Pierre's sleep analysis. Dream-vision of prince andrei. With Natasha Rostova

Crystal globe

Pierre Bezukhov from the novel "War and Peace" by Leo Tolstoy sees a crystal globe in his dream:

“This globe was a living, vibrating ball without dimensions. The entire surface of the sphere consisted of drops tightly compressed together. And these drops all moved, moved and then merged from several into one, then from one they were divided into many. Each drop tried to spread, to capture the largest space, but others, striving for the same, squeezed it, sometimes destroyed it, sometimes merged with it ... God is in the middle, and each drop seeks to expand in order to reflect it in the largest size. And it grows, and shrinks, and is destroyed on the surface, goes into the depths and again floats. "

Pierre Bezukhov

The desire of the drops to merge globally, their readiness to contain the whole world is love, compassion for each other. Love as a complete understanding of all living things passed from Platon Karataev to Pierre, and from Pierre it should spread to all people. He became one of the countless centers of the world, that is, he became the world.

That is why Pierre laughs at the soldier guarding him with a rifle at the barn door: "He wants to lock me, my infinite soul ..." This is what followed the vision of a crystal globe.

The epigraph of the novel about the need to unite all good people is not at all so banal. The word "conjugate", heard by Pierre in the second "thing" dream, is not accidentally combined with the word "harness". You need to harness - you need to pair. Everything that connects is the world; centers - drops, not striving for conjugation - this is a state of war, enmity. Enmity and alienation among people. It is enough to remember with what sarcasm Pechorin looked at the stars in order to understand what the opposite feeling of “conjugation” is.

Pierre Bezukhov. Museum them. K. A. Fedina, Saratov

Probably not without the influence of cosmology Tolstoy built later Vladimir Soloviev his metaphysics, where the Newtonian force of attraction was called "love", and the force of repulsion was called "enmity."

War and peace, conjugation and disintegration, attraction and repulsion - these are two forces, or rather, two states of one cosmic force that periodically overwhelm the souls of heroes Tolstoy... From the state of universal love (falling in love with Natasha and the entire universe, forgiving and all-encompassing cosmic love at the hour of Bolkonsky's death) to the same general enmity and alienation (his break with Natasha, hatred and a call to shoot prisoners before the Battle of Borodino). Such transitions are not peculiar to Pierre; he, like Natasha, is by nature universal. Rage against Anatole or Helene, the supposed murder of Napoleon are superficial, without touching the depths of the spirit. Pierre's kindness is the natural state of his soul.

Pierre, Prince Andrey and Natasha Rostova at the ball

Pierre "saw" the crystal globe from the side, that is, he went beyond the visible, visible space during his lifetime. A Copernican coup took place with him. Before Copernicus, people were in the center of the world, but here the universe turned inside out, the center became a periphery - a multitude of worlds around the “center of the sun”. It is about such a Copernican coup that Tolstoy in the novel's finale:

“Since the found and proved the law of Copernicus, one recognition that it is not the sun, but the earth that moves, has destroyed the entire cosmography of the ancients ...

As for astronomy, the difficulty of recognizing the movements of the earth consisted in abandoning the direct sense of the immobility of the earth and the same sense of the immobility of the planets, so for history the difficulty of recognizing the subordination of a person to the laws of space, time and causes is to abandon the direct sense of independence. personality ".

Pierre in a duel with Dolokhov

The ratio of one to infinity is Bolkonsky's relation to the world at the time of death. He saw everyone and could not love one. The ratio of one to one is something else. This is Pierre Bezukhov. For Bolkonsky, the world disintegrated into an infinite number of people, each of whom was ultimately uninteresting to Andrey. Pierre in Natasha, in Andrei, in Platon Karataev and even in a dog shot by a soldier, the whole world saw. Everything that happens to the world happened to him. Andrew sees countless soldiers - "meat for cannons." He is full of sympathy, compassion for them, but this is not his. Pierre sees only Plato, but the whole world is in him, and this is his.

The feeling of convergence of two sides of a diverging angle at a single point is very well conveyed in the "Confessions" Tolstoy, where he very accurately conveys the discomfort of weightlessness in his sleepy flight, feeling somehow very uncomfortable in the endless space of the universe, suspended on some kind of support, until there is a feeling of the center from where these aids come. Pierre saw this center, permeating everything in a crystal globe, so that, waking up from a dream, he could feel it in the depths of his soul, as if returning from a transcendental height.

So Tolstoy In the Confession he explained his dream, too, after awakening and also having moved this center from the interstellar heights to the depths of the heart. The center of the universe is reflected in every crystal drop, in every soul. This crystal reflection is love.

War is alien, peace is ours. Pierre's Crystal Globe is preceded in the novel Tolstoy globe-ball, which is played by the heir of Napoleon in the portrait. A world of war with thousands of accidents, really reminiscent of a game of bilbock. Globe - ball and globe - crystal ball - two images of the world. The image of the blind and the seeing, gutta-percha darkness and crystal light. A world obedient to the capricious will of one, and a world of unmerged, but united wills.

Pierre goes to watch the war

The artistic persuasiveness and integrity of such a cosmos does not require proof. The crystal globe lives, acts, exists as a kind of living crystal, a hologram that has absorbed the structure of the novel and the cosmos Lev Tolstoy.

"Light cobwebs - the reins of the Mother of God", which connect people in prophetic dream Nikolenki, the son of Andrei Bolkonsky, will eventually unite in a single "center" of a crystal globe, somewhere out there in space. Will become a solid support for Tolstoy in his cosmic hovering over the abyss (a dream from "Confession"). The tension of the "cosmic reins" - the feeling of love - is both the direction of movement and the movement itself. Tolstoy loved such simple comparisons as an experienced rider, a horse-lover, and as a peasant walking behind a plow. You wrote everything correctly, he will tell Repin about his painting "Tolstoy in the Arable Land", only they forgot to give the reins in hand.

Pierre at the Battle of Borodino between the Russian army and Napoleon

In Pierre's crystal globe, the drops and the center are correlated exactly in this way, in Tyutchev's way: "Everything is in me, and I am in everything."

In the later period, the individual personality was sacrificed to the "one" world. One can and should doubt the correctness of such a simplification of the world. Pierre's globe seemed to have grown dim, stopped glowing. Why do you need drops when everything is in the center? And where is the center to be reflected if there are no those crystal drops?

The space of the novel "War and Peace" is the same unique and majestic structure as the space of the "Divine Comedy" Dante and "Fausta" Goethe... "There is no romance without the cosmology of a crystal globe," says TO. Kedrov-Chelishchev... This is something like a crystal box, in which the death of Koshchei is hidden. Here everything is in everything - the great principle of the synergistic double helix, diverging from the center and simultaneously converging towards it.

Pierre the reader

If Tolstoy portrayed dreams as a transformation of external impressions (for example, the dream of Pierre Bezukhov, who perceives the words of his awakening servant “it's time to harness” in a dream as a solution to a philosophical problem - “conjugate”), then Dostoevsky believed that in a dream, forgotten experiences of people emerge into spheres controlled by consciousness, and therefore through their dreams a person knows himself better. The dreams of the heroes reveal their inner essence - one that their waking mind does not want to notice.

Lev Tolstoy

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The rumble of footsteps ... The rumble of blood beating in the whiskey ... He walked along the upper floor, moving from room to room ... He arrived in Yekaterinburg the day before yesterday and only today was able to enter Ipatiev's house. The royal family was transported here from Tobolsk. On the wall of one of the rooms, by the window, he saw the empress's sign drawn in pencil - she put it everywhere - for good luck. Below was the date: April 17 (30). This is the day they were imprisoned in the Ipatiev house. In the room where Tsarevich Alexei was accommodated, the same sign painted on the wallpaper. The sign was also above the bed of the Tsarevich. A terrible disorder reigned everywhere. Piles of ash darkened ominously near the stoves. He squatted in front of one of them and saw half-burnt hairpins, toothbrushes, buttons ... What happened? Where were they taken? Most likely it happened at night. They were taken away in what they found them in, not allowing them to gather and grab the most necessary things.

During his imprisonment in Yekaterinburg, the only permitted place for walks of Nicholas II and his family was the roof of the Ipatievs' house. Photo by Pierre Gilliard

He went down to the lower floor, into the basement, and froze in horror on the threshold. The low barred window barely let in daylight. The walls and floor, like black wounds, covered the marks of bullets and bayonets. There was no more hope. Did they raise their hand against the sovereign? But if so, then it was impossible even to think that the Empress survived him. So they both became victims. But children? Grand Duchesses? Tsarevich Alexey? Everything proved that the victims were numerous ...

He sank down on the stone floor of this ominous, like a prison cell, put his head in his hands and saw the emperor and his daughters walking towards him. Fir-trees covered with snow surround the Tsarskoye Selo lake. Grand Duchess Olga walks with her father by the arm, firmly clinging to his shoulder. Grand Duchess Tatiana, on the other hand, squeezes the sovereign's hand and says something quickly, quickly. The younger princesses run ahead and walk behind. Anastasia comes up with another prank, hammering snow behind the lapels of her velvet coat. The Emperor looks at his daughters with tenderness, he admires the glowing blush of faces. Kind blue eyes seem to say: "Look what glorious daughters I have!" ... He wanted to bow to the emperor, but he could not manage to get up from the floor. "But why winter?" he thought. And then it was revealed to his mind that both the Ipatiev house and the Tsarskoye Selo park were just a dream ... He woke up ...

There was a peaceful morning silence in Pierre Gilliard's small cozy apartment.

E. Lipgart. "Portrait of Emperor Nicholas II"

I. Galkin. "Empress Alexandra Feodorovna"

Grand Duchess Anastasia

This dream was not accidental for him, of course. Yesterday Pierre received a letter from Grand Duchess Olga Alexandrovna, sister of Emperor Nicholas II, who lives in Denmark. She wrote that a young woman appeared in Berlin, who calls herself the youngest daughter of Emperor Nicholas II, Anastasia. “Please go immediately to see this unfortunate woman. What if she turns out to be our baby ... And if it really is her, please let me know by telegram, and I will also come to Berlin. "

Pierre Gilliard, along with his wife Alexandra, a former maid of the Grand Duchesses, went the next day to Berlin, to St. Mary's Hospital. The woman who declared herself Anastasia had been unconscious for several days. The emaciated body was like a skeleton covered with leather. Who could recognize Princess Anastasia in her, even if it really was her?

At the insistence of Gilliard, the patient was transferred to a good clinic.

“The most important thing is for her to stay alive,” he said to his wife, who was still sick in bed. "We'll be back as soon as she gets better."

Three months later, Pierre Gilliard and Alexandra visited the patient. Pierre, sitting down beside her, said:

Please tell me what you remember from your past?

She in anger threw:

I don’t know what “remember” is! If they wanted to kill you, like me, how much would you remember from what happened before?

Gilliard had to leave.

On the threshold, he ran into a woman in a lilac raincoat. Gilliard recognized her: it was Princess Olga, the beloved aunt of the great princesses.

Approaching Anastasia's bed, she smiled at her and held out her hand.

Princess Olga adored her nieces. Every Saturday the princesses who lived in Tsarskoe Selo looked forward to her. They went to Olga Alexandrovna's house, where they had fun, played and danced with other children ...

Do you remember how you enjoyed every minute? - she asked Anastasia with a smile. “I can still hear your laugh ringing.

At these words, the impostor nodded and burst into tears. Olga Alexandrovna kissed her on both cheeks:

You will definitely get better.

Again and again she carefully looked into the woman's face, which almost did not resemble the face of her little Anastasia. Only the eyes were the same huge, bright, blue.

“But she has gone through so much! My heart tells me that it is she! How I want it to be her! "

In October 1928, the Dowager Empress Maria Feodorovna died. The next day, a document was published, later called the "Romanov Declaration." It was signed by twelve representatives of the Russian imperial family, who unanimously confirmed that Frau Unbekannt was not the daughter of Tsar Nicholas II. This document, which quoted the statements of Grand Duchess Olga, Pierre Gilliard and Baroness Buxgewden, the maid of honor Alexandra Feodorovna, convinced the public that the representatives of the House of Romanov had rejected the impostor.

But the impostor continued to impersonate Princess Anastasia, and there were always people who wanted to settle in their "tsar's daughter". She lived in America, then in England, then in Germany.

In 1968, Anastasia moved to America again, where she married Dr. Menahan. They lived together for fifteen years. In recent years, the impostor has often ended up in a psychiatric clinic. On February 12, 1984, Anastasia Menakhan died of pneumonia.

Royal Martyrs. Icon

Every person with the onset of night is inevitably immersed in the power of dreams and dreams. Dreams are an integral part of our existence, the voice of our own "I", which at an unknown hour of the night tries to explain what we see, feel, experience in reality. In literary works, the dreams of heroes often anticipate the onset of turning points in the course of events.

In the novel by L.N. Tolstoy's "War and Peace", we see that dreams are inextricably linked with the life, soul and fate of the main characters - Andrei Bolkonsky and Pierre Bezukhov. These people have an unusually rich inner world, a broad and receptive soul and, finally, exceptional fortitude. That is why, probably, the dreams of these people are very vivid and figurative, and, of course, they carry a certain symbolism.

Prince Andrey is seriously wounded in the Borodino field. From the novel we see how he suffers from pain and what physical torment he has to endure. But at the same time, despite all the suffering, the soul of Andrei Bolkonsky is occupied with thoughts about the true nature of happiness: "Happiness that is outside of material forces, outside of material external influences on a person, the happiness of one soul, the happiness of love!" The fruit of these reflections was Andrey's dream, which was more like delirium. In it, he saw how “over his face ... a strange airy building of thin needles or splinters was erected. He felt that he had to diligently keep his balance so that the building that was being erected would not collapse; but it all the same collapsed and slowly rose again ”.

It seems to me that the building erected before the eyes of Prince Andrew is a symbol of love that awakens and grows in his soul. This love leads to a change in Bolkonsky's outlook, to his spiritual renewal, a deeper understanding of the meaning of life and himself. However, as we see from the description of the dream, Andrey's “building” of love is built of “needles” - it is still unstable, fragile and at the same time burdensome for him. In other words, the ideals of love and happiness have not yet fully established themselves in his soul and fluctuate under the influence of the torment and suffering that he endured, and in general under the influence of the circumstances of life.

One of the important symbols of this dream is a fly hitting a building. Depicting the new "world" of Andrei Bolkonsky as hesitant, L.N. Tolstoy nevertheless speaks of his inviolability: "... hitting the very area of ​​the building erected on his face, the fly did not destroy it." Compared to the magnificent "building" of love, everything else seems unimportant, small, insignificant, like the proverbial fly.

There is one more key moment in Bolkonsky's dream - "the statue of the sphinx, which also crushed him." Of course, the sphinx is associated with the image of Natasha Rostova, which remains unsolved for Prince Andrey. At the same time, the sphinx personifies the incompleteness of their relationship, which internally weighed down the prince, became unbearable for him.

Through images and visions, Andrey's dream affirmed in his soul the understanding of true love: "To love everything is to love God in all its manifestations ... Loving with human love, you can go from love to hate, but divine love cannot change." Under the influence of the dream, Prince Andrey realized how much he loved Natasha, felt “the cruelty of his break with her,” and from that moment the “Sphinx” stopped crushing him.

Thus, we see that this dream symbolizes a turning point in the life of Andrei Bolkonsky.

The path of his friend Pierre Bezukhov is also a path of discoveries and disappointments, a difficult and dramatic path. Like Andrei Bolkonsky, Pierre's dreams indicate the main milestones of his path. He is more impressionable, more subtle, has a more sensitive and receptive soul than his friend. He is constantly looking for the meaning of life and the truth of life, which is reflected in his dreams.

After the Battle of Borodino, Pierre hears in a dream the voice of his mentor-Mason: “Simplicity is obedience to God, you cannot get away from it. And they are simple. They do not speak, but they do. " By this time, Pierre was already close to understanding who "they" were: "They were soldiers in Pierre's understanding - those who were on the battery, and those who fed him, and those who prayed to the icon." When Bezukhov recalls his fear, he feels that he cannot unite with the soldiers and live the way they live: "But although they were kind, they did not look at Pierre, did not know him." However, in a dream, a new truth is revealed to him: "Not to combine all this, but to combine it!". To conjugate means to correlate, to compare, to juxtapose oneself with those who were called in a dream by the word "they". This truth is what Pierre is striving for. From his dream we see that he discovers one of the laws of being and becomes one step higher in his spiritual development.

Pierre sees his second dream after the murder of Karataev. Obviously, it is connected with a previous dream, where the point in the spiritual search was still not set. After all, Pierre was faced with a new question: "How to match everything?"

Pierre recalls the thoughts of Karataev: “Life is everything. Life is God ... To love life, to love God ... ”. In his second dream, Bezukhov sees an old teacher of geography and an unusual globe - "a living, vibrating ball that has no dimensions." This globe is the personification of life, that is, God. The symbolism of this globe is deeply revealed in the teacher's words: "In the middle, God and every drop strives ... to reflect it to the greatest extent and grows, merges ... goes into the depths and emerges again." Here the idea is expressed that God is the basis of all that exists, and people are just drops, striving to reflect it. The dream helps Pierre to understand that, no matter how the people-drops grow and grow, they will always be only a part of the great, a part of God.

This, in my opinion, is precisely the symbolism of dreams in the novel by L.N. Tolstoy's "War and Peace". With its help, the author managed to reveal more deeply the images of the heroes, to show their inner dynamics. It seems to me that dreams enliven the novel unusually, make it more interesting.

Chapter from K. Kedrov's book "Poetic Space" M. Soviet writer 1989

The Gottorp globe, brought by Peter I to Russia, which became the prototype of today's planetariums, reminds me of the belly of a whale that swallowed all of humanity together with Jonah.

We say: this is how the universe works - you people are the smallest specks of dust in the endless universe. But this is a lie, albeit unintentional.

The Gottorp dome cannot show how the whole person, at the level of the very microparticles that Ilya Selvinsky wrote about, is connected, coordinated with all infinity. This consistency is called the anthropic principle. It was discovered and formulated recently in cosmology, but for literature this truth was an axiom.

Dostoevsky and Leo Tolstoy never accepted the Gottorp, mechanistic image of the world. They have always felt the subtlest dialectical connection between finite human life and the infinite existence of the cosmos. The inner world of a person is his soul. The outside world is the entire universe. Such is Pierre's shining globe in opposition to the dark Gottorp globe.

Pierre Bezukhov sees a crystal globe in a dream:

“This globe was a living, vibrating ball without dimensions. The entire surface of the sphere consisted of drops tightly compressed together. And these drops all moved, moved and then merged from several into one, then from one they were divided into many. Each drop tried to spill out, to capture the largest space, but others, striving for the same, squeezed it, sometimes destroyed it, sometimes merged with it ... In the middle is God, and each drop seeks to expand in order to reflect it in the largest size. And it grows, and shrinks, and is destroyed on the surface, goes into the depths and floats again. "

- "The reins of the Virgin" -

To see such a universe, one must rise to a height, look through infinity. The roundness of the earth is visible from space. Now we see the entire universe as a kind of shining sphere radiating from the center.

Heavenly perspectives pervade the entire space of War and Peace. Endless perspectives, landscapes and panoramas of battles are given from a height of flight, as if the writer more than once flew around our planet in a spaceship.

And yet, the most valuable for Leo Tolstoy is not a view from a height, but from an altitude of flight. There, in the endlessly blue sky, the gaze of Andrei Bolkonsky near Austerlitz melts, and later Levin's gaze among the Russian fields. There, in infinity, everything is calm, good, orderly, not at all like here on earth.

All this was repeatedly noticed and even conveyed by the inspired gaze of cameramen who filmed both Austerlitz and Natasha Rostova's mental flight from a helicopter, and why is it easier to direct the camera upward, following the gaze of Bolkonsky or Levin. But it is much more difficult for a cameraman and director to show the universe from the side - with the look of Pierre Bezukhov, who sees through the slumber a globe, consisting of many drops (souls), each of which tends to the center, and all at the same time are united. This is how the universe works, Pierre hears the voice of a French teacher.

And yet, how does it work?

On the screen, through the fog, some kind of droplet structures are visible, merging into a ball, exuding radiance, and nothing else. This is too poor for a crystal globe, which solved the riddle of the universe in Pierre's mind. You don't have to blame the operator. What Pierre saw can only be seen with the mind's eye - it is inconceivable in the three-dimensional world, but it is quite geometrically imaginable.

Pierre saw, or rather, “saw the light” that image of the universe, which had been forbidden for mankind from the time of the Great Inquisition to ... it is difficult to say exactly until what time.

“The universe is a sphere where the center is everywhere, and the radius is infinite,” Nikolai Kuzansky said about this model of the world. Borges told about her in a laconic essay "Pascal's Sphere":

"Nature is an infinite sphere, the center of which is everywhere, and the circle is nowhere."

Anyone who closely followed the cosmological models of the ancients in the previous chapters (the Dzhemshid chalice, Koschei's chest) will immediately notice that Pascal's sphere, or Pierre's globe, is another artistic embodiment of the same idea. Drops striving to merge with the center, and the center directed towards everything - this is very similar to Leibniz's monads, the centers of Nicholas of Cusan or Borges' Aleph point. This is similar to the worlds of Giordano Bruno, for which he was burned, similar to the transformed eidos of Plato or the Pythagorean infrastructures, brilliantly captured in the philosophy of the Neoplatonists and Parmenides.

But for Tolstoy these are not dots, not monads, not eidos, but people, or rather their souls. That is why Pierre laughs at the soldier guarding him with a rifle at the barn door: "He wants to lock me, my infinite soul ..." This is what followed the vision of a crystal globe.

The desire of the drops to merge globally, their readiness to contain the whole world is love, compassion for each other. Love as a complete understanding of all living things passed from Platon Karataev to Pierre, and from Pierre it should spread to all people. He became one of the countless centers of the world, that is, he became the world.

The epigraph of the novel about the need to unite all good people is not at all so banal. The word “conjugate”, heard by Pierre in the second “thing” dream, is not accidentally combined with the word “harness”. You need to harness - you need to pair. Everything that connects is the world; centers - drops, not striving for conjugation - this is a state of war, enmity. Enmity and alienation among people. It is enough to remember with what sarcasm Pechorin looked at the stars in order to understand what the opposite feeling of “conjugation” is.

Probably, not without the influence of Tolstoy's cosmology, Vladimir Soloviev later built his metaphysics, where the Newtonian force of attraction was called "love", and the force of repulsion was called "enmity."

War and peace, conjugation and disintegration, attraction and repulsion - these are two forces, or rather, two states of one cosmic force that periodically overwhelm the souls of Tolstoy's heroes. From the state of universal love (falling in love with

Natasha and the whole universe, the all-forgiving and all-encompassing cosmic love at the hour of Bolkonsky's death) to the same general enmity and alienation (his break with Natasha, hatred and a call to shoot prisoners before the Battle of Borodino). Such transitions are not peculiar to Pierre; he, like Natasha, is by nature universal. Rage against Anatole or Helene, the supposed murder of Napoleon are superficial, without touching the depths of the spirit. Pierre's kindness is the natural state of his soul.

The love of Andrei Bolkonsky is some kind of last emotional outburst, this is on the verge of life and death: together with love, the soul flew away. Andrei dwells rather in the sphere of Pascal, where many mental centers are just points. A stern geometer - parent lives in him: "Please, see, my soul, these triangles are alike." He was in this sphere until his death, until she twisted and tipped over into his soul with the whole world, and accommodated the room of everyone whom Prince Andrew knew and saw.

Pierre "saw" the crystal globe from the side, that is, he went beyond the visible, visible space during his lifetime. A Copernican coup took place with him. Before Copernicus, people were in the center of the world, but here the universe turned inside out, the center became a periphery - a multitude of worlds around the “center of the sun”. It is about such a Copernican coup that Tolstoy speaks in the finale of the novel:

“Since the discovery and proof of Copernicus's law, the mere admission that it is not the sun, but the earth that moves, has destroyed the entire cosmography of the ancients ...

As for astronomy, the difficulty of recognizing the movements of the earth consisted in abandoning the direct sense of the immobility of the earth and the same sense of the immobility of the planets, so for history the difficulty of recognizing the subordination of a person to the laws of space, time and causes is to abandon the direct sense of independence. personality ".

It is generally accepted that L. Tolstoy was skeptical about science. In fact, this skepticism extended only to the science of his time - the 19th and early 20th centuries. This science dealt, according to L. Tolstoy, with "secondary" problems. The main question is about the meaning of human life on earth and about the place of man in the universe, or rather, the relationship between man and the universe. Here Tolstoy, if necessary, resorted to integral and differential calculus.

The ratio of one to infinity is Bolkonsky's relation to the world at the time of death. He saw everyone and could not love one. The ratio of one to one is something else. This is Pierre Bezukhov. For Bolkonsky, the world disintegrated into an infinite number of people, each of whom was ultimately uninteresting to Andrey. Pierre in Natasha, in Andrei, in Platon Karataev and even in a dog shot by a soldier, the whole world saw. Everything that happens to the world happened to him. Andrew sees countless soldiers - "meat for cannons." He is full of sympathy, compassion for them, but this is not his. Pierre sees only Plato, but the whole world is in him, and this is his.

"Copernicus coup" happened to Pierre, perhaps at the very moment of birth. Andrew was born in Ptolemy's space. He himself is the center, the world is only a periphery. This does not mean that Andrei is bad and Pierre is good. It's just that one person is a "war" (not in the everyday or historical sense, but in a spiritual sense), the other is a person - "the world."

At some point, a dialogue about the structure of the world arises between Pierre and Andrei. Pierre is trying to explain to Andrei his sense of the unity of all things, living and dead, a kind of ladder of ascents from a mineral to an angel. Andrey; delicately interrupts: I know, this is Herder's philosophy. For him, this is only philosophy: Leibniz's monads, Pascal's sphere for Pierre is a spiritual experience.

Yet the two diverging sides of the corner have a convergence point: death and love. In love for Natasha and in death, Andrei opens up the "conjugation" of the world. Here, at the Aleph point, Pierre, Andrey, Natasha, Platon Karataev, Kutuzov - everyone feels the unity. Something more than the sum of wills is "peace on earth and good will among men." Something akin to Natasha's feeling at the moment of reading the manifesto in church and praying for "peace."

The feeling of the convergence of the two sides of the diverging angle at a single point is very well conveyed in Tolstoy's "Confessions", where he very accurately conveys the discomfort of weightlessness in his sleepy flight, feeling somehow very uncomfortable in the endless space of the universe, suspended on some kind of aid, while there was no sense of the center where these aids were coming from. Pierre saw this center, permeating everything in a crystal globe, so that, waking up from a dream, he could feel it in the depths of his soul, as if returning from a transcendental height.

This is how Tolstoy explained in his "Confession" his dream, too, after waking up and also having moved this center from the interstellar heights to the depths of the heart. The center of the universe is reflected in every crystal drop, in every soul. This crystal reflection is love.

If this were the philosophy of Tolstoy, we would reproach him for the absence of the dialectics of "attraction and repulsion", "enmity and love." But no philosophy of Tolstoy, no Tolstoyism for the writer himself existed. He just talked about his feeling of life, about the state of his soul, which he considered correct. He did not deny "enmity and repulsion", just as Pierre and Kutuzov did not deny the obviousness of the war and even to the extent of their strength and capabilities participated in it, but they did not want to accept this state as their own. War is alien, peace is ours. Pierre's crystal globe is preceded in Tolstoy's novel by a globe-ball, which is played by Napoleon's heir in the portrait. A world of war with thousands of accidents, really reminiscent of a game of bilbock. Globe - ball and globe - crystal ball - two images of the world. The image of the blind and the seeing, gutta-percha darkness and crystal light. A world obedient to the capricious will of one, and a world of unmerged, but united wills.

The reins-helpers, on which Tolstoy in a dream felt a sense of lasting unity in "Confession", in the novel "War and Peace" still in the hands of the "capricious child" - Napoleon.

What is running the world? This question, repeated many times, finds the answer in itself at the end of the novel. The world is ruled by the whole world. And when the world is one, love and peace rule, opposing the state of enmity and war.

The artistic persuasiveness and integrity of such a cosmos does not require proof. The crystal globe lives, acts, exists as a kind of living crystal, a hologram that has absorbed the structure of Leo Tolstoy's novel and space.

And yet the relationship between the earth and space, between a certain "center" and individual drops of the globe is incomprehensible to the author of the novel "War and Peace". Looking from the height of the "movement of peoples from west to east" and "backward wave" from east to west. Tolstoy is sure of one thing: this movement itself - the war - was not planned by people And it cannot be their human will. People want peace, but there is war on earth.

Sorting out, as in a deck of cards, all kinds of reasons: the world will, the world mind, economic laws, the will of one genius, Tolstoy refutes everything in turn. Only a certain assimilation to a bee hive and an anthill, where no one controls, and the order is the same, seems plausible to the author. Each bee separately does not know about the single bee world order of the hive, nevertheless it serves him.

A man, unlike a bee, is "initiated" into a single plan of his cosmic hive. This is the "conjugation" of everything reasonable, human, as Pierre Bezukhov understood. Later, the plan of "conjugation" will expand in Tolstoy's soul to universal love for all people, for all living things.

“Light cobwebs - the reins of the Mother of God”, which connect people in the prophetic dream of Nikolenka, the son of Andrei Bolkonsky, will eventually unite in a single “center” of a crystal globe, somewhere out there, in space. They will become a solid support for Tolstoy in his cosmic hovering over the abyss (a dream from "Confession"). The tension of the "cosmic reins" - the feeling of love - is both the direction of movement and the movement itself. Tolstoy loved such simple comparisons as an experienced horseman, a horse lover, and as a peasant walking behind a plow.

You wrote everything correctly, he will tell Repin about his painting "Tolstoy in the Arable Land", only they forgot to give the reins in hand.

Tolstoy's uncomplicated, almost "peasant" cosmogony in its depths was not simple, like any popular wisdom, tested over millennia. He felt the heavenly "reins of the Mother of God" as a kind of inner law of a swarm of bees, forming the honeycomb of world life.

One must die, as trees die, without groans and crying ("Three Deaths"). But life can and should be learned from age-old trees (Andrey Bolkonsky's oak)

But where, then, is the cosmos, towering over everything, even over nature? His cold breath penetrates the souls of Levin and Bolkonsky from heavenly heights. Everything is too calm and balanced there, and the writer strives there with his soul.

From there, from that height, the story is often told. That judgment is not like the judgment of the earth. “Vengeance is mine, and I will repay” is the epigraph to “Anna Karenina”. This is not forgiveness, but something more. Here is an understanding of the cosmic perspective of earthly events. The affairs of people cannot be measured by earthly standards - this is the only morality within the "War and Peace". For the deeds of people of the scale of Levin and Andrei Bolkonsky, an endless heavenly perspective is needed, therefore, in the finale of War and Peace, the writer, who is alien to cosmological concepts, recalls Copernicus and Ptolemy. But Tolstoy interprets Copernicus in a very peculiar way, Copernicus made a revolution in the sky, “without moving a single star” or planet. He simply changed the way people look at their location in the universe. People thought that the earth was in the center of the world, but it was somewhere far on the edge. So it is in the moral world. The person must give in. "Ptolemaic" egocentrism must be replaced by "Copernican" altruism.

It would seem that Copernicus won, but if you think about the cosmological meaning of Tolstoy's metaphor, then the opposite is true.

Tolstoy brings Copernicus and Ptolemy down to earth, and turns cosmology into ethics. And this is not just an artistic device, but the fundamental principle of Tolstoy. For him, as for the first Christians, there is no cosmology outside of ethics. This is, after all, the aesthetics of the New Testament itself. In his translation of the Four Gospels, Tolstoy completely eliminates everything that goes beyond the boundaries of ethics.

His book "The Kingdom of God is within us" is more consistent in the pathos of bringing heaven to earth than even the Gospel itself. Tolstoy is completely incomprehensible to the "cosmological" nature of the ceremony and ritual. He does not hear her and does not see her, plugs his ears and closes his eyes not only in the temple, but even at the Wagnerian opera, where the music breathes with metaphysical depth.

Well, Tolstoy, in his mature years and especially in old age, lost his aesthetic sense? No, the aesthetics of space was deeply felt by Tolstoy. What a tremendous meaning descended, descended to the soldiers sitting by the fire, the sky, strewn with stars. The starry sky before the battle reminded man of that height and of the greatness that he deserves, with which he is commensurate.

Ultimately, Tolstoy never ceded the earth to Copernicus as one of the most important centers of the universe. The famous entry in the diary that the earth is “not a vale of sorrow,” but one of the most beautiful worlds, where something extremely important for the entire universe is happening, conveys in a condensed form all the originality of its ethical cosmology.

Today, when we know about the uninhabitedness of a huge number of worlds in our galaxy and about the uniqueness of not only human life, but even organic life in the solar system, Tolstoy's correctness becomes completely undeniable. His call for the inviolability of all living things, a principle later developed by Albert Schweitzer in the ethics of "reverence for life", sounds in a new way.

Unlike his most prominent opponent Fedorov, Tolstoy did not consider death to be an absolute evil, since dying is the same law of "eternal life" as birth. He, who eliminated the resurrection of Christ from the Gospel as something alien to the laws of earthly life, wrote the novel Resurrection, where a heavenly miracle should turn into a moral miracle - a moral rebirth or the return of a person to a world-wide, that is, all-human life, which is the same for Tolstoy.

Many wrote about the polemic between Tolstoy and Fedorov, and it would be possible not to return to this question, if not for one oddity. For some reason, everyone who writes about this dialogue ignores the cosmological nature of the dispute. For Fedorov, space is the arena of human activity, populating distant worlds in the future with crowds of "resurrected" fathers. Tolstoy's report is often cited in the psychological society, where Tolstoy explained to the learned men this idea of ​​Fedorov. Usually the conversation is interrupted by the vulgar laughter of the Moscow professors. But not an argument for Tolstoy, the uterine laughter of the priests of science, the falsity of which was obvious to him.

Tolstoy did not laugh at Fedorov, but he was afraid of a purely earthly cosmology, where the sky in the future was entirely surrendered to the power of people, while the rulership of people on earth, the barbaric destruction of nature were so obvious. The very masses of peoples that Fedorov boldly brought from the earth into space, moved in the finale of the novel "War and Peace", senselessly day and night killing each other. So far, only on earth.

It would seem that Tolstoy, with his whole soul open to the swarm principle, should have welcomed the "common cause" of the universal resurrection, but the writer did not at all consider the resurrection of the fathers as a goal. In the very desire to resurrect, he saw selfish perversity. The author of "Three Deaths" and "The Death of Ivan Ilyich", who in the future died so majestically, of course, could not reconcile himself to some humiliating industrial resurrection carried out by whole armies mobilized for such a "not godly" cause.

Before many, Tolstoy felt the earth as a single planet. In War and Peace, naturally, he could not accept Fedorov's messianic concept, where the resurrection was turning into a purely Russian idea generously bestowed upon the peoples.

In this sense, in ethics, Tolstoy remained a Ptolemy. At the center of the universe is humanity. All cosmology is contained in ethics. The relationship of a person to a person - this is the relationship of a person to God. Perhaps Tolstoy even too absolutized this idea. Tolstoy considered God to be a certain quantity that could not be contained by the human heart and (which distinguishes it from Dostoevsky) measurable and cognizable by the mind.

The cosmic importance of what is happening on earth was too significant for Tolstoy to transfer the scene of the human epic (Tolstoy denied the tragedy) into space.

Of course, the views and assessments of the writer changed over the course of a long, spiritually filled life. If the author of "Anna Karenina" thought the most important thing was happening between two loving people, then, for the creator of "Resurrection" it became ultimately as insignificant as for Katerina Maslova and Nekhlyudov in the novel's finale. Tolstoy's "Copernican coup" ended with a complete denial of personal, "egoistic" love. In the novel "War and Peace", Tolstoy managed to achieve not a vulgar "golden mean", but a great "golden ratio", that is, the correct ratio in that great fraction, proposed by himself, where the numerator contains the whole world, all people, and the denominator is personality. This relationship of the one to the one includes both personal love and all of humanity.

In Pierre's crystal globe, the drops and the center are correlated in exactly this way, in Tyutchev's way: "Everything is in me, and I am in everything."

In the later period, the individual personality was sacrificed to the "one" world. One can and should doubt the correctness of such a simplification of the world. Pierre's globe seemed to have grown dim, stopped glowing. Why do you need drops when everything is in the center? And where is the center to be reflected if there are no those crystal drops?

The cosmos of War and Peace is as unique and majestic as the cosmos of Dante's Divine Comedy and Goethe's Faust. There is no romance without the cosmology of the crystal globe. This is something like a crystal box, in which the death of Koshchei is hidden. Here everything is in everything - the great principle of a synergistic double helix, diverging from the center and simultaneously converging towards it.

Tolstoy later rejected Fedorov's cosmology of the reorganization of the world and space, because, like Pierre, he believed that the world is much more perfect than his creation - man. In the universal school, he was more a student, "a boy collecting stones on the ocean shore" than a teacher.

Tolstoy denied Fedorov's industrial resurrection also because he saw in death itself the wise law of the continuation of universal, general cosmic life. Realizing and experiencing the "Arzamas horror" of death, Tolstoy came to the conclusion that death is an evil for temporary, personal life. For universal, eternal, universal life, it is an undoubted blessing. He was grateful to Schopenhauer for making him think "about the meaning of death." This does not mean that Tolstoy "loved death" in the usual everyday sense of the word. The entry in the diary about the "only sin" - the desire for death - does not at all mean that Tolstoy really wanted to die. The diary of his personal physician Makovitsky speaks of Tolstoy's normal, completely natural striving for life. But apart from his personal, individual life, there was also a "divinely universal" life, Tyutchev's. Tolstoy was involved in it not for a moment, but for the rest of his life. In a dispute with Fedorov, Tolstoy denied the resurrection, but in a dispute with Fet he defended the idea of ​​eternal cosmic life.

Taking a common look at Tolstoy's cosmos in War and Peace, we see the universe with a certain invisible center, which is equally in the sky and in the soul of every person. The Earth is one of the most important corners of the universe, where the most important cosmic events take place. The personal, fleeting existence of a person, for all its significance, is only a reflection of the eternal, universal life, where the past, future and present always exist. “It is difficult to imagine eternity ... Why then? - Natasha answers. - Yesterday was, today is, tomorrow will be ... "At the moment of death, the human soul is overflowing with the light of this universal life, contains the entire visible world and loses interest in individual," personal "love. But universal love, life and death for others illuminates a person with a universal meaning, reveals to him here, on earth, the most important law - the secret of the entire visible and invisible, visible and invisible universe.

Of course, these are only general outlines of Tolstoy's world, where the life of each person is intertwined with transparent cobweb threads with all people, and through them from the entire universe.