comrade and pick up letters and money sent to him from Moscow. He tells Boris and Berg, who lives with Drubetsky, the story of his injury - but not as it really happened, but as they usually tell about cavalry attacks (“how he cut right and left,” etc.) .

During the review, Rostov experiences a feeling of love and adoration for Emperor Alexander; this feeling only intensifies during the Battle of Austerlitz, when Nicholas sees the Tsar - pale, crying from defeat, alone in the middle of an empty field.

Prince Andrei, right up to the Battle of Austerlitz, lives in anticipation of the great feat that he is destined to accomplish. He is irritated by everything that is dissonant with this feeling of his - the prank of the mocking officer Zherkov, who congratulated the Austrian general on yet another defeat of the Austrians, and the episode on the road when the doctor’s wife asks to intercede for her and Prince Andrei collides with the transport officer. During the Battle of Shengraben, Bolkonsky notices Captain Tushin, a “small, stooped officer” with an unheroic appearance, commander of the battery. The successful actions of Tushin's battery ensured the success of the battle, but when the captain reported to Bagration about the actions of his artillerymen, he was more timid than during the battle. Prince Andrei is disappointed - his idea of ​​​​the heroic does not fit either with the behavior of Tushin, or with the behavior of Bagration himself, who essentially did not order anything, but only agreed with what the adjutants and commanders who drove up suggested to him.

On the eve of the Battle of Austerlitz there was a military council, at which the Austrian General Weyrother read the disposition of the upcoming battle. During the council, Kutuzov openly slept, not seeing any use in any disposition and foreboding that tomorrow's battle would be lost. Prince Andrei wanted to express his thoughts and his plan, but Kutuzov interrupted the council and invited everyone to disperse. At night, Bolkonsky thinks about tomorrow’s battle and about his decisive participation in it. He wants fame and is ready to give everything for it: “Death, wounds, loss of family, nothing scares me.”

The next morning, as soon as the sun came out of the fog, Napoleon gave the sign to begin the battle - it was the day of the anniversary of his coronation, and he was happy and confident. Kutuzov looked gloomy - he immediately noticed that confusion was beginning among the Allied troops. Before the battle, the emperor asks Kutuzov why the battle does not begin, and hears from the old commander-in-chief: “That’s why I’m not starting, sir, because we are not at the parade and not in Tsaritsyn Meadow.” Very soon the Russian troops, finding the enemy much closer than they expected, broke ranks and fled. Kutuzov demands to stop them, and Prince Andrei, with a banner in his hands, rushes forward, dragging the battalion with him. Almost immediately he is wounded, he falls and sees a high sky above him with clouds quietly creeping across it. All his previous dreams of fame seem insignificant to him; His idol, Napoleon, traveling around the battlefield after the French had completely defeated the allies, seems insignificant and petty to him. “This is a wonderful death,” says Napoleon, looking at Bolkonsky. After making sure that Bolkonsky is still alive, Napoleon orders him to be taken to a dressing station. Among the hopelessly wounded, Prince Andrei was left in the care of the residents.

Volume two

Nikolai Rostov comes home on vacation; Denisov goes with him. Rostov is accepted everywhere - both at home and by friends, that is, by all of Moscow - as a hero; he becomes close to Dolokhov (and becomes one of his seconds in the duel with Bezukhov). Dolokhov proposes to Sonya, but she, in love with Nikolai, refuses; at a farewell party arranged by Dolokhov for his friends before leaving for the army, he beats Rostov (apparently not quite fairly) by a large sum, as if taking revenge on him for Sonya’s refusal.

In the Rostov house there is an atmosphere of love and fun, created primarily by Natasha. She sings and dances beautifully (at a ball given by Yogel, the dance teacher, Natasha dances a mazurka with Denisov, which causes general admiration). When Rostov returns home in a depressed state after a loss, he hears Natasha singing and forgets about everything - about the loss, about Dolokhov: “all this is nonsense ‹…› but this is the real thing.” Nikolai confesses to his father that he has lost; When he manages to collect the required amount, he leaves for the army. Denisov, delighted with Natasha, asks for her hand, is refused and leaves.

Prince Vasily visited Bald Mountains in December 1805 with his youngest son, Anatoly; Kuragin's goal was to marry his dissolute son to a rich heiress - Princess Marya. The princess was unusually excited by Anatole's arrival; the old prince did not want this marriage - he did not love the Kuragins and did not want to part with his daughter. By chance, Princess Marya notices Anatole hugging her French companion, Mlle Bourrienne; to her father's delight, she refuses Anatole.

After the Battle of Austerlitz, the old prince receives a letter from Kutuzov, which says that Prince Andrei “fell a hero worthy of his father and his fatherland.” It also says that Bolkonsky was not found among the dead; this allows us to hope that Prince Andrei is alive. Meanwhile, Princess Lisa, Andrei's wife, is about to give birth, and on the very night of the birth Andrei returns. Princess Lisa dies; on her dead face Bolkonsky reads the question: “What have you done to me?” - the feeling of guilt before his late wife no longer leaves him.

Pierre Bezukhov is tormented by the question of his wife’s connection with Dolokhov: hints from friends and an anonymous letter constantly raise this question. At a dinner at the Moscow English Club, organized in honor of Bagration, a quarrel breaks out between Bezukhov and Dolokhov; Pierre challenges Dolokhov to a duel, in which he (who cannot shoot and has never held a pistol in his hands before) wounds his opponent. After a difficult explanation with Helen, Pierre leaves Moscow for St. Petersburg, leaving her a power of attorney to manage his Great Russian estates (which amounts to most his condition).

On the way to St. Petersburg, Bezukhov stops at the postal station in Torzhok, where he meets the famous freemason Osip Alekseevich Bazdeev, who instructs him - disappointed, confused, not knowing how and why to live further - and gives him a letter of recommendation to one of the St. Petersburg masons. Upon arrival, Pierre enters into Masonic lodge: he is delighted with the truth that has been revealed to him, although the ritual of initiation into the Masons itself somewhat confuses him. Filled with the desire to do good to his neighbors, in particular his peasants, Pierre goes to his estates in the Kyiv province. There he very zealously begins reforms, but, lacking “practical tenacity,” he turns out to be completely deceived by his manager.

Returning from a southern trip, Pierre visits his friend Bolkonsky at his estate Bogucharovo. After Austerlitz, Prince Andrei firmly decided not to serve anywhere (in order to get rid of active service, he accepted the position of collecting the militia under the command of his father). All his worries are focused on his son. Pierre notices the “extinct, dead look” of his friend, his detachment. Pierre's enthusiasm, his new views contrast sharply with Bolkonsky's skeptical mood; Prince Andrei believes that neither schools nor hospitals are needed for peasants, but to cancel serfdom it is necessary not for the peasants - they are accustomed to it - but for the landowners who are corrupted by unlimited power over other people. When the friends go to Bald Mountains, to visit Prince Andrei’s father and sister, a conversation takes place between them (on the ferry during the crossing): Pierre expresses to Prince Andrei his new views (“we do not live now only on this piece of land, but we have lived and will live forever there, in everything"), and Bolkonsky for the first time since Austerlitz sees the “high, eternal sky”; “something better that was in him suddenly joyfully awakened in his soul.” While Pierre was in Bald Mountains, he enjoyed close, friendly relations not only with Prince Andrei, but also with all his relatives and household; For Bolkonsky, from the meeting with Pierre, a new life began (internally).

Returning from leave to the regiment, Nikolai Rostov felt at home. Everything was clear, known in advance; True, it was necessary to think about what to feed the people and horses - the regiment lost almost half of its people from hunger and disease. Denisov decides to recapture the transport with food assigned to the infantry regiment; Summoned to headquarters, he meets Telyanin there (in the position of Chief Provision Master), beats him and for this he must stand trial. Taking advantage of the fact that he was slightly wounded, Denisov goes to the hospital. Rostov visits Denisov in the hospital - he is struck by the sight of sick soldiers lying on straw and on greatcoats on the floor, and the smell of a rotting body; in the officers' chambers he meets Tushin, who has lost his arm, and Denisov, who, after some persuasion, agrees to submit a request to the sovereign for pardon.

With this letter, Rostov goes to Tilsit, where a meeting between two emperors - Alexander and Napoleon - takes place. At the apartment of Boris Drubetskoy, enlisted in the retinue of the Russian emperor, Nikolai sees yesterday's enemies - French officers with whom Drubetskoy willingly communicates. All this - the unexpected friendship of the adored tsar with yesterday's usurper Bonaparte, and the free friendly communication of the retinue officers with the French - all irritates Rostov. He cannot understand why battles and severed arms and legs were necessary, if the emperors are so kind to each other and award each other and the soldiers of enemy armies with the highest orders of their countries. By chance, he manages to deliver a letter with Denisov’s request to a general he knows, and he gives it to the tsar, but Alexander refuses: “the law is stronger than me.” The terrible doubts in Rostov’s soul end with the fact that he convinces the officers he knows, like him, who are dissatisfied with the peace with Napoleon, and most importantly, himself, that the sovereign knows better what needs to be done. And “our job is to chop and not think,” he says, drowning out his doubts with wine.

Those enterprises that Pierre started and could not bring to any result were carried out by Prince Andrei. He transferred three hundred souls to free cultivators (that is, freed them from serfdom); replaced corvee with quitrent on other estates; peasant children began to be taught to read and write, etc. In the spring of 1809, Bolkonsky went on business to the Ryazan estates. On the way, he notices how green and sunny everything is; only the huge old oak tree “did not want to submit to the charm of spring” - Prince Andrei, in harmony with the appearance of this gnarled oak tree, thinks that his life is over.

For guardianship matters, Bolkonsky needs to see Ilya Rostov, the district leader of the nobility, and Prince Andrei goes to Otradnoye, the Rostov estate. At night, Prince Andrei hears a conversation between Natasha and Sonya: Natasha is full of delight at the beauty of the night, and in the soul of Prince Andrei “an unexpected confusion of young thoughts and hopes arose.” When - already in July - he drove through the very grove where he saw the old gnarled oak tree, it was transformed: “succulent young leaves broke through the hundred-year-old hard bark without knots.” “No, life is not over at thirty-one,” Prince Andrei decides; he goes to St. Petersburg to “take an active part in life.”

In St. Petersburg, Bolkonsky becomes close to Speransky, the Secretary of State, an energetic reformer close to the emperor. Prince Andrei feels a feeling of admiration for Speransky, “similar to what he once felt for Bonaparte.” The prince becomes a member of the commission for drawing up the military regulations. At this time, Pierre Bezukhov also lives in St. Petersburg - he became disillusioned with Freemasonry, reconciled (outwardly) with his wife Helen; in the eyes of the world he is an eccentric and a kind fellow, but in his soul the “difficult work of internal development” continues.

The Rostovs also end up in St. Petersburg, because the old count, wanting to improve his financial affairs, comes to the capital to look for a place of service. Berg proposes to Vera and marries her. Boris Drubetskoy, already a close person in the salon of Countess Helen Bezukhova, begins to visit the Rostovs, unable to resist Natasha’s charm; in a conversation with her mother, Natasha admits that she is not in love with Boris and does not intend to marry him, but she likes that he travels. The Countess talked to Drubetsky, and he stopped visiting the Rostovs.

On New Year's Eve there should be a ball at Catherine's nobleman's house. The Rostovs are carefully preparing for the ball; At the ball itself, Natasha experiences fear and timidity, delight and excitement. Prince Andrei invites her to dance, and “the wine of her charm went to his head”: after the ball, his activities in the commission, the sovereign’s speech in the Council, and Speransky’s activities seem insignificant to him. He proposes to Natasha, and the Rostovs accept him, but according to the condition set by the old Prince Bolkonsky, the wedding can only take place in a year. This year Bolkonsky is going abroad.

Nikolai Rostov comes to Otradnoye on vacation. He tries to put his business affairs in order, tries to check the accounts of the clerk Mitenka, but nothing comes of it. In mid-September, Nikolai, the old count, Natasha and Petya with a pack of dogs and a retinue of hunters go on a big hunt. Soon they are joined by their distant relative and neighbor (“uncle”). The old count and his servants let the wolf pass, for which the hunter Danilo scolded him, as if forgetting that the count was his master. At this time, another wolf came out to Nikolai, and Rostov’s dogs took him. Later, the hunters met their neighbor, Ilagin, hunting; The dogs of Ilagin, Rostov and the uncle chased the hare, but the uncle’s dog Rugai took it, which delighted the uncle. Then Rostov, Natasha and Petya go to their uncle. After dinner, uncle began to play the guitar, and Natasha went to dance. When they returned to Otradnoye, Natasha admitted that she would never be as happy and calm as she was now.

Christmas time has arrived; Natasha languishes with longing for Prince Andrei - for a short time she, like everyone else, is entertained by a trip to the neighbors with mummers, but the thought that “her life is being wasted” best time", torments her. During Christmas time, Nikolai felt especially keenly his love for Sonya and announced it to his mother and father, but this conversation upset them very much: the Rostovs hoped that their property circumstances would be improved by Nikolai’s marriage to a rich bride. Nikolai returns to the regiment, and the old count leaves for Moscow with Sonya and Natasha.

Old Bolkonsky also lives in Moscow; he has noticeably aged, become more irritable, his relationship with his daughter has deteriorated, which torments both the old man himself and especially Princess Marya. When Count Rostov and Natasha come to the Bolkonskys, they receive the Rostovs unkindly: the prince - with calculation, and Princess Marya - herself suffering from awkwardness. This hurts Natasha; to console her, Marya Dmitrievna, in whose house the Rostovs were staying, bought her a ticket to the opera. At the theater, the Rostovs meet Boris Drubetsky, now the fiancé of Julie Karagina, Dolokhov, Helen Bezukhova and her brother Anatoly Kuragin. Natasha meets Anatole. Helen invites the Rostovs to her place, where Anatole pursues Natasha and tells her of his love for her. He secretly sends her letters and is going to kidnap her in order to get married secretly (Anatole was already married, but almost no one knew this).

The kidnapping fails - Sonya accidentally finds out about it and confesses to Marya Dmitrievna; Pierre tells Natasha that Anatole is married. Prince Andrei, who arrives, learns about Natasha’s refusal (she sent a letter to Princess Marya) and about her affair with Anatole; Through Pierre, he returns Natasha’s letters. When Pierre comes to Natasha and sees her tear-stained face, he feels sorry for her and at the same time he unexpectedly tells her that if he were “the best man in the world,” he would “beg on his knees for her hand and love.” He leaves in tears of “tenderness and happiness.”

Volume three

In June 1812, the war begins, Napoleon becomes the head of the army. Emperor Alexander, having learned that the enemy had crossed the border, sent Adjutant General Balashev to Napoleon. Balashev spends four days with the French, who do not recognize for him the importance that he had at the Russian court, and finally Napoleon receives him in the very palace from which the Russian emperor sent him. Napoleon listens only to himself, not noticing that he often falls into contradictions.

Prince Andrei wants to find Anatoly Kuragin and challenge him to a duel; for this he goes to St. Petersburg, and then to the Turkish army, where he serves at Kutuzov’s headquarters. When Bolkonsky learns about the start of the war with Napoleon, he asks to be transferred to the Western Army; Kutuzov gives him an assignment to Barclay de Tolly and releases him. On the way, Prince Andrei stops by Bald Mountains, where outwardly everything is the same, but the old prince is very irritated with Princess Marya and noticeably brings Mlle Bourienne closer to him. A difficult conversation takes place between the old prince and Andrei, Prince Andrei leaves.

In the Dris camp, where the main headquarters of the Russian army was located, Bolkonsky finds many opposing parties; at the military council he finally understands that there is no military science, and everything is decided “in the ranks.” He asks the sovereign for permission to serve in the army, and not at court.

The Pavlograd regiment, in which Nikolai Rostov, now a captain, still serves, retreats from Poland to the Russian borders; none of the hussars thinks about where and why they are going. On July 12, one of the officers tells in the presence of Rostov about the feat of Raevsky, who led two sons to the Saltanovskaya dam and went on the attack next to them; This story raises doubts in Rostov: he does not believe the story and does not see the point in such an act, if it really happened. The next day, near the town of Ostrovna, Rostov’s squadron attacked the French dragoons who were pushing back the Russian lancers. Nicholas captured a French officer with a “little face” - for this he received the St. George Cross, but he himself could not understand what was bothering him in this so-called feat.

The Rostovs live in Moscow, Natasha is very sick, doctors visit her; At the end of Peter's fast, Natasha decides to fast. On July 12, Sunday, the Rostovs went to mass at the Razumovskys’ home church. Natasha is very impressed by the prayer (“Let us pray to the Lord in peace”). She gradually returns to life and even begins to sing again, something she hasn’t done for a long time. Pierre brings the Emperor's appeal to the Muscovites to the Rostovs, everyone is moved, and Petya asks to be allowed to go to war. Having not received permission, Petya decides the next day to go meet the sovereign, who is coming to Moscow to express to him his desire to serve the fatherland.

In the crowd of Muscovites greeting the Tsar, Petya was almost run over. Together with others, he stood in front of the Kremlin Palace when the sovereign went out onto the balcony and began throwing biscuits to the people - one biscuit went to Petya. Returning home, Petya resolutely announced that he would certainly go to war, and the old count went the next day to find out how to settle Petya somewhere safer. On the third day of his stay in Moscow, the tsar met with the nobility and merchants. Everyone was in awe. The nobility donated militia, and merchants donated money.

Old Prince Bolkonsky is weakening; despite the fact that Prince Andrey informed his father in a letter that the French were already at Vitebsk and that his family’s stay in Bald Mountains was unsafe, the old prince laid out a new garden and a new building on his estate. Prince Nikolai Andreevich sends manager Alpatych to Smolensk with instructions, he, having arrived in the city, stops at an inn with a familiar owner, Ferapontov. Alpatych gives the governor a letter from the prince and hears advice to go to Moscow. The bombing begins, and then the fire of Smolensk begins. Ferapontov, who previously did not want to hear about the departure, suddenly begins distributing bags of food to the soldiers: “Get everything, guys! ‹…› I made up my mind! Race!" Alpatych meets Prince Andrei, and he writes a note to his sister, suggesting they urgently leave for Moscow.

For Prince Andrei, the fire of Smolensk “was an era” - the feeling of bitterness against the enemy made him forget his grief. In the regiment they called him “our prince,” they loved him and were proud of him, and he was kind and gentle “with his regimental men.” His father, having sent his family to Moscow, decided to stay in Bald Mountains and defend them “to the last extreme”; Princess Marya does not agree to leave with her nephews and remains with her father. After Nikolushka’s departure, the old prince suffers a stroke and is transported to Bogucharovo. For three weeks, paralyzed, the prince lies in Bogucharovo, and finally he dies, asking his daughter for forgiveness before his death.

Princess Marya, after her father’s funeral, is going to leave Bogucharovo for Moscow, but the Bogucharovo peasants do not want to let the princess go. By chance, Rostov turns up in Bogucharovo, easily pacifying the men, and the princess can leave. Both she and Nikolai think about the will of providence that arranged their meeting.

When Kutuzov is appointed commander-in-chief, he calls Prince Andrey to himself; he arrives in Tsarevo-Zaimishche, at the main apartment. Kutuzov listens with sympathy to the news of the death of the old prince and invites Prince Andrei to serve at the headquarters, but Bolkonsky asks for permission to remain in the regiment. Denisov, who also arrived at the main apartment, hurries to outline to Kutuzov the plan for the partisan war, but Kutuzov listens to Denisov (like the report of the general on duty) clearly inattentively, as if “with his experience of life” despising everything that was said to him. And Prince Andrei leaves Kutuzov completely reassured. “He understands,” Bolkonsky thinks about Kutuzov, “that there is something stronger and more significant than his will - this is the inevitable course of events, and he knows how to see them, knows how to understand their meaning ‹…› And the main thing is that he is Russian "

This is what he says before the Battle of Borodino to Pierre, who came to see the battle. “While Russia was healthy, a stranger could serve her and there was an excellent minister, but as soon as she is in danger, she needs her own, dear person“- Bolkonsky explains the appointment of Kutuzov as commander-in-chief instead of Barclay. During the battle, Prince Andrey is mortally wounded; he is brought into the tent to the dressing station, where he sees Anatoly Kuragin on the next table - his leg is being amputated. Bolkonsky is overwhelmed by a new feeling - a feeling of compassion and love for everyone, including his enemies.

Pierre's appearance on the Borodino field is preceded by a description of Moscow society, where they refused to speak French (and even fined for a French word or phrase), where Rastopchinsky posters, with their pseudo-folk rude tone, are distributed. Pierre feels a special joyful “sacrificial” feeling: “everything is nonsense in comparison with something,” which Pierre could not understand for himself. On the way to Borodin, he meets militiamen and wounded soldiers, one of whom says: “They want to attack all the people.” On the Borodin field, Bezukhov sees a prayer service in front of Smolenskaya miraculous icon, meets some of his acquaintances, including Dolokhov, who asks Pierre for forgiveness.

During the battle, Bezukhov found himself at Raevsky's battery. The soldiers soon get used to him and call him “our master”; When the charges run out, Pierre volunteers to bring new ones, but before he could reach the charging boxes, there was a deafening explosion. Pierre runs to the battery, where the French are already in charge; the French officer and Pierre simultaneously grab each other, but a flying cannonball forces them to unclench their hands, and the Russian soldiers who run up drive the French away. Pierre is horrified by the sight of the dead and wounded; he leaves the battlefield and walks three miles along the Mozhaisk road. He sits down on the side of the road; After some time, three soldiers make a fire nearby and call Pierre to dinner. After dinner, they go together to Mozhaisk, on the way they meet the guard Pierre, who takes Bezukhov to the inn. At night, Pierre has a dream in which a benefactor speaks to him (that’s what he calls Bazdeev); the voice says that you must be able to unite in your soul “the meaning of everything.” “No,” Pierre hears in a dream, “not to connect, but to pair.” Pierre returns to Moscow.

Two more characters are shown in close-up during the Battle of Borodino: Napoleon and Kutuzov. On the eve of the battle, Napoleon receives a gift from Paris from the Empress - a portrait of his son; he orders the portrait to be taken out to show it to the old guard. Tolstoy claims that Napoleon’s orders before the Battle of Borodino were no worse than all his other orders, but nothing depended on the will of the French emperor. At Borodino, the French army suffered a moral defeat - this is, according to Tolstoy, the most important result of the battle.

Kutuzov did not make any orders during the battle: he knew that the outcome of the battle was decided by “an elusive force called the spirit of the army,” and he led this force “as far as it was in his power.” When adjutant Wolzogen comes to the commander-in-chief with news from Barclay that the left flank is upset and the troops are fleeing, Kutuzov furiously attacks him, claiming that the enemy has been repulsed everywhere and that tomorrow there will be an offensive. And this mood of Kutuzov is transmitted to the soldiers.

After the Battle of Borodino, Russian troops retreat to Fili; main question, which the military leaders are discussing, is the issue of protecting Moscow. Kutuzov, realizing that there is no way to defend Moscow, gives the order to retreat. At the same time, Rostopchin, not understanding the meaning of what was happening, ascribes to himself a leading role in the abandonment and fire of Moscow - that is, in an event that could not have happened by the will of one person and could not fail to happen in the circumstances of that time. He advises Pierre to leave Moscow, reminding him of his connection with the Freemasons, gives the merchant son Vereshchagin to the crowd to be torn to pieces and leaves Moscow. The French enter Moscow. Napoleon stands on Poklonnaya Hill, awaiting the deputation of the boyars and playing out magnanimous scenes in his imagination; they report to him that Moscow is empty.

On the eve of leaving Moscow, the Rostovs were preparing to leave. When the carts were already packed, one of the wounded officers (the day before several wounded had been taken into the house by the Rostovs) asked permission to go further with the Rostovs in their cart. The Countess objected at first - after all, it was lost last state, - but Natasha convinced her parents to give all the carts to the wounded, and leave most of the things. Among the wounded officers who were traveling with the Rostovs from Moscow was Andrei Bolkonsky. In Mytishchi, during the next stop, Natasha entered the room where Prince Andrei was lying. Since then, she looked after him on all vacations and overnight stays.

Pierre did not leave Moscow, but left his home and began to live in the house of Bazdeev’s widow. Even before his trip to Borodino, he learned from one of the Freemason brothers that the Apocalypse predicted the invasion of Napoleon; he began to calculate the meaning of the name of Napoleon (“the beast” from the Apocalypse), and the number was equal to 666; the same amount was obtained from the numerical value of his name. This is how Pierre discovered his destiny - to kill Napoleon. He remains in Moscow and prepares for a great feat. When the French enter Moscow, officer Rambal and his orderly come to Bazdeev’s house. Bazdeev's crazy brother, who lived in the same house, shoots Rambal, but Pierre snatches the gun from him. During dinner, Rambal openly tells Pierre about himself, about his love affairs; Pierre tells the Frenchman the story of his love for Natasha. The next morning he goes to the city, no longer really believing his intention to kill Napoleon, saves the girl, stands up for the Armenian family, which is being robbed by the French; he is arrested by a detachment of French lancers.

Volume four

St. Petersburg life, “concerned only with ghosts, reflections of life,” went on as before. Anna Pavlovna Scherer had an evening at which a letter from Metropolitan Plato to the sovereign was read and the illness of Helen Bezukhova was discussed. The next day, news was received about the abandonment of Moscow; after some time, Colonel Michaud arrived from Kutuzov with news of the abandonment and fire of Moscow; During a conversation with Michaud, Alexander said that he himself would stand at the head of his army, but would not sign peace. Meanwhile, Napoleon sends Loriston to Kutuzov with a peace proposal, but Kutuzov refuses “any deal.” The Tsar demands offensive action, and, despite Kutuzov’s reluctance, the Battle of Tarutino was given.

On an autumn night, Kutuzov receives news that the French have left Moscow. Until the very expulsion of the enemy from the borders of Russia, all of Kutuzov’s activities are aimed only at keeping troops from useless offensives and clashes with the dying enemy. The French army melts as it retreats; Kutuzov, on the way from Krasny to the main apartment, addresses the soldiers and officers: “While they were strong, we did not feel sorry for ourselves, but now we can feel sorry for them. They are people too." Intrigues against the commander-in-chief do not stop, and in Vilna the sovereign reprimands Kutuzov for his slowness and mistakes. Nevertheless, Kutuzov was awarded George I degree. But in the upcoming campaign - already outside Russia - Kutuzov is not needed. “The representative of the people's war had no choice but death. And he died."

Nikolai Rostov goes for repairs (to buy horses for the division) to Voronezh, where he meets Princess Marya; he again has thoughts about marrying her, but he is bound by the promise he made to Sonya. Unexpectedly, he receives a letter from Sonya, in which she returns his word to him (the letter was written at the insistence of the Countess). Princess Marya, having learned that her brother is in Yaroslavl, with the Rostovs, goes to see him. She sees Natasha, her grief and feels closeness between herself and Natasha. She finds her brother in a state where he already knows that he will die. Natasha understood the meaning of the turning point that occurred in Prince Andrei shortly before her sister’s arrival: she tells Princess Marya that Prince Andrei is “too good, he cannot live.” When Prince Andrey died, Natasha and Princess Marya felt “reverent tenderness” before the mystery of death.

The arrested Pierre is brought to the guardhouse, where he is kept along with other detainees; he is interrogated by French officers, then he is interrogated by Marshal Davout. Davout was known for his cruelty, but when Pierre and the French marshal exchanged glances, they both vaguely felt that they were brothers. This look saved Pierre. He, along with others, was taken to the place of execution, where the French shot five, and Pierre and the rest of the prisoners were taken to the barracks. The spectacle of the execution had a terrible effect on Bezukhov, in his soul “everything fell into a heap of meaningless rubbish.” A neighbor in the barracks (his name was Platon Karataev) fed Pierre and calmed him down with his gentle speech. Pierre forever remembered Karataev as the personification of everything “Russian good and round.” Plato sews shirts for the French and several times notices that among the French different people there are. A party of prisoners is taken out of Moscow, and together with the retreating army they walk along the Smolensk road. During one of the transitions, Karataev falls ill and is killed by the French. After this, Bezukhov, at a rest stop, has a dream in which he sees a ball, the surface of which consists of drops. Drops move, move; “Here he is, Karataev, spilled over and disappeared,” Pierre dreams. The next morning, a detachment of prisoners was repulsed by Russian partisans.

Denisov, the commander of a partisan detachment, is going to unite with a small detachment of Dolokhov to attack a large French transport with Russian prisoners. A messenger arrives from a German general, the head of a large detachment, with an offer to join for joint action against the French. This messenger was Petya Rostov, who remained for the day in Denisov’s detachment. Petya sees Tikhon Shcherbaty, a man who went to “take the tongue” and escaped pursuit, returning to the detachment. Dolokhov arrives and, together with Petya Rostov, goes on reconnaissance to the French. When Petya returns to the detachment, he asks the Cossack to sharpen his saber; he almost falls asleep and dreams of music. The next morning, the detachment attacks a French transport, and during a shootout Petya dies. Among the captured prisoners was Pierre.

After his release, Pierre is in Oryol - he is sick, the physical deprivations he experienced are taking their toll, but mentally he feels a freedom he has never experienced before. He learns about the death of his wife, that Prince Andrei was alive for another month after being wounded. Arriving in Moscow, Pierre goes to Princess Marya, where he meets Natasha. After the death of Prince Andrei, Natasha became isolated in her grief; She is brought out of this state by the news of Petya’s death. She does not leave her mother for three weeks, and only she can ease the countess’s grief. When Princess Marya leaves for Moscow, Natasha, at the insistence of her father, goes with her. Pierre discusses with Princess Marya the possibility of happiness with Natasha; Natasha also awakens in love for Pierre.

Epilogue

Seven years have passed. Natasha marries Pierre in 1813. The old Count Rostov dies. Nikolai retires, accepts the inheritance - there are twice as many debts as estates. He, along with his mother and Sonya, settles in Moscow, in a modest apartment. Having met Princess Marya, he tries to be reserved and dry with her (the thought of marrying a rich bride is unpleasant to him), but an explanation occurs between them, and in the fall of 1814 Rostov marries Princess Bolkonskaya. They move to Bald Mountains; Nikolai skillfully manages the household and soon pays off his debts. Sonya lives in his house; “she, like a cat, has taken root not with people, but with the house.”

In December 1820, Natasha and her children visited her brother. They are waiting for Pierre's arrival from St. Petersburg. Pierre arrives and brings gifts for everyone. In the office, a conversation takes place between Pierre, Denisov (he is also visiting the Rostovs) and Nikolai, Pierre is a member secret society; he talks about bad government and the need for change. Nikolai does not agree with Pierre and says that he cannot accept the secret society. During the conversation, Nikolenka Bolkonsky, the son of Prince Andrei, is present. At night he dreams that he and Uncle Pierre, wearing helmets, as in Plutarch’s book, are walking ahead of a huge army. Nikolenka wakes up with thoughts of her father and future glory.

The language of War and Peace is bright, simple, expressive, colorful and strictly logical. In this great historical epic, according to V. Vinogradov, the “echo” of the voices of the depicted era should have sounded dully and through the living hum of modernity in the 1860s. And Tolstoy managed to bring this “echo” to his readers.

The reader's attention is also drawn to the abundance of French speech. The French language was considered at that time an obligatory affiliation of the noble society, especially the highest, although they fought against this foreign language dominance advanced people of its time.

In War and Peace, French is spoken mainly by those characters who are alien to the Russian people. At the same time, Pierre, who came from abroad, speaks Russian. He resorts to French only in those cases when he expresses something that is not what he feels (Helen’s declaration of love), or expresses himself artificially (a conversation with Anatoly Kuragin regarding the attempted abduction of Rostova). “The French phrase is disgusting to him,” Turgenev wrote about Tolstoy. In cases where representatives high nobility turn to the Russian language, it differs in some features.
Characteristic here is the inclusion of popular expressions in refined French speech.

Introducing his son to the owner of the house, he says: “I ask you to love and favor him.” When, during the French invasion of Russia, the capital's nobles considered it necessary to abandon French and move on to Russian, which they had forgotten (some even hired Russian language teachers), the general style of their speech is not entirely Russian in nature.
Tolstoy masterfully creates a special flavor of the era and classes by introducing some archaisms (ball gown, powder man), as well as terminology and phraseology characteristic of the military environment of the early 19th century: battle,
retreat and carry out the retreat in perfect order, etc.

The peculiarities of the Masons’ speech are also important in this regard. Their Masonic vocabulary includes many words characteristic of the era depicted in the novel: wisdom, virtue, sacrament, bliss, preparation, explanation, good morals, temple, etc. Here we also encounter Slavicisms: tokmo, this, etc.
Since Tolstoy also shows peasant Rus', living folk speech, as well as elements of oral folk art, flow into the narrative in a wide wave.
And the vocabulary, phraseology, and syntax - everything here, as in a number of other places, reproduces the speech of the peasants with exceptional truthfulness.
Peasant vernacular occupies a large place in the language of the local nobility (old man Bolkonsky, the Rostovs) and partly in Moscow (Akhrosimova).
Bolkonsky convinces his daughter to study mathematics: “If you endure it, you will fall in love... The nonsense will jump out of your head.”

There is a lot of peasant speech in the language of officers close to the peasant masses - Tushin, Timokhin and others.
When Tushin was caught by senior officers without boots, in order to get out of the awkward situation, he tries to switch to a humorous tone: “The soldiers say: be smarter when you understand.” During the fight, he says: “Crush, guys!” And, observing the results of the firing of his battery, he notes: “Look, he puffed again.” His favorite addresses: darling, dear soul.
But the language of each characters has its own individual characteristics.

The speech of every soldier and peasant has its own characteristics, starting with Karataev, Lavrushka and ending with fleeting, episodic images. So, Karataev’s speech is always quite verbose and instructive. Even in the episode with his attempt to appropriate the remainder of a canvas that belonged to a French soldier, after the Frenchman gives him this remainder, Karataev finds an instructive maxim: “Infidelness, but also a soul. That's what the old people used to say: a sweaty hand is tarnished, a dry hand is stubborn. He himself is hollow, but he gave it away.”

The speech of Tikhon Shcherbaty, intelligent, firm, decisive, has a completely different character. fearless man. Clear, precise and at the same time imaginative and not devoid of humor, it consists of short, sometimes incomplete sentences, in which the predominant place belongs to the verb, which gives it a touch of energy.

The speech of the peasants contains a lot folklore elements. Karataev constantly uses wise proverbs created by the people. Other characters sometimes express their thoughts with the help of proverbs: “And wormwood grows on its own roots.”
The soldiers sing folk songs: “Oh, it’s gone... yes, the hedgehog’s head... Yes, we are tenacious on the wrong side,” etc.
Speech diversity is also visible among the nobility. The precise, clear, often laconic speech of Andrei Bolkonsky, with his sometimes bitter irony, differs sharply in character from the statements of the dreamy, absent-minded, good-natured, and sometimes enthusiastic Pierre. The deceit of Prince Vasily is emphasized by the hyperbolic epithets he uses.

Natasha Rostova’s speech is also unique. It is characterized by complete artlessness and simplicity, but is complemented by more than any of the others. goodies Tolstoy, rich intonation, expression of the eyes of the whole face, body movements.

V. Vinogradov in his work “On Tolstoy’s Language” points out that this mimic conversation is also conveyed by the writer in the form of oral dialogue. So, for example, to Bolkonsky’s question whether Natasha could be his wife, she did not answer anything in words, but “her face said: “Why ask? Why doubt what you can’t help but know?”

In Tolstoy's work, Russian literature takes a new step forward in the democratization of the Russian literary language. Folk everyday speech, in which Tolstoy is consummate master, not only abundantly flows into the narrative when depicting soldiers and peasants of the local nobility, the democratic part of the officers. Its powerful influence is also noticeable in the author’s language. When describing the battle of Tushin’s battery, Tolstoy uses the following expressions: “without letting go of his nose warmer”; “those who hesitated to raise the wounded”; “beautiful fellows.”

Describing a noble ball, the writer uses the following expressions: clicking his right foot with his left foot; I did a new and unexpected knee again.
The vernacular nature of the author's comparisons is also characteristic in this regard. The Moscow nobility organized a dinner in honor of Bagration at the English Club. When the famous general arrived, “the guests scattered in different rooms, like shaken rye on a shovel, gathered in one heap and stopped in the large living room at the door of the hall.”
Many metaphors also have the same connotation of peasant speech: “Having driven out onto a rough, large road, oiled with runners, the horses of their own accord ... began to speed up”; “Nikolai began to take the lead”; “Nicholas jumped up and let all the horses go”, etc.
Freeing his language from all conventions, from “mask words,” Tolstoy thereby also brings it closer to colloquial and everyday folk speech.

The richness of the depicted external features and inner world of the hero in Tolstoy corresponds to the richness of the vocabulary. So wanting to show how much the presence of their beloved commander in dangerous moments meant to soldiers and officers, Tolstoy, with exceptional precision, subtle shades uses a number of synonymous expressions.
The epithetics also testify to the vocabulary richness of the language of War and Peace, its remarkable accuracy and expressiveness.

Boris Drubetskoy is characterized by few epithets, but revealing the most basic features of the high-society Molchalin: quiet, decent, not fast (steps). But the complex nature of Andrei Bolkonsky required a lot of color from the writer.
The word lives only in the context, and the richness of the writer’s language is most manifested in the skill of combining words. Portraying a simple Russian person, true hero Staff Captain Tushin, Tolstoy mentions the following features of his appearance: large, intelligent and kind eyes; sincere, pleasant voice; a small, stooped man; “...a thin voice to which he wanted to give a dashing air”; timid, awkward movements in the presence of superiors. But this “little man with weak, awkward movements,” when the battle flared up, commanded: “Crush, guys!” He knows no fear. According to Bolkonsky, the Russians owed their victory at Shengraben most of all to the heroism of Captain Tushin. As a result, the reader forever retains in his memory the image of a hero, beautiful in his simplicity, modesty and humanity, and develops the conviction that there is nothing ostentatious in true heroism.

Leo Tolstoy enriched the Russian literary language not only through the widespread and masterful use of the riches of the national language, but also through the creation of new, vivid and deep in thought figurative expressions.

A.E. In 1863, Bersom wrote to his friend, Count Tolstoy, a letter reporting on a fascinating conversation between young people about the events of 1812. Then Lev Nikolaevich decided to write a grandiose work about that heroic time. Already in October 1863, the writer wrote in one of his letters to a relative that he had never felt such creative powers in himself; the new work, according to him, would not be like anything he had done before.

Initially, the main character of the work should be the Decembrist, returning from exile in 1856. Next, Tolstoy moved the beginning of the novel to the day of the uprising in 1825, but then artistic time moved to 1812. Apparently, the count was afraid that the novel would not be released for political reasons, since Nicholas the First tightened censorship, fearing a repeat of the riot. Since the Patriotic War directly depends on the events of 1805, it was this period that in the final version became the foundation for the beginning of the book.

“Three Pores” - that’s what Lev Nikolaevich Tolstoy called his work. It was planned that the first part or time would tell about the young Decembrists, participants in the war; in the second - a direct description of the Decembrist uprising; in the third – second half of the 19th century, sudden death Nicholas 1, defeat of the Russian army in Crimean War, an amnesty for members of the opposition movement who, returning from exile, expect changes.

It should be noted that the writer rejected all the works of historians, basing many episodes of War and Peace on the memoirs of participants and witnesses of the war. Materials from newspapers and magazines also served as excellent informants. In the Rumyantsev Museum, the author read unpublished documents, letters from ladies-in-waiting and generals. Tolstoy spent several days in Borodino, and in letters to his wife he enthusiastically wrote that if God grants health, he will describe the Battle of Borodino in a way that no one has described before.

The author spent 7 years of his life creating War and Peace. There are 15 variations of the beginning of the novel; the writer repeatedly abandoned and started his book again. Tolstoy foresaw the global scope of his descriptions, wanted to create something innovative and created an epic novel worthy of representing the literature of our country on the world stage.

Themes of War and Peace

1. Family theme. It is the family that determines the upbringing, psychology, views and moral principles of a person, and therefore naturally occupies one of the central places in the novel. The forge of morals shapes the characters' characters and influences the dialectic of their souls throughout the entire narrative. The description of the Bolkonsky, Bezukhov, Rostov and Kuragin families reveals the author’s thoughts about house building and the importance he attaches to family values.
2. The theme of the people. The glory for a won war always belongs to the commander or emperor, and the people, without whom this glory would not have appeared, remain in the shadows. It is this problem that the author raises, showing the vanity of the vanity of military officials and elevating ordinary soldiers. became the topic of one of our essays.
3. Theme of war. Descriptions of military operations exist relatively separately from the novel, independently. It is here that phenomenal Russian patriotism is revealed, which became the key to victory, the boundless courage and fortitude of a soldier who goes to any length to save his homeland. The author introduces us to military scenes through the eyes of one or another hero, plunging the reader into the depth of the bloodshed that is taking place. Large-scale battles echo the mental anguish of the heroes. Being at the crossroads of life and death reveals the truth to them.
4. Theme of life and death. Tolstoy's characters are divided into “living” and “dead”. The first include Pierre, Andrey, Natasha, Marya, Nikolai, and the second include old Bezukhov, Helen, Prince Vasily Kuragin and his son Anatole. The “living” are constantly in motion, and not so much physical as internal, dialectical (their souls come to harmony through a series of trials), while the “dead” hide behind masks and come to tragedy and internal split. Death in “War and Peace” is presented in 3 forms: bodily or physical death, moral death, and awakening through death. Life is comparable to the burning of a candle, someone’s light is small, with flashes of bright light (Pierre), for someone it burns tirelessly (Natasha Rostova), the wavering light of Masha. There are also 2 hypostases: physical life, like that of “dead” characters, whose immorality deprives the world of the necessary harmony within, and the life of the “soul”, this is about the heroes of the first type, they will be remembered even after death.

Main characters

• Andrey Bolkonsky- a nobleman, disillusioned with the world and seeking glory. The hero is handsome, has dry features, short stature, but athletic build. Andrei dreams of being famous like Napoleon, and that’s why he goes to war. He is bored with high society; even his pregnant wife does not give him any relief. Bolkonsky changes his worldview when, wounded at the battle of Austerlitz, he encountered Napoleon, who seemed like a fly to him, along with all his glory. Further, the love that flared up for Natasha Rostova also changes the views of Andrei, who finds the strength to live again fully and happy life, after the death of his wife. He meets death on the Borodino field, because he does not find the strength in his heart to forgive people and not fight with them. The author shows the struggle in his soul, hinting that the prince is a man of war, he cannot get along in an atmosphere of peace. So, he forgives Natasha for betrayal only on his deathbed, and dies in harmony with himself. But achieving this harmony was possible only in this way - in last time. We wrote more about his character in the essay "".
• Natasha Rostova– a cheerful, sincere, eccentric girl. Knows how to love. He has a wonderful voice that will captivate the most picky music critics. In the work, we first see her as a 12-year-old girl, on her name day. Throughout the entire work, we observe the growing up of a young girl: first love, first ball, Anatole’s betrayal, guilt before Prince Andrei, the search for her “I”, including in religion, the death of her lover (Andrei Bolkonsky). We analyzed her character in the essay "". In the epilogue, the wife of Pierre Bezukhov, his shadow, appears before us from a cocky lover of “Russian dances”.
• Pierre Bezukhov- a plump young man who was unexpectedly bequeathed a title and a large fortune. Pierre discovers himself through what is happening around him, from each event he draws morals and life lesson. His wedding with Helen gives him confidence; after being disappointed in her, he finds interest in Freemasonry, and in the end he gains warm feelings for Natasha Rostova. The Battle of Borodino and capture by the French taught him not to philosophize and find happiness in helping others. These conclusions were determined by acquaintance with Platon Karataev, a poor man who, while awaiting death in a cell without normal food and clothing, looked after the “little baron” Bezukhov and found the strength to support him. We've already looked at it too.
• Graph Ilya Andreevich Rostov- a loving family man, luxury was his weakness, which led to financial problems in the family. The softness and weakness of character, inability to adapt to life make him helpless and pitiful.
• Countess Natalya Rostova- the Count's wife, has oriental flavor, knows how to present himself correctly in society, loves his own children excessively. A calculating woman: she strives to upset the wedding of Nikolai and Sonya, since she was not rich. It was her cohabitation with a weak husband that made her so strong and firm.
• NickOlai Rostov– the eldest son is kind, open, with curly hair. Wasteful and weak in spirit, like his father. He squanders his family's fortune on cards. He longed for glory, but after participating in a number of battles he understands how useless and cruel war is. Family well-being and finds spiritual harmony in his marriage to Marya Bolkonskaya.
• Sonya Rostova– the count’s niece – small, thin, with a black braid. She had a reasonable character and good disposition. She has been devoted to one man all her life, but lets her beloved Nikolai go after learning about his love for Marya. Tolstoy exalts and appreciates her humility.
• Nikolai Andreevich Bolkonsky- Prince, has an analytical mind, but a heavy, categorical and unfriendly character. He is too strict, therefore he does not know how to show love, although he has warm feelings for children. Dies from the second blow in Bogucharovo.
• Marya Bolkonskaya– modest, loving her family, ready to sacrifice herself for the sake of her loved ones. L.N. Tolstoy especially emphasizes the beauty of her eyes and the ugliness of her face. In her image, the author shows that the charm of forms cannot replace spiritual wealth. are described in detail in the essay.
• Helen Kuragina- Pierre's ex-wife - beautiful woman, socialite. She loves male company and knows how to get what she wants, although she is vicious and stupid.
• Anatol Kuragin- Helen's brother is handsome and belongs to high society. Immoral, lacking moral principles, wanted to secretly marry Natasha Rostova, although he already had a wife. Life punishes him with martyrdom on the battlefield.
• Fedor Dolokhov- officer and leader of the partisans, not tall, has light eyes. Successfully combines selfishness and care for loved ones. Vicious, passionate, but attached to his family.

Tolstoy's favorite hero

In the novel, the author's sympathy and antipathy for the characters is clearly felt. Concerning female images, the writer gives his love to Natasha Rostova and Marya Bolkonskaya. Tolstoy valued the true feminine in girls - devotion to a lover, the ability to always remain blooming in the eyes of her husband, the knowledge of happy motherhood and caring. His heroines are ready for self-denial for the benefit of others.

The writer is fascinated by Natasha, the heroine finds the strength to live even after the death of Andrei, she directs love to her mother after the death of her brother Petya, seeing how hard it is for her. The heroine is reborn, realizing that life is not over as long as she has a bright feeling for her neighbor. Rostova shows patriotism, without a doubt helping the wounded.

Marya also finds happiness in helping others, in feeling needed by someone. Bolkonskaya becomes a mother for Nikolushka’s nephew, taking him under her “wing”. She worries about ordinary men who have nothing to eat, passing the problem through herself, and does not understand how the rich can not help the poor. In the final chapters of the book, Tolstoy is fascinated by his heroines, who have matured and found female happiness.

Favorite male images Pierre and Andrei Bolkonsky became writers. Bezukhov first appears to the reader as a clumsy, plump, short young man who appears in Anna Scherer's living room. Despite his ridiculous, ridiculous appearance, Pierre is smart, but the only person who accepts him for who he is is Bolkonsky. The prince is brave and stern, his courage and honor come in handy on the battlefield. Both men risk their lives to save their homeland. Both are rushing around in search of themselves.

Of course, L.N. Tolstoy brings his favorite heroes together, only in the case of Andrei and Natasha, happiness is short-lived, Bolkonsky dies young, and Natasha and Pierre find family happiness. Marya and Nikolai also found harmony in each other's company.

Genre of the work

“War and Peace” opens the genre of the epic novel in Russia. The features of any novels are successfully combined here: from family novels to memoirs. The prefix “epic” means that the events described in the novel cover a significant historical phenomenon and reveal its essence in all its diversity. Typically, a work of this genre has a lot of plot lines and characters, since the scale of the work is very large.

The epic nature of Tolstoy’s work lies in the fact that he not only invented a story about a famous historical event, but also enriched it with details gleaned from the memories of eyewitnesses. The author did a lot to ensure that the book was based on documentary sources.

The relationship between the Bolkonskys and the Rostovs was also not invented by the author: he depicted the history of his family, the merger of the Volkonsky and Tolstoy families.

Main problems

1. The problem of finding real life. Let's take Andrei Bolkonsky as an example. He dreamed of recognition and glory, and most the right way to earn authority and adoration are military exploits. Andrei made plans to save the army with his own hands. Bolkonsky constantly saw pictures of battles and victories, but he was wounded and went home. Here, in front of Andrei’s eyes, his wife dies, completely shaken inner world prince, then he realizes that there is no joy in the murders and suffering of the people. This career is not worth it. The search for oneself continues, because original meaning life is lost. The problem is that it is difficult to find.
2. The problem of happiness. Take Pierre, who is torn away from the empty society of Helen and the war. He soon becomes disillusioned with the vicious woman; illusory happiness has deceived him. Bezukhov, like his friend Bolkonsky, tries to find a calling in the struggle and, like Andrei, abandons this search. Pierre was not born for the battlefield. As you can see, any attempts to find bliss and harmony result in the collapse of hopes. As a result, the hero returns to his former life and finds himself in a quiet family haven, but only by making his way through thorns did he find his star.
3. The problem of the people and the great man. The epic novel clearly expresses the idea of ​​commanders-in-chief inseparable from the people. A great man must share the opinions of his soldiers and live by the same principles and ideals. Not a single general or king would have received his glory if this glory had not been presented to him on a “platter” by the soldiers, in whom the main strength lies. But many rulers do not cherish it, but despise it, and this should not happen, because injustice hurts people painfully, even more painfully than bullets. The People's War in the events of 1812 is shown on the side of the Russians. Kutuzov protects the soldiers and sacrifices Moscow for their sake. They feel it, mobilize the peasants and deploy guerrilla warfare, which finishes off the enemy and finally expels him.
4. The problem of true and false patriotism. Of course, patriotism is revealed through images of Russian soldiers, a description of the heroism of the people in the main battles. False patriotism in the novel is represented in the person of Count Rostopchin. He distributes ridiculous pieces of paper throughout Moscow, and then saves himself from the wrath of people by sending his son Vereshchagin to certain death. We have written an article on this topic, called “”.

What is the point of the book?

About in true sense the epic novel is spoken by the writer himself in lines about greatness. Tolstoy believes that there is no greatness where there is no simplicity of soul, good intentions and a sense of justice.

L.N. Tolstoy expressed greatness through the people. In the images of battle paintings, an ordinary soldier shows unprecedented courage, which causes pride. Even the most fearful aroused in themselves a feeling of patriotism, which, like an unknown and frantic force, brought victory to the Russian army. The writer protests against false greatness. When put on the scales (here you can find their comparative characteristics), the latter flies up: its fame is lightweight, since it has very flimsy foundations. The image of Kutuzov is “folk”; none of the commanders has ever been so close to the common people. Napoleon is only reaping the fruits of fame; it is not without reason that when Bolkonsky lies wounded on the field of Austerlitz, the author, through his eyes, shows Bonaparte like a fly in this huge world. Lev Nikolaevich asks new trend heroic character. He becomes the “people's choice”.

An open soul, patriotism and a sense of justice won not only in the War of 1812, but also in life: heroes who were guided by moral principles and the voice of their hearts became happy.

Thought Family

L.N. Tolstoy was very sensitive to the topic of family. Thus, in his novel “War and Peace,” the writer shows that the state, like a clan, transmits values ​​and traditions from generation to generation, and good human qualities They are also sprouts from roots going back to their forefathers.

Brief description of families in the novel “War and Peace”:

1. Of course, the beloved family of L.N. Tolstoy's were the Rostovs. Their family was famous for its cordiality and hospitality. It is in this family that the author’s values ​​of true home comfort and happiness are reflected. The writer considered the purpose of a woman to be motherhood, maintaining comfort in the home, devotion and the ability to self-sacrifice. This is how all the women of the Rostov family are depicted. There are 6 people in the family: Natasha, Sonya, Vera, Nikolai and parents.
2. Another family is the Bolkonskys. Restraint of feelings, the severity of Father Nikolai Andreevich, and canonicity reign here. Women here are more like “shadows” of their husbands. Andrei Bolkonsky will inherit the best qualities, becoming worthy son her father, and Marya will learn patience and humility.
3. The Kuragin family is the best personification of the proverb “no oranges are born from aspen trees.” Helen, Anatole, Hippolyte are cynical, seek benefits in people, are stupid and not the least bit sincere in what they do and say. “A show of masks” is their lifestyle, and in this they completely took after their father, Prince Vasily. There are no friendly and warm relations in the family, which is reflected in all its members. L.N. Tolstoy especially dislikes Helen, who was incredibly beautiful on the outside, but completely empty on the inside.

People's thought

She is the central line of the novel. As we remember from what was written above, L.N. Tolstoy abandoned the generally accepted historical sources, basing “War and Peace” on memoirs, notes, letters from ladies-in-waiting and generals. The writer was not interested in the course of the war as a whole. Individual personalities, fragments – that’s what the author needed. Each person had his own place and meaning in this book, like puzzle pieces that, when assembled correctly, will reveal beautiful picture- the strength of national unity.

The Patriotic War changed something inside each of the characters in the novel, each made their own small contribution to the victory. Prince Andrei believes in the Russian army and fights with dignity, Pierre wants to destroy the French ranks from their very heart - by killing Napoleon, Natasha Rostova without hesitation gives carts to crippled soldiers, Petya fights bravely in partisan detachments.

The people's will to victory is clearly felt in the scenes of the Battle of Borodino, the battle for Smolensk, and the partisan battle with the French. The latter is especially memorable for the novel, because in partisan movements Volunteers fought, people from the ordinary peasant class - the detachments of Denisov and Dolokhov personify the movement of the entire nation, when “both old and young” stood up to defend their homeland. Later they would be called the “club of the people’s war.”

The War of 1812 in Tolstoy's novel

About the War of 1812, how turning point the lives of all the heroes of the novel “War and Peace” has been said several times above. It was also said that it was won by the people. Let's look at the issue from a historical perspective. L.N. Tolstoy draws 2 images: Kutuzov and Napoleon. Of course, both images are drawn through the eyes of a person from the people. It is known that the character of Bonaparte was thoroughly described in the novel only after the writer was convinced of the fair victory of the Russian army. The author did not understand the beauty of war, he was its opponent, and through the lips of his heroes Andrei Bolkonsky and Pierre Bezukhov, he speaks of the meaninglessness of its very idea.

The Patriotic War was a national liberation war. Special place it took up the pages of volumes 3 and 4.

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Lev Nikolaevich Tolstoy- a great Russian writer, whose name and whose works are known throughout the world. Tolstoy's books are included in the golden fund of world literature and are considered one of those masterpieces whose genius is unlikely to ever be refuted or surpassed. The head of Russian literature wrote many wonderful works, but one of the most famous books, which people from all over the world have been reading for many decades, is immortal work"" (1863-1869).

“War and Peace” is a novel in four volumes from the genius of classical literature. The epic novel describes Russia during the war against Napoleon (1805-1812). The book tells both about the war itself, military operations, battle scenes, and about peaceful life in Moscow, St. Petersburg and other cities of the country, which is taking place against the backdrop of war. Concerning wars, then the novel simply amazes with its careful and almost scrupulous description of all actions, important points and scenes. Against the backdrop of human relationships and destinies, the description of military operations does not seem at all like a boring history lesson, but rather, on the contrary, an exciting adventure into the past. The modern reader can discover a lot of new things about the history of this difficult and bloody time, having the pleasure of studying all its historical events and traveling through them together with their favorite heroes.

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« World"and the life of society, represented by several high-ranking families, captivate the reader even more. The relationships between people, love, betrayal, the mood of society, traditions and mores that reigned in the 19th century, all this is described incredibly beautifully and elegantly. The main characters of the novel become so bright and heartfelt here that the reader can look into their soul, feel everything they feel, temporarily feel love and hatred, a feeling of happiness or suffering, joy and grief. The most striking characters in the novel “War and Peace” are: Natasha Rostova, Pierre Bezukhov, Nikolai Rostov, Andrei Bolkonsky, Sonya, Maria Nikolaevna, Anatol Kuragin and many others. The whirlwind of their relationship can draw the reader so deeply into the book that these images will appear for the rest of their lives. The heroes and their characters will become so memorable for you that you will notice them for a long time. real people the habits of Pierre or the carelessness of Natasha Rostova, the courage and heroism of Andrei Bolkonsky or the self-sacrifice of Sonya. This novel can be called a real ocean, an ocean of life that has been raging in the universe for eternity.

"War and Peace" is a great work. What is the history of the creation of the epic novel? L.N. Tolstoy himself more than once wondered why life happens this way and not otherwise... Indeed, why, for what and how did it happen? creative process creation greatest work of all times and peoples? After all, it took seven to write it. for long years…

The history of the creation of the novel “War and Peace”: the first evidence of the beginning of work

In September 1863 in Yasnaya Polyana a letter arrives from Sofia Andreevna Tolstoy’s father - A.E. Bersa. He writes that the day before he and Lev Nikolaevich had a long conversation about the people's war against Napoleon and about that era as a whole - the count intends to begin writing a novel dedicated to those great and memorable events in the history of Russia. The mention of this letter is not accidental, since it is considered the “first accurate evidence” of the beginning of the work of the great Russian writer on the novel “War and Peace.” This is confirmed by another document, dated a month later the same year: Lev Nikolaevich writes to a relative about his new idea. He has already started working on an epic novel about the events of the beginning of the century and up to the 50s. How much moral strength and energy he needs to carry out his plans, he says, and how much he already possesses, he is already writing and thinking about everything in a way that he “has never written or thought about before.”

First idea

The history of the creation of Tolstoy’s novel “War and Peace” indicates that the writer’s original intention was to create a book about the difficult fate of the Decembrist, who returned in 1865 (the time of the abolition of serfdom) to his native land after many years of exile in Siberia. However, Lev Nikolaevich soon revised his idea and turned to historical events 1825 - time As a result, this idea was discarded: the youth of the protagonist passed against the backdrop of the Patriotic War of 1912, a formidable and glorious time for the entire Russian people, which, in turn, was another link in the unbroken chain of events of 1805. Tolstoy decided to start telling the story from the very beginning - the beginning of the 19th century - and revived the half-century history of the Russian state with the help of not just one main character, but many vivid images.

The history of the creation of the novel “War and Peace” or “Three Times”

We continue... Undoubtedly, a vivid idea of ​​the writer’s work on the novel is given by its creation story (“War and Peace”). So, the time and place of action of the novel are determined. The author takes the main characters - the Decembrists - through three historically significant periods of time, hence the original title of the work “Three Times”.

The first part covers the period from the beginning of the 19th century until 1812, when the youth of the heroes coincided with the war between Russia and Napoleonic France. The second is the 20s, not without including the most important thing - the Decembrist uprising in 1825. And finally, the third and final part - the 50s - the time of the return of those who rebelled from exile under the amnesty granted by the emperor against the backdrop of such tragic pages of Russian history as the inglorious defeat and death of Nicholas I.

Well, the novel, in its concept and scope, promised to be global and demanded a different art form, and she was found. According to Lev Nikolaevich himself, “War and Peace” is not a historical chronicle, and not a poem, and not even just a novel, but new genre in fiction - an epic novel, where the destinies of many people and an entire nation are associated with grandiose historical events.

Torment

Work on the work was very difficult. The history of creation (“War and Peace”) says that many times Lev Nikolaevich took his first steps and immediately gave up writing. The writer’s archive contains fifteen versions of the first chapters of the work. What was stopping you? What haunted the Russian genius? The desire to fully express your thoughts, your religious and philosophical ideas, research, your vision of history, to give your assessment of those socio-political processes, the enormous role not of emperors, not of leaders, but of the entire people in the history of the country. This required enormous effort from everyone. mental strength. More than once he lost and regained hope of fulfilling his plans to the end. Hence the idea of ​​the novel and the names of the early editions: “Three Times”, “All’s Well That Ends Well”, “1805”. Apparently they changed more than once.

Patriotic War of 1812

Thus, the author’s long creative tossing ended with a narrowing of the time frame - Tolstoy focused all his attention on 1812, the Russian war against the “Great Army” of the French Emperor Napoleon, and only in the epilogue touched upon the topic of the origin of the Decembrist movement.

The smells and sounds of war... To convey them required the study of a huge amount of material. This and fiction that time, and historical documents, memoirs and letters from contemporaries of those events, battle plans, orders and instructions from military commanders... He spared neither time nor effort. From the very beginning, he rejected all those historical chronicles that sought to depict the war as a battlefield of two emperors, extolling first one and then the other. The writer did not belittle their merits and their significance, but put the people and their spirit at the forefront.

As you can see, the work has incredible interesting story creation. "War and Peace" boasts another interesting fact. Between the manuscripts, another small, but nevertheless important document has been preserved - a sheet of paper with notes from the writer himself, made during his stay on it. On it, he captured the horizon line, indicating exactly where which villages were located. The line of movement of the sun during the battle itself is also visible here. All these, one might say, are bare sketches, outlines of what was destined later, under the pen of a genius, to turn into real picture, depicting the great full of movement, life, extraordinary colors and sounds. Incomprehensible and amazing, isn't it?

Chance and genius

L. Tolstoy, on the pages of his novel, talked a lot about the laws of history. His conclusions are applicable to life; they contain much that concerns the great work, in particular the history of its creation. War and Peace went through many stages to become a true masterpiece.

Science says that chance and genius are to blame: chance suggested using artistic means to capture the half-century history of Russia, and genius - Lev Nikolaevich Tolstoy - took advantage of it. But from here new questions arise about what this case is, what genius is. On the one hand, these are just words designed to explain what is actually inexplicable, and on the other hand, it is impossible to deny their certain suitability and usefulness, at least they denote “a certain degree of understanding of things.”

Where and how the idea itself and the history of the creation of the novel “War and Peace” came from is impossible to fully know, there are only bare facts, so we say “chance”. Further - more: we read the novel and cannot imagine that power, that human or, rather, superhuman spirit, which was able to clothe the deepest philosophical thoughts and ideas into an amazing form - that’s why we say “genius”.

The longer the series of “incidents” flashes before us, the more the facets of the author’s genius shine, the closer, it seems, we are to revealing the secrets of L. Tolstoy’s genius and some incomprehensible truth contained in the work. But this is an illusion. What to do? Lev Nikolaevich believed in the only possible understanding of the world order - renunciation of knowledge of the ultimate goal. If we admit that the ultimate goal of creating a novel is inaccessible to us, we renounce all the reasons, visible and invisible, that prompted the writer to take up writing a work, we will comprehend or, at least, admire and enjoy to the full its infinite depth, designed to serve common goals, not always available human understanding. As the writer himself said while working on the novel, the artist’s ultimate goal is not an undeniable resolution of issues, but to lead and push the reader to love life in all its countless manifestations, so that he cries and laughs along with the main characters.