Essay on volume 3, War and Peace. "War and Peace". Ways to find heroes. (School essays)

L. N. Tolstoy’s epic novel “War and Peace” is a grandiose work not only in the monumentality of the historical events described in it, deeply researched by the author and artistically processed into a single logical whole, but also in the variety of created images, both historical and fictional. In depicting historical characters, Tolstoy was more of a historian than a writer; he said: “Where historical figures speak and act, he did not invent and used materials.” Fictional images are described artistically and at the same time are conductors of the author’s thoughts. Female characters convey Tolstoy's ideas about the complexity of human nature, about the peculiarities of relationships between people, about family, marriage, motherhood, happiness.
From the point of view of the system of images, the heroes of the novel can be conditionally divided into “living” and “dead”, that is, developing, changing over time, deeply feeling and experiencing and - in contrast to them - frozen, not evolving, but static. There are women in both “camps”, and there are so many female images that it seems almost impossible to mention them all in the essay; perhaps it would be wiser to dwell in more detail on the main characters and characteristic minor characters playing significant role in the development of the plot.
The “living” heroines in the work are, first of all, Natasha Rostova and Marya Bolkonskaya. Despite the difference in upbringing, family traditions, the atmosphere of the house, the character, they end up becoming close friends. Natasha, who grew up in a warm, loving, open, sincere family atmosphere, having absorbed the carelessness, dashing, and enthusiasm of the “Rostov breed,” has been winning hearts since her youth with her all-encompassing love for people and her thirst for reciprocal love. Beauty in the generally accepted sense of the word is replaced by mobility of features, liveliness of the eyes, grace, flexibility; her wonderful voice and ability to dance captivate many. Princess Marya, on the contrary, is clumsy, the ugliness of her face is only occasionally illuminated by her “radiant eyes.” Life without going out in the village makes her wild and silent, communication with her is difficult. Only a sensitive and insightful person can notice the purity, religiosity, even self-sacrifice hidden behind external isolation (after all, in quarrels with her father, Princess Marya blames only herself, not recognizing his temper and rudeness). However, at the same time, the two heroines have much in common: a living, developing inner world, a craving for high feelings, spiritual purity, and a clear conscience. Fate pits both of them against Anatoly Kuragin, and only chance saves Natasha and Princess Marya from a connection with him. Due to their naivety, the girls do not see Kuragin’s low and selfish goals and believe in his sincerity. Due to the external difference, the relationship between the heroines is not easy at first, misunderstanding, even contempt arises, but then, having gotten to know each other better, they become irreplaceable friends, forming an indivisible moral union, united by the best spiritual qualities of Tolstoy’s favorite heroines.
In constructing a system of images, Tolstoy is far from schematism: the line between the “living” and the “dead” is permeable. Tolstoy wrote: “For an artist there cannot and should not be heroes, but there must be people.” Therefore, in the fabric of the work appear female images, which are difficult to definitely classify as “living” or “dead”. This can be considered the mother of Natasha Rostova, Countess Natalya Rostova. From the conversations of the characters, it becomes clear that in her youth she moved in society and was a member and welcome guest of salons. But, having married Rostov, she changes and devotes herself to her family. Rostova as a mother is an example of cordiality, love and tact. She - close friend and an adviser to children: in touching conversations in the evenings, Natasha devotes her mother to all her secrets, secrets, experiences, seeks her advice and help. At the same time, at the time of the main action of the novel, her inner world is static, but this can be explained by a significant evolution in her youth. She becomes a mother not only for her children, but also for Sonya. Sonya gravitates towards the camp of the “dead”: she does not have that seething cheerfulness that Natasha has, she is not dynamic, not impulsive. This is especially emphasized by the fact that at the beginning of the novel Sonya and Natasha are always together. Tolstoy gave this generally good girl an unenviable fate: falling in love with Nikolai Rostov does not bring her happiness, since for reasons of the well-being of the family, Nikolai’s mother cannot allow this marriage. Sonya feels gratitude to the Rostovs and focuses on her so much that she becomes fixated on the role of the victim. She does not accept Dolokhov’s proposal, refusing to advertise her feelings for Nikolai. She lives in hope, basically showing off and demonstrating her unrecognized love.

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1 ARGUMENTS for an essay from Leo Tolstoy’s novel “War and Peace”

2 1 The problem of hypocrisy. The problem of careerism. The problem of spiritual emptiness Tolstoy does not accept and harshly condemns people whose goals are career, wealth, selfish politicking, power, cruelty and the ability to kill. He attributes these people to the world of war. To expose them, he develops his method of “frustrating everyone and all kinds of masks" So, outwardly we see grace, intelligence, tact, and high political interests in the salon. But internally these are fake people, their conversations and behavior are hypocritical. For example, Prince Vasily, discussing high political topics, thinks only about his son’s future. Hiding selfish intentions, he speaks “like a wound clock”, “like an actor says words old play».

3 For all the guests, “the smile merged with the non-smile.” The constantly heard French speech emphasizes the isolation of the nobility from the people, their interests, culture, and language. Tolstoy compares the owner of the salon with the owner of a spinning workshop, emphasizing the automaticity of everything that happens, the lack of sincerity, simple human feelings.

4 Helen Kuragina never loved anyone, her heart is dead. She doesn’t just get carried away and make mistakes, moving from admirer to admirer, this is her conscious line of behavior. That is why discord and evil appear, because she has no heart, there are only base instincts. The baseness of her behavior with Pierre, her connection with Dolokhov and Boris Drubetsky, her ugly role in the story with Natasha and Anatole, her attempt to marry two husbands at once while Pierre was alive, all create the image of a depraved and calculating social beauty. Pierre says about the Kuragins: “Oh, vile, heartless breed!”

5 2 The problem of consumer attitude to life, the desire for profit. The problem of the goal and the means to achieve it. The problem of false values ​​in life People of “war” can be dangerous if they need to protect their selfish interests. This is manifested in the episodes of the struggle for the inheritance of the old Count Bezukhov. In the struggle for the will (for the mosaic briefcase), the true face of Prince Vasily is revealed, which is expressed through portrait characteristic: “His cheeks began to twitch nervously, giving his face an unpleasant expression that had never appeared on his face when he was in the living rooms.” Pierre sees “the embittered face of the princess, having lost all decency.” The masks are torn off, the essence is exposed.

6 3 Problem real life. The Rostovs' sincerity is contrasted with the artificial life of light. The two receptions (at Scherer’s and at the name days of the two Natalias) are different in everything. In the salon there is a ritual of greeting a useless aunt; the Rostovs have “gratitude to everyone without exception.” Naturalness, absence of falsehood, purity of the inner world, closeness to the people is manifested in a number of scenes. For example, Natasha Rostova is the personification of naturalness, happiness, falling in love, sincerity and self-will. She is distinguished by her cordial responsiveness (she cries with Sonya). And at the same time she does “God knows what,” something that is forgiven in childhood, but can bring trouble as she grows up (kisses Boris, loudly asks what kind of cake it will be).

7 There is another way to get away from the empty, hypocritical life of light. This is a measured, meaningful life of the mind and soul. This is how the Bolkonskys live in Bald Mountains. This is a “special breed” of people. All of them are distinguished by the similarity of their eyes, which glow with intelligence and kindness, with an “unusual brilliance”; Princess Marya’s is “radiant”. They are connected by deep work of thought, high intelligence, a penchant for mental activity, depth peace of mind, pride, aristocracy.

8 4 The problem of true and false heroism How to distinguish true from false? For this, Tolstoy has two criteria: the true comes from the depths of a person’s soul and is expressed simply, without posture and “playing for the public.” The false, on the contrary, is generated by the base side of human nature and is always focused on external effect. What does Tolstoy mean by the concept of “false heroism”? While a person wants to accomplish a feat primarily in order to be noticed, and dreams of a feat that is certainly beautiful, this, according to Tolstoy, is not yet real heroism. True heroism arises when a person thinks not about himself, but about the common cause and does not care about how he looks from the outside.

9 Captain Tushin is shown as the true hero in the battle. There is nothing heroic in his appearance. Before the battle, he says that he is afraid of death, but in battle “Tushin did not experience the slightest feeling of fear, and the thought that he could be killed or painfully wounded did not occur to him.” He makes decisions on his own: “No one ordered Tushin where and with what to shoot, he decided that it would be good to set the village on fire.” As a result, it was he and his battery who stopped the French movement in the center of the battle. The courage, heroism, dedication of Tushin and his batteries are shown as the natural behavior of true heroes in war.

10 5 False heroism Zherkov is brave before his superiors, but cowardly in battle. He was sent to Tushin’s battery to convey the order to retreat: “Zherkov, briskly, without taking his hand from his cap, touched his horse and galloped off. But as soon as he drove away from Bagration, his strength failed him. An insurmountable fear came over him, and he could not go where it was dangerous.” Dolokhov is also a false hero, for whom war is a way to regain his rank after he was demoted to the rank and file. In the scene of the review of troops, he turns to Kutuzov: “Please give me a chance to make amends for my guilt and prove my devotion to the Emperor and Russia.” In battle, he shows courage, pursuing the same selfish, career goals: “I captured an officer. I stopped the company. Please remember, Your Excellency. Wounded by a bayonet, I remained at the front.”

11 True heroism is shown first of all in war simple people soldiers, captain Tushin, captain Timokhin and others. “Simplicity, goodness and truth” are the main criteria for distinguishing true from false in “War and Peace.”

12 Striving for glory, Prince Andrei accomplishes a feat during the Battle of Austerlitz. With a banner in his hands, he raises the soldiers to attack: “Here it is! thought Prince Andrei, grasping the flagpole and hearing with pleasure the whistle of bullets, obviously aimed at him... He ran forward with undoubted confidence that the entire battalion would run after him. Indeed, he ran just a few steps alone The entire battalion shouted “Hurray!” ran forward and overtook him.”

13 The wounded Bolkonsky sees Napoleon in front of him and understands that a man who is guilty of the death of thousands of people cannot be great. He understands that his previous desire for glory is insignificant: “And his hero himself seemed so petty to him, with this petty vanity and the joy of victory.” This is how disappointment in Napoleon comes, an understanding of the insignificance of the feat accomplished in the name of personal glory.

14 6 The problem of moral insight. The problem of finding truth. The problem of a person’s ability to abandon erroneous ideas about life. The problem of the influence of nature on man Before the eyes of Prince Andrei, a clear, high sky opens up - a symbol of truth: “How quiet, calm and solemn, not at all the way I ran,” thought Prince Andrei, “not the way we ran, screamed and fought. .. this is not how the clouds crawl across this high endless sky. How come I haven’t seen this high sky before? And how happy I am that I finally recognized it. Yes! Everything is empty, everything is a deception, except this endless sky."

15 What does Prince Andrey include in this “everything”? (Vanity, lies, the struggle of vanities, the meaninglessness of war, passion for Napoleon.) Instead of his former idol, he acquires high and Eternal values that I didn’t know before: the happiness of simply living, the opportunity to breathe, to see the sky, to be.

16 7 The problem of finding the meaning of life. The problem of the purpose of life (What goal should a person set for himself?) Pierre Bezukhov and Andrei Bolkonsky have a common goal to discover the meaning of human life and humanity as a whole. For them, the path of doubt, severe crises, revivals and new catastrophes is the path of self-knowledge and at the same time the path to other people. Pierre goes through a great evolution from the affirmation of Napoleon's progressiveness to the recognition of the people's truth and practical participation in the secret Decembrist society in the name of just ideas and goals. The path is his way to people's world, to the truth.

17 8 The problem of moral self-improvement. (Should a person struggle with his own shortcomings? Should a person work on himself?) Through delusions, mistakes, bitter disappointments, he seeks his place in life. Already in Part 1 of Volume 1, it becomes clear that Pierre’s internal motivations and the objective result of his actions contradict each other. For example, giving his word to Bolkonsky that he will stop communicating with the company of Kuragin and Dolokhov, he immediately, breaking his promise, goes to this company and participates in revelry, suffering from this contradiction himself. The test of wealth and an idle life lead him to another delusion - marrying Helen Kuragina. Pierre's blinding by Helen's outer beauty, with inattention to her spiritual emptiness, shows the victory in him of the sensual principle over the spiritual and moral. He considers himself guilty that he married without loving, that he lied when he told Helen: “I love you.” He is guilty of connecting himself with a world alien to him.

18 Pierre struggles with internal vices (Pierre's diary). He strives to change the lives of his peasants, for which he makes a trip to the Kyiv province. His activities do not bring results, because, as the author writes, “Pierre did not have that practical tenacity that would give him the opportunity to directly get down to business.” All this activity brings him deep satisfaction, as he tells Andrei Bolkonsky in the meeting scene on the ferry: “I lived for myself and ruined my life. And only now, when I live for others, only now do I understand all the happiness of life.”

19 9 The problem of guilt. The problem of repentance Seeing the “dead reproachful face of his wife,” Bolkonsky suddenly realizes that he was cruel and unfair to his wife, demanding more from her than she was given. Aware of his guilt, he felt that something had been torn away from his soul. Prince Andrei condemns the cold, proud person in himself, and this is a new step in the moral quest of the hero.

20 10 The Problem of True Friendship Andrei Bolkonsky returned home from the war, ready for “peace,” but he was overwhelmed by the grief of his wife’s death and the fact that he felt guilty. Now he has a “dull, dead look.” He is immersed in caring for his son and decides never to serve in the army again. “I lived for others, and not almost, but completely ruined my life. And since then I have become calmer, as if I live only for myself,” he tells Pierre. Meeting Pierre helped him return to life. He sees the sky again, the desire to live appears life to the fullest, enjoy it.

21 “The meeting with Pierre was for Prince Andrei the era from which his new life began, although in appearance it was the same, but in the inner world.” There is an absolute value in this conversation, independent of any future results, losses, defeats, a moment of exciting intensity and completeness of human communication, a subtle interaction of thoughts and souls, an open exchange between them. Standing on a ferry while moving from one village to another, two people, having forgotten about everything, solve eternal life issues.

22 11 The problem of the unity of man with nature Tolstoy talks about nature, spiritualizing it, endowing it with human traits (hands, fingers, old sores). Prince Andrey identifies himself with the diseased tree (the pronouns “we” and “our” sound). “There is no spring, no sun, no happiness.” “Tolstoy’s internal monologues are uttered not only by people, but also by trees. The famous oak tree, which Andrei Bolkonsky meets twice, is proof of this. “Spring, and love, and happiness! as if this oak tree was speaking. And how can you not get bored.” There is a spiritual rapprochement between Prince Andrei and the oak tree, a rapprochement between the two worlds of man and nature. One at the edge of the road; the other is on the edge of a life not yet lived.”

23 Thoughts of Prince Andrei at the sight of an oak tree

Episode 24 moonlit night in Otradnoye. Natasha Rostova lives by emotions, feelings, it’s easy for her, so she feels the desire to squat down and hug her knees and fly. Merging with nature inspires it and “raises” Bolkonsky towards spring. Thanks to Natasha and him, it’s now “easy.” A harmonious connection with nature gives Natasha a feeling of happiness.

25 12 The problem of attitude towards aging loved ones. The problem of human relationships different generations Many episodes of the novel speak of how despotic and strict the old Prince Nikolai Bolkonsky is with his daughter, loving her in his own way and wishing her well. He strives to give his daughter a serious education, giving her lessons himself. Princess Marya meekly submits to her eccentric and despotic father, not only out of fear, but also out of a sense of duty as a daughter who has no moral right to judge her father. At first glance, she seems timid and downtrodden. But in her character there is hereditary Bolkon pride, an innate sense of self-esteem. With particular force, the firmness and strength of character of this modest, shy girl is revealed in the years Patriotic War 1812. When the French companion promised Princess Marya, who found herself in a difficult situation, the protection of her compatriots, she stopped communicating with her and left Bogucharovo, as her patriotic feeling was offended. When her father suffers a blow, Princess Marya devotedly looks after him

26 Petya, Natasha Rostova’s brother, dies. Her mother almost went crazy, and Natasha spends all her time with her. “She alone could keep her mother from insane despair. For three weeks Natasha lived hopelessly with her mother, slept in a chair in her room, gave her water, fed her and talked to her without ceasing, talking because her gentle, caressing voice alone calmed the countess.” After the death of her son, the Countess turned from a blooming, cheerful woman into an old woman. Natasha touchingly takes care of her mother. The girl finds the strength to help her in everything. Love for her mother makes Natasha gather herself internally. “Love has awakened, and life has awakened.” Natasha does not spare herself, gives all her strength, and readily makes sacrifices for the sake of those she loves.

27 13 The problem of patriotism Old Prince Bolkonsky gathers militias, arms them, preparing to defend himself to the last. And only illness stopped him (paralyzed, he was taken to Bogucharovo). He feels pain for Russia: “Russia is lost! Ruined! Princess Marya, in a difficult moment of life associated with the death of her father, is united in her patriotic sentiments with her father, with her brother, with the Russian people. She refuses Bourrienne's offer to surrender to the French because "she felt like a representative of her late father and Prince Andrei."

28 The Rostovs are distinguished by sincere patriotism and pain for their Motherland. Nicholas fights in the war; Petya, still just a boy, goes to war in 1812 with the consent of his parents and dies in the first battle. Natasha demands that the carts be given to the wounded. The Rostovs are leaving their home, like many residents. In the scene of the Rostovs’ departure, when, at Natasha’s insistence, the carts will be given to the wounded and the property will be abandoned; again the general feeling appears (we are not some kind of Germans).

29 Andrei Bolkonsky refuses to serve at headquarters. He no longer strives to get into the higher spheres. Now he knows for sure that the fate of the Motherland is not decided there. Prince Andrei remains among the most needed people in the war, soldiers and officers. active army. Dreams of personal glory no longer bother him. We see the unity of soldiers, militia in white shirts, officers and the commander-in-chief in the prayer scene, where the oath of allegiance to the Russian land is sung.

30 14 The problem of heroism Through a description of the panorama of the Battle of Borodino, Tolstoy reveals the greatness of the battle and the inhumanity of the war. In the center of the description of the battle are scenes at the Raevsky battery. These people are busy with ordinary things. Tolstoy shows their unnoticed heroism as hard work in war. They are united by friendship, brotherhood, the ability to defend the Motherland, support each other with jokes, and serious businesslike behavior. Under the influence of the common actions of the soldiers of this battery, Pierre becomes an assistant in the common cause, gets close to the people, and they recognize him as one of their own (“our master”). Pierre admires the soldiers because they are simple and do not talk in vain, but do the deed. This simplicity with which Russian soldiers perform immortal feats arouses Pierre's awe.

31 15 The problem of forgiveness (Do you need to forgive those who have offended you? Do you need to forgive the enemy?) Andrei Bolkonsky is experiencing a new mental crisis after being wounded. He forgives Anatoly Kuragin in the hospital. “He remembered Natasha, and love and tenderness for her awakened in his soul even more vividly and stronger than ever.” Thoughts about universal forgiveness are born along with a stormy surge of religious feelings and faith in a wise Creator. A new understanding of the meaning of life is revealed to him: “Compassion, love for brothers, for those who love, love for those who hate us, love for enemies, yes, the love that God preached on earth, which Princess Mary taught me and which I did not understand; That’s why I felt sorry for life, that’s what was still left for me if I were alive. But now it's too late. I know it!"

32 A person must be merciful to his enemies, even though they kill your loved ones. An example of this is Kutuzov, who will show mercy and compassion to the French fleeing Russia. He understands that they acted on orders from Napoleon and did not dare to contradict him. Therefore, in the scene of Kutuzov’s speech to the soldiers of the Preobrazhensky Regiment, we see that they are united not only by a feeling of hatred for the enemy, but also by pity for the defeated, insignificant enemy: “It’s difficult for you, but still you are at home; and they see what they have come to. Worse than the last beggars.”

33 16 The problem of the inhumanity of war Tolstoy condemns the cruelty and inhumanity of war. In the scenes of the Battle of Borodino, using your favorite artistic device antithesis, he contrasts the “cheerfully beautiful” field (before the battle) with a field strewn with dead bodies, land soaked in blood. Nature itself, interfering with the rain in the terrible deeds of people, calls: “Enough, enough, people. Stop it, come to your senses, what are you doing?”

35 17 The problem of the cult of individuals Tolstoy opposes the cult of individual great people, because such a cult of a great man automatically gives him power over other people, and Tolstoy adhered to the principle of complete equality of people. Tolstoy consciously emphasizes Kutuzov’s external decrepitude, obesity, and old age: “ Physical strength left the old man. Several times his head dropped low, as if falling, and he dozed off"; "Kutuzov became even stouter, flabby and swollen with fat... He, heavily blurred and swaying, sat on his cheerful horse." By this he rejects the false cult of the superhuman hero.

36 Napoleon is the commander of an army of robbers, marauders and murderers, “the most insignificant instrument of history, a man with a darkened conscience.” His image shows a complete manifestation of the cult of personality, delusions of grandeur, narcissism, arrogance, vanity, hypocrisy, falsehood, and posturing.

37 18 The problem of the role of personality in history. What influence does personality have on the course of history? In the novel “War and Peace” L. Tolstoy reflects on the role of the personality of commander Kutuzov in history and in the war of 1812. The role of that individual in history who, together with his people, defends the freedom and national independence of his country is great. Kutuzov's strength and greatness are manifested in his ability to feel sorry for and save people, in the inseparability of a commander and a modest person, in the merging of politics and morality. Tolstoy sees the greatness of Kutuzov in the people's spirit of “simplicity, goodness and truth.”

38 19 The problem of the strength of human relationships Devotion involves providing assistance in difficult life circumstances, the desire to protect from harm. The heroes of Leo Tolstoy's novel "War and Peace", Andrei Bolkonsky and Pierre Bezukhov, are decent, noble people. Each of them goes through their own path of moral quest. They are honest and frank with each other, they support each other in difficult times. At first, Prince Andrei supports Pierre and tries to protect his friend from the harmful influence of Dolokhov’s company. Then Pierre (remember the scene on the ferry) comes to Bogucharovo and helps Bolkonsky return to life after Austerlitz and the death of his wife. The highest manifestation of devotion to a friend is raising his son. In the family of Pierre and Natasha Rostova, the formation of Nikolenka Bolkonsky takes place after the death of Prince Andrei.

39 20 The problem of a person’s loyalty to his duty (What helps a person not to deviate from the intended path?) Kutuzov, the hero of L. Tolstoy’s novel “War and Peace,” is faithful to his duty. Let us remember the scene of the council in Fili. This episode shows that the decision made by Kutuzov to leave Moscow is the only way to save the army, on which future victory depends. Tolstoy admires the wisdom and foresight of the commander-in-chief, his ability to understand the situation, use his power and make an unpopular, but courageous and good decision. This is where the discontent of the official authorities with Kutuzov begins, which will result in his resignation as soon as the French are expelled from the country. Resignation will result in a tragedy of loneliness and death for Kutuzov. He accomplished his difficult and great feat: the military campaign of the years is not yet over, but the people's war is over: the Fatherland is free. The voice of the narrator sounds sublimely and dispassionately: “The representative of the people’s war had no choice but death. And he died.”

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The action begins during a reception with one of those close to the imperial court. The capital's high society gathers there to attend a social event. The event is not even key, but it sets the tone for the entire work. The description of that time begins through the eyes of the nobility.

War and Peace is an entire era, contained in four volumes with an epilogue. They truly personify and convey the whole atmosphere that was then. The alliance with Austria-Hungary does not bear the desired fruit, and Russia is left alone against a 600,000-strong army with one of the most talented commanders. Not only soldiers and officers, but also ordinary people will face confrontation. After all, victory was achieved through many paths that all of Russia had to go through.

That era was truly grandiose and majestic. Officers and hussars performed the most incredible acts, proving their loyalty to the crown. They could cross the river on horseback, but the current and temperature of the water were not suitable for this! Girls of noble birth wore luxurious dresses at balls and danced with men, while ordinary people died from cannon shots and muskets. Incredible saber battles and lightning-fast decisions that became fateful for the entire war as a whole fascinate readers from beginning to end.

Only a careful reading of the novel can truly convey the atmosphere that existed in the 19th century. Imbued with the fate of the main characters, one can understand why people were very annoyed by the surrender of even empty Moscow and how easy it was to drive the enemy away native land. There was more honor on both sides than was necessary.

The battle of Borodino is conveyed especially colorfully. After all, it is one of the key ones in that war. After him, everyone realized that Napoleon could be defeated, but the forces that were expended for this were too exorbitant. Therefore, after it there followed a retreat and a further series of victims of the Russian people.

After reading the novel, I realized that the most terrible evil in our lives is a bloody and merciless war. The novel makes us think about the problem of good and evil in our lives, in ourselves. Reading it, I thought about the fact that each of us should strive to create as much as possible. more good, then the world will become at least a little kinder. We must understand that next to us there are people just like us. And that the world cannot exist without peace on earth!

Along with the article “Essay on the theme “War and Peace”” read:

Topics for essays on the novel “War and Peace”

"War and Peace" as an epic novel.

The path of Andrei Bolkonsky's quest.

The evolution of the personality of Pierre Bezukhov

Realism L.N. Tolstoy's depiction of war in the novel "War and Peace".

Kutuzov and Napoleon.

True and false patriotism in the novel "War and Peace".

People and personality in the understanding of L.N. Tolstoy based on the novel “War and Peace”.

"People's Thought" in the novel "War and Peace".

Peculiarities psychological analysis in the novel "War and Peace".

What is the work of L.N. Tolstoy might be of interest to the modern reader?

The national character of the war of 1812 (Platon Karataev, Tikhon Shcherbaty).

Nature and the inner world of man: consonance and dissonance. (A. Bolkonsky, N. Rostova).

What events and experiences in life help a person grow up ( moral quest heroes of the novel).

True and false beauty in the understanding of Tolstoy (Marya, Natasha, Helen).

“Whoever has not suffered and who has not made mistakes has not learned the value of truth and happiness” (A. Dobrolyubov).

Detailed essay plan on the topic « The path of Andrei Bolkonsky's quest"

I. The desire for the highest truth is the goal of the spiritual quest of the main characters of the novel. The complexity and inconsistency of the character of Prince Andrei predetermine the difficulty of the hero’s quest in life and the painfulness of his moral insight.

II. Spiritual quest of Andrei Bolkonsky:

1) search for a true, worthy cause: a) dissatisfaction secular society; b) disappointment in family life; c) the dream of a feat, the desire for glory; d) the desire to gain self-confidence in military service;

2) participation in the War of 1805:

a) a sense of military duty, brought up by the father; b) rejection of the laws of the world among military officers; c) the desire to experience the fate of Napoleon on oneself; d) meeting with a true hero (Tushin’s feat in the Battle of Shengraben brings Andrei back to reality); e) the meaninglessness of Prince Andrei’s feat during the Battle of Austerlitz; f) the sky of Austerlitz (renunciation of ambitious illusions, disappointment in one’s idol, understanding of life as something more than the desire for personal glory);

3) death of wife and birth of son; Bolkonsky’s understanding of what he sacrificed for the sake of his own selfish aspirations;

4) withdrawal into oneself, renunciation active life;

5) conversation with Pierre about goodness, justice and truth - a landmark moment in life quests Prince Andrey;

6) meeting with Natasha in Otradnoye (desire to be reborn), the embodiment of Andrei’s thoughts in the image of an oak tree - a symbol of “fading” and “rebirth”;

7) the desire to benefit public service(awakened ambition), rapprochement and break with Speransky;

8) love for Natasha, a sense of duty and responsibility to a loved one;

9) destruction of hopes for personal happiness (inability to understand and forgive loved one, focus on oneself);

10) participation in the War of 1812 - a decisive stage in Bolkonsky’s life:

a) return to the army, the desire to be useful to the Fatherland, merging with the fate of the people; b) the death of his father and the loss of his home do not close Prince Andrei within himself; c) Andrei’s moral feat on the Borodin field is a feat of endurance and fortitude; d) a mortal wound reveals to Bolkonsky the eternal truth - the need for love for people; e) feeling of pity for Kuragin; f) revival of love for Natasha; g) Andrey’s death.

III. The fate of Andrei Bolkonsky is the path “from Napoleon to Kutuzov”, the path of a man who makes mistakes and is able to atone for his guilt, striving for moral perfection.

"The Bolkonsky family and the Kuragin family in L.N. Tolstoy's novel "War and Peace"

In L.N. Tolstoy’s novel “War and Peace,” the problem of family is acutely posed. The author depicts several family structures in detail. Comparing various options family life, the writer shows what a family should be like, what true family values, and how they influence the formation of personality.

The Bolkonskys and Kuragins are nobles, have the same hereditary title, occupy a high position in society, are rich and prosperous. The heads of the families - Nikolai Andreevich Bolkonsky and Prince Vasily - take care of their children. It’s just that they put it into the concept of happiness different meaning. Each family has its own scale of life priorities.

The distinctive features of the Bolkonskys are spirituality, intelligence, independence, nobility, high ideas of honor and duty. The old prince, a former nobleman of Catherine, a friend of Kutuzov, is a statesman. He, serving Catherine, served Russia. Not wanting to adapt to the new time, which demanded not to serve, but to be served, he voluntarily imprisoned himself on the estate. Prince Vasily Kuragin is an opportunist and careerist. This man does not bring any benefit to the Fatherland: he is simply a close associate of the Tsar, a “significant”, “important” servant at court. Prince Vasily and his children rotate in " high society». the main task elder Kuragin - to place the children, i.e., using his connections, to provide his sons with “warm” places in the service, and for his daughter to find a rich husband.

Bolkonsky tirelessly ensures that children develop their abilities, know how to work and want to learn. He valued knowledge and comprehensive education. Therefore, Marya and Andrey received an excellent education. Marya reads a lot and loves music. Prince Andrey has an extraordinary memory, is well-read, he has an idea about everything. The life of old Prince Bolkonsky is continuous activity. This is work on memoirs about the glorious era of Catherine II, physical labor, and estate management. Prince Andrei, like his father, strives to benefit society, first elects military career, delves into all the intricacies of military art. Participating in the campaign of 1805, he becomes the commander's “trusted” aide-de-camp. Kutuzov, in a letter to the old prince, assessed the qualities of Prince Andrei as follows: “Your son shows hope of becoming an officer, out of the ordinary in his knowledge, firmness and diligence. I consider myself lucky to have such a subordinate at hand.”

Vasily Kuragin is busy only with his personal, selfish interests. He prepares a lighter option for his sons: he gives Hippolyta a job as a diplomat and insures him against danger. military service; Anatole, thanks to his father’s connections, is “listed” with the regiment. Younger son causes especially a lot of trouble for his father, since Anatole leads a dissolute life, drinks, and loses huge sums of money at cards. Prince Vasily has the idea of ​​marrying him to one of the richest brides - Princess Bolkonskaya. This is how the decency of the Bolkonskys and the low calculation of the Kuragins collide for the first time in the novel. On the one hand, there is the handsome, but, as Prince Vasily himself says, “a restless fool” Anatol, and on the other, the outwardly unattractive, but noble Marya Bolkonskaya. Anatole's matchmaking almost ruined the princess's life, but this time the moral danger passed the Bolkonskys. The elder Kuragin, however, brilliantly succeeded in the intrigue with the marriage of Pierre Bezukhov to Helen. Prince Vasily spent a lot of effort, but he still achieved his goal: he married his vicious daughter to the richest groom, who had forty thousand serfs alone.

Kuragins constantly use other people for satisfaction own desires. Pierre fought a duel because of Helen. She did not spare her husband’s pride and almost openly cheated on him. Kuragins destroy the happiness of Natasha and Prince Andrei. Helen knew that Natasha was Bolkonsky’s fiancée, and Anatole was married, but, not tormented by remorse, she arranged dates for them, and then helped her brother organize the kidnapping of the girl. Pierre’s words give an accurate assessment of Helen: “Where you are, there is debauchery and evil.” Bezukhov also tries to explain to Anatoly: “... in addition to your pleasure, there is happiness, peace of mind of other people, ... you are ruining your whole life because you want to have fun.”

The Bolkonskys, unlike the Kuragins, are aristocrats in in the best sense this word. They are proud, but they respect other people's feelings, they are ready to sacrifice themselves, but not to cause pain to others. Prince Andrei behaves extremely nobly with his wife, whom he does not love. In his own way, he feels sorry for Lisa, does not allow judgment against her, and spares her feelings. For example, this scene is indicative: after saying goodbye to his wife, “he carefully moved the shoulder on which she was lying, looked into her face and carefully sat her down on a chair.”

The Bolkonskys and Kuragins have completely different relationships between family members. At the Kuragins' family ties formal, maintained only for the sake of decency. Prince Vasily cynically says: “My children are a burden to my existence. This is my cross." He calls his eldest son a “dead fool,” and Anatoly “restless.” Kuragin complains: “... this Anatole costs me forty thousand a year...” The princess is openly jealous of her daughter’s wealth. Children of the Kuragins, deprived parental love, moral education, reveal spiritual insignificance and primitiveness of vital interests. The Bolkonskys are truly attached to each other. They are united by a hidden, not expressed in words, kindred warmth. The old prince, although excessively stern and strict, is proud of his son and loves his daughter, and feels guilty for quarrels with children. Only before his death does he give free rein to the feeling of pity and love for his daughter, which he had previously carefully hidden. Prince Andrei respects and highly honors his father. They have a real understanding. After leaving for the war, Prince Andrei wrote letters to his father every day. Children are accustomed to reckoning with the weaknesses and quirks of an old person. Therefore, Prince Andrei, at the request of his father, is forced to postpone the wedding with Natasha for whole year. However, internally the Bolkonskys are very close to each other. Their love is shown in difficult moments. When the news arrived about the death of Prince Andrei, Marya, hugging her father, said: “Let’s cry together.”

It is no coincidence that Tolstoy describes in detail the home life of the Bolkonskys. They have a real one native home, family hearth, certain traditions. There is no description of the Kuragin house in the novel, because the family ties of these people are weakly expressed, each of them lives separately, taking into account, first of all, their own interests.

All the base qualities of the Kuragins appeared during the War of 1812. They led the same idle life in the salons. Prince Vasily speculated on patriotism, and Helen was busy organizing her personal life. However, a misfortune occurred in this “false” family - Anatoly’s leg was amputated, and he subsequently died. The author mentions that Helen also died from some ridiculous disease.

The Bolkonskys are patriots. By their behavior during the Patriotic War they express the national spirit. Prince Nikolai Andreevich dies because his heart could not stand the surrender of Smolensk. Marya rejects the French general's offer of protection. Andrey defends the Fatherland on the battlefield. He lives in the interests of the nation and, while fulfilling his duty as an officer, is mortally wounded.

The Bolkonskys are an example of a genuine family. The high spirituality, the true beauty of the old prince and his children are sharply contrasted with the lack of spirituality, the “imaginary” beauty of the Kuragins. Pierre said very precisely about the “false” Kuragin family: “Oh, vile, heartless breed!”

Essay "Pierre in captivity (Analysis of the episode)"

Tolstoy's heroes in the novel "War and Peace" receive their moral

lessons. The writer, exploring the laws of life, determines

Each hero has his own, difficult, sometimes even scary path. By

full of contradictions, awkwardness, but sometimes overshadowed by happiness

in an instant of knowledge of the truth, the secrets of existence, the beloved hero walks

Tolstoy Pierre Bezukhov.

The episode "Pierre in Captivity" is the most important, in understanding

Tolstoy, stage in the search for truth by Pierre Bezukhov. Exactly on

In these pages, Pierre's moral rebirth takes place.

Without captivity, without meeting with Karataev, consciousness would not have changed

and Pierre's worldview. These pages were compositionally necessary.

Something had to happen that would change Pierre.

And this “that” was supposed to “shock” him. Tolstoy chooses this

shock of war and captivity.

And at the right moment of fermentation in Pierre’s mind, Tolstoy sends

Karataev, who will direct Pierre to the “true path”. Show up

Karataev later or earlier, nothing would have happened. He appears

only when Pierre is ready to understand him, that is, Tolstoy reduces

Pierre's internal state with the external conditions of his life.

But the meeting with Karataev did not the only reason moral

Pierre's rebirth. This meeting is the final and most

an important condition of his life, but without previous external shocks

there would be no change in his consciousness.

Pierre, even earlier, on the Borodino field, was struck by the calm

Russian soldier. Not with the calmness of not giving a damn about everything, but with the

calmness that shows inner freedom.

It would seem, on the contrary, that the common people, as the most dependent

class must have a limited slave consciousness. But here

paradox: an unfree people has complete internal freedom,

and the nobles - the freest class - for the most part, it is not

have. Pierre didn’t have it either. And even then he began to think about

this paradox. He wanted to understand why he had no peace of mind

and internal freedom and what is the reason for their presence

in a person? How to live, what to do so that they appear in

him? Pierre finds a solution to these questions in Platon Karataev -

one of those mysterious people that he was thinking about. Now

he could see and know what he had previously only thought about.

The horrors of war: the fire of Moscow, the looting of the French, captivity, and,

finally, the terrible murder of a young factory worker by people who

they didn’t want to kill, - leads Pierre into despair. In him

“belief in the improvement of the world, both in humanity and in one’s own, is destroyed

soul, and in God." “The world collapsed in his eyes and only meaningless

ruins. He felt that he would return to faith in

life is not in his power.” This is what Pierre thought before meeting Karataev,

but after their first meeting Pierre felt that “before

the destroyed world now has new beauty, on some new and unshakable

the foundations were erected in his soul." That is, it’s already just

from the first conversation Karataev influences Pierre with his calmness

and inner freedom.

When Pierre was in despair from everything that had happened, sitting

with him next to him Karataev was completely calm. It is clear that since he

soldier, he saw even more horrors of death than Pierre. And is located

he is in the same conditions as Pierre, but he is calm and engaged

his everyday affairs, which he did in his village,

both in the regiment and now here, in captivity. Pierre, and with him the reader,

They find in Karataev the ability to control himself. Circumstances

do not influence Karataev, they cannot change him, he is always

remains as he is. He has calmness and inner

freedom that is not lost under external circumstances.

Karataev is calm, because, as he himself says, “not our

mind, but by God's judgment." Life seems simple and clear to him,

and that’s how he lives: simple and clear. There is no need to think anything about the future,

neither grieve about the past nor worry about the present. He lives

in the present moment and takes everything that happened for granted.

Its logic is simple, but contains special wisdom. He's calm

because he knows that all circumstances are not happening according to his will,

but according to the will of God. And he also knows: no matter what happens, even what seems

At first it’s grief, but it turns into happiness, which is good for him. "We thought

grief, but joy! - he says. And the main thing is that no one

can take away his freedom, no one has power over his inner

peace. Karataev “loved and lived lovingly with everything that brought him together

life". And he lived, he loved life and simply lived without creating for himself

apparent problems and inconveniences. And that's why he had everything: he had

complete freedom independent of anyone, he had an immortal soul.

And Pierre, through Karataev, also understands that he too has all this.

And that’s why he laughs: “Ha, ha, ha! The soldier didn't let me in. Caught

me, they locked me up. They kept me captive. Who me? Me?

Me - my immortal soul! Ha, ha, ha! Ha, ha, ha." Exactly then

Pierre has a feeling of inner freedom. How can they keep

him in captivity if they do not have power over his soul. Pierre feels

that he is not just a person, but a particle of something common, limitless.

“And all this is mine, and all this is in me, and all this is me!”

Now he understands that before, when he lived in wealth and never

He did not deny himself anything, he was unhappy and unfree.

And now, when he eats horse meat, when his whole body hurts,

when lice eat him, when he can barely stand on his scabbed feet, he

happy and free! Because now Pierre recognized with all his being

to his own, that man was created for happiness and that happiness is in himself.

Everyone makes themselves unhappy or happy. "The more difficult

Pierre's position became worse, the more terrible the future, the more

regardless of the situation in which he was, they came

joyful and calming thoughts for him.” Through Karataeva Pierre

became spiritually related to the people. And the simple Russian people are a treasure trove,

combining kindness, simplicity and wisdom. Pierre got rich

this wisdom. He adopts love and faith from Karataev

in God, love and faith in life. And this is how he makes his life simple

and clear. And this gives him a complete, joyful creation of freedom,

which constitutes his happiness!

If Pierre found happiness by meeting Karataev, then why

if only we, the readers, could not accept words of wisdom Karataeva?

It seems to me that the pages about Karataev and his influence on Pierre -

pages for all times. It is in them that the reader finds the answer to

eternal questions of the existence of human existence, which

interested people before, now, currently, and will continue to

worry about the future. It is these pages that teach the reader how to

live. It is in them that the secret of human happiness is hidden. And exactly

they tell you how to be free.

Thus, the episode “Pierre in Captivity” is not only luck

in compositional terms, which determined the appearance of Pierre

in a different, updated quality, but also brings it to its logical conclusion

Tolstoy's idea: “A person is happy when he finds his inner

freedom." And only for the sake of acquiring this truth is it worth living!

Essay “Scene of explanation between Natasha Rostova and Prince Andrey. (Analysis of chapter 23, part 3, volume 2 of L.N. Tolstoy’s novel “War and Peace”)

Against the backdrop of the grandiose epic narrative of War and Peace, Tolstoy plumbs the depths human soul. We see the development of the inner world of his heroes. In the words of N.G. Chernyshevsky, it was the “dialectics of the soul” that occupied Tolstoy most of all. The author endows his characters with a rich and contradictory inner world, which reveals itself to us gradually throughout the entire work. In this regard, in relation to each Tolstoy hero, we can highlight a number of the most important episodes that help us see the essence of his character. And if we take into account that a person reveals himself especially deeply in love, then it becomes unnecessary to explain how important the scenes of the novel are that show us the characters in love. Let us dwell, for example, on the scene of explanation between Natasha Rostova and Prince Andrei.

By this moment, we had already managed to fall in love with Natasha for her cheerfulness and spontaneity, we had managed to sympathize with Andrei Bolkonsky, seeing in him an intelligent, noble, honest person. By the will of the author, the characters we love seem to find each other. Their meeting and then this odd love two very different people seem to us (and subsequently to everyone in the Rostov house) inevitable. We eagerly turn page after page in anticipation of the most important thing that should change the destinies of Natasha and Andrei. Of course, our impatience is far from Natasha’s three-week wait, when she, “like a shadow, idle and sad, walked around the rooms,” and “in the evening she cried secretly from everyone?” And so, together with her, we “listen” to “someone’s” steps and understand that it is “he”.

But it was on this day that Natasha tried to start “that old way of life that she fell behind after the ball.” Using her favorite technique of contrast, the author gives us the opportunity to feel what is going on in the heroine’s soul at this moment. In Natasha’s exclamation “Mom, Bolkonsky has arrived!”, it would seem that joy breaks through, but then we hear: “Mom, this is terrible, this is unbearable! I don’t want... to suffer!” The heroine is in complete confusion, she finds herself helpless in the face of the feelings that wash over her. Just as she was once captivated by the charm of a moonlit night, she also says: “What should I do?..”. With this “I don’t want... to suffer,” Tolstoy seems to show Natasha’s amazing intuition, not yet knowing what kind of torment she is, in general, already doomed to.

After a short time, “he” and “she” will stand opposite each other. Always self-possessed, Prince Andrei does not give his feelings power over him here either. And Natasha, who does not know how to live except with her heart, is unable to control her emotions. That’s why we don’t hear her response to Prince Andrei’s question. Natasha doesn’t always need words: she can convey a lot with her eyes, and simply with her whole being. And now Natasha mentally asks her chosen one: “Why talk when you can’t express in words what you feel.” Anaphorically repeated three times by Tolstoy, this “why” emphasizes Natasha’s sincere bewilderment caused by Prince Andrei’s question. And after the double “yes” uttered “with annoyance,” Natasha, as always, when she is overwhelmed with feelings, “burst into tears.”

And a moment later we hear the interjection “ah” that is characteristic of the heroine, followed by: “... I’m so happy.” We have no doubt that this is so, since sincerity is distinguishing feature Natasha. And then we can’t help but smile when we read how she thought for a second before kissing her fiancé, as if asking herself if this was possible. We will smile, but we will not be surprised, since we know that Natasha, while still a fifteen-year-old girl, asked similar questions, namely: what is noble, what is ignoble, how one can and cannot act.

A little further on, the author resorts to another of his favorite techniques - the technique of internal monologue. Internal monologue helps to understand the mental state of the characters. Perhaps, experiences that are often invisible from the outside characterize the hero more clearly than his words and actions. So Natasha is trying to comprehend her new state, to try on herself new role, and therefore does not hear Prince Andrei’s next question, a question that it would be better for her not to hear. And by the fact that Natasha does not understand the question, the author, in fact, shows that he is smart, knowledgeable about people Andrei Bolkonsky does not understand his chosen one. He can come to terms with his father’s cruel conditions: to postpone the wedding for a year, to go abroad for treatment. But for Natasha this condition is unthinkable; it is no coincidence that later she will utter the word “terrible” four times. It is unusual for her to suffer, her character is not adapted to this. She needs happiness now, immediately, she needs him, Andrei, to be with her all the time.

“I ask you to make my happiness in a year; but you are free...” says Prince Andrei. And we have a presentiment that this “but” will turn out to be fatal. It is no coincidence that the hero ends his very “convincing” speech with an “unnatural smile” on his lips. What Prince Andrei was just talking about turns out to be just as unnatural, contrary to Natasha’s entire being. The writer deliberately, putting the phrase “a whole year!” into the heroine’s mouth, breaks the first word into syllables. Thus, we seem to hear the intonation with which these words are pronounced, therefore, we understand what they mean for Natasha. And a moment later she “burst into tears again,” this time from grief, and not from happiness, as the first time. And the heroine’s last words in this scene (“I’m so happy”) do not seem to come from the heart, and we don’t want to believe them.

The explanation scene ends here. Natasha managed to experience so much in such a short time. She managed to feel both the happiest and at the same time the most unhappy. We feel even more sympathy for this young heroine, who knows how to surrender to her first serious feeling with such completeness and sincerity. Prince Andrei, too, did not change himself during the entire conversation: he remained, as always, a calm, reasonable, and, moreover, extremely obedient son. True, at the same time, thinking about his love, he thought very little about how Natasha felt. This scene essentially sets us up for what's to come in just a few months.

Although we will not find anyone to blame: all the heroes will live according to their characters.

Essay “What is the strength and beauty of the character of Pierre Bezukhov?”

The novel “War and Peace” by Leo Tolstoy introduced us to many heroes, each of whom is a bright personality, has individual traits. One of the most attractive heroes The novel is Pierre Bezukhov. His image stands at the center of “War and Peace”, because the figure of Pierre is significant for the author himself and plays a huge role in his work. It is known that the fate of this hero served as the basis for the plan of the entire novel.

The image of Pierre Bezukhov was originally conceived as the image of a Decembrist, but then Tolstoy returned to the pre-December period of his hero’s life and presented his youth and manhood. Tolstoy knew that it was Pierre Bezukhov, this gentle man, who would later appear as the organizer secret society“independent and free people.” It is Pierre who will subsequently accuse the tsar of inaction and sharply criticize social systems, reaction and Arakcheevism.

The image of Pierre Bezukhov, like the images of Natasha Rostova and Andrei Bolkonsky, is presented in dynamics, that is, in constant development. Leo Tolstoy focuses on the sincerity, childish gullibility, kindness and purity of his hero’s thoughts. And the reader cannot help but notice these qualities and appreciate them, despite the fact that at first Pierre is presented as a lost, weak-willed, undistinguished young man.

The first acquaintance with the hero takes place against the backdrop of the high-society circle of Anna Pavlovna Scherer, and already here it is noticeable that Pierre does not fit into the false society of flatterers and careerists, the defining feature of which is the all-pervasive lie. For this reason, the appearance of Pierre causes fear among the majority of those present, and his sincerity and straightforwardness causes outright fear. Let us remember how Pierre left the useless aunt, spoke to the French abbot and became so carried away by the conversation that he began to clearly threaten to disrupt the system of social relationships familiar to the Scherer household, thereby reviving the dead, false atmosphere.

With one intelligent and timid glance, Pierre seriously frightened the owner of the salon and her guests with their false standards of behavior. Pierre has the same kind and sincere smile; his special harmless gentleness is striking. But Tolstoy himself does not consider his hero weak and weak-willed, as it might seem at first glance: “Pierre was one of those people who, despite his external, so-called weakness of character, do not look for a confidant for his grief.”

Yes, in the image of Pierre Bezukhov we find traits of weak-willed and even unconscious submission, which are especially manifested in the episodes of his marriage to Helen and his relationship with her. In the same way, superficially, but at the same time enthusiastically, with all his soul, Pierre submits to the spirit of Freemasonry. It is common for him, in a fit of passion, to succumb to such instant hobbies, accepting them as true and correct. And then, when it appears true essence things, when hopes collapse, Pierre just as actively falls into despair, unbelief, as if Small child who was offended.

And it is precisely at such turning-point moments that Pierre’s strong will and the most best sides his character, which cannot be ignored.

So, Bezukhov abruptly breaks up with Helen, having learned how strong her love for his money was. Bezukhov himself is indifferent to money and luxury, so he calmly agrees with the demands of his cunning wife to give her most your condition. Pierre is selfless and ready to do anything to quickly get rid of the lies that the insidious beauty surrounded him with. Despite his carelessness and youth, Pierre acutely senses the line between innocent jokes and dangerous games that can cripple someone’s life, so he is openly indignant in a conversation with the scoundrel Anatole after the failed abduction of Natasha. And these are far from the only scenes where Pierre already looks more like an independent adult, brave, ardent, with independent judgments. How beautiful he is in his loss during the battle on the Borodino field, and when saving a girl during a fire, and when he enters “in the delight of rage” into a fight with the French in Moscow! Here he is no longer the weak-willed and timid Pierre.

I would like to once again note Tolstoy’s ability to portray his hero as he is, without embellishment, a natural person who tends to constantly change. The internal changes taking place in the soul of Pierre Bezukhov are profound, and this is reflected in his appearance. When we first meet Pierre, he is “a massive, fat young man with an intensely observant gaze.” Pierre looks completely different after his marriage, in the company of the Kuragins: “He was silent... and, looking completely absent-minded, picked his nose with his finger. His face was sad and gloomy.” And when it seemed to Pierre that he had found the meaning of activity aimed at improving the lives of the peasants, he “spoke with the animation of joy.”

And only after freeing himself from the oppressive lies of the secular farce, finding himself in difficult military conditions and finding himself among ordinary Russian peasants, Pierre feels the taste of life and gains peace of mind, which changes his appearance again. Despite his bare feet, dirty torn clothes, tangled hair filled with lice, the expression in his eyes was firm, calm and animated, and he had never had such a look before.

So, having gone through a difficult path, full of mistakes, misconceptions in the reality of Russian history, Pierre finds himself, preserves his natural essence, and does not succumb to the influence of society. Throughout the entire novel, Tolstoy's hero is in constant search, emotional experiences and doubts, which ultimately lead him to his true calling.

And if at first Bezukhov’s feelings constantly fight with each other, he thinks contradictoryly, then he is finally freed from everything superficial and artificial, finds his true face and calling, clearly knows what he needs from life. We see how beautiful Pierre's real, genuine love for Natasha is; he becomes a wonderful father of the family, actively engaged in social activities, benefits people and is not afraid of new things.

Essay “THE IMAGE OF NATASHA ROSTOVA IN THE NOVEL “WAR AND PEACE”

Natasha Rostova - central female character novel and, perhaps, the author’s favorite. Tolstoy presents us with the evolution of his heroine over the fifteen-year period of her life, from 1805 to 1820, and over more than one and a half thousand pages of the novel. It’s all here: the sum of ideas about a woman’s place in society and the family, and thoughts about the female ideal, and the disinterested romantic love of the creator for his creation. Natasha appears on the pages of the novel at thirteen years old. Half child, half girl. Everything about her is important to Tolstoy: the fact that she is ugly, the way she laughs, the things she says, and the fact that she has black eyes and her hair hangs back in black curls. This ugly duck, ready to turn into a swan. The atmosphere of happiness, universal love, play and fun in the Rostovs’ Moscow house is replaced by the idyllic landscapes of the estate in Otradnoye. Landscapes and Christmas games, fortune telling. She even looks, and, I think, not by chance, similar to Tatyana Larina. The same openness to love and happiness, the same biological, unconscious connection with Russians national traditions and beginnings. Let’s remember how Natasha dances after the hunt,” the uncle is surprised. It seems that the author is no less surprised: However, how literary image, Natasha cannot be fully understood without certain literary projections. Firstly, this is Pushkin’s Tatyana Larina. Their external resemblance can be regarded as a quotation. In addition, the general cultural aura, the poetics of folklore amusements and, separately, the poetics of French novels, which young ladies of that time read. Secondly, this is Sophia from Griboyedov’s comedy. The love of an educated, intelligent girl with the mean and stupid Molchalin and the love-illness, love-obsession of Natasha for Anatoly Kuragin have quite a lot of similarities. Both of these parallels do not allow us to fully explain Natasha, but with them it is easier to discern the reasons for some of her actions and mental movements. During the War of 1812, Natasha behaves confidently and courageously. At the same time, she does not evaluate and does not think about what she is doing. She obeys a certain instinct of life. After the death of Petya Rostov, she is the head of the family. She has been caring for the seriously wounded Bolkonsky for a long time. This is very difficult and dirty work. What Pierre Bezukhov saw in her right away, when she was still a girl, a child - tall, pure, beautiful soul, Tolstoy reveals to us gradually, step by step. Natasha is with Prince Andrey until the very end. The author's ideas about the human foundations of morality are concentrated around it. Tolstoy endows her with extraordinary ethical power. Losing loved ones, property, experiencing equally all the hardships that befell the country and the people, she does not experience a spiritual breakdown. When Prince Andrei awakens<от жизни>, Natasha awakens to life. Tolstoy writes about the feeling that gripped her soul. It, remaining forever, became a semantic component of Natasha’s further existence. In the epilogue, the author depicts what, in his opinion, is true female happiness... Nothing in this strong, broad mother any longer resembles the former Natasha. Tolstoy names her. All Natasha’s thoughts are around her husband and family. And she thinks in a special way, not with her mind. It is like a part of nature, part of that natural incomprehensible process in which all people, land, air, countries and peoples are involved. It is not surprising that such a state of life does not seem primitive or naive to either the heroes or the author. Family is mutual and voluntary slavery... She only loves and is loved. And in this the true positive content of life is hidden for her. is Tolstoy's only novel with a classic happy ending. The state in which he leaves Nikolai Rostov, Princess Marya, Pierre Bezukhov and Natasha is the best that he could come up with and give them. It has its basis in Tolstoy’s moral philosophy, in his unique but very serious ideas about the role and place of women in the world and society.

Essay “The Image of Kutuzov and the Question of the Role of Personality in History”

When writing War and Peace, Leo Tolstoy created not just a novel, he created a historical novel. Many pages in it are devoted to a specifically Tolstoyan understanding historical process, his philosophy of history. In this regard, the novel contains many real historical characters who in one way or another influenced the state of European and Russian society V early XIX century. These are Emperor Alexander I and Napoleon Bonaparte, General Bagration and General Davout, Arakcheev and Speransky.

And among them is a character-sign with a very special semantic content - Field Marshal Mikhail Illarionovich Kutuzov, His Serene Highness Prince Smolensky - a brilliant Russian commander, one of the most educated people of his time.

Kutuzov, depicted in the novel, is strikingly different from the real one historical person. For Tolstoy, Kutuzov is the embodiment of his historical innovations. He is a special figure, a person endowed with the instinct of wisdom. It is like a vector, the direction of action of which is determined by the sum of thousands and millions of causes and actions performed in historical space.

"History, that is, unconscious, swarm, common life of humanity, uses every minute of the life of the kings for himself, as an instrument for his own purposes."

And one more quote: “Every action... in the historical sense is involuntary, is in connection with the entire course of history and is determined from eternity.”

Such an understanding of history makes every historical figure fatal personality, makes her activity meaningless. For Tolstoy, in the context of history, it acts as a passive pledge of the social process. Only by understanding this can one explain the actions, or more precisely, the non-actions of Kutuzov on the pages of the novel.

In Austerlitz, having a superior number of soldiers, an excellent disposition, generals, the same one that he would later lead to the Borodino field, Kutuzov melancholy remarks to Prince Andrei: “I think that the battle will be lost, and I told Count Tolstoy so and asked him to convey this to the sovereign ".

And at the meeting of the military council before the battle, he simply, like an old man, allows himself to fall asleep. He already knows everything. He knows everything in advance. He undoubtedly has that “swarm” understanding of life that the author writes about.

However, Tolstoy would not have been Tolstoy if he had not shown the field marshal as a living person, with passions and weaknesses, with the capacity for generosity and malice, compassion and cruelty. He is going through the 1812 campaign hard. “What... what they’ve brought us to!” Kutuzov suddenly said in an excited voice, clearly imagining the situation in which Russia was.” And Prince Andrei sees tears in the old man’s eyes.

“They will eat my horse meat!” - he threatens the French. And he fulfills his threat. He knew how to keep his word!

His inaction embodies collective wisdom. He performs actions not at the level of their understanding, but at the level of some innate instinct, just as a peasant knows when to plow and when to sow.

Kutuzov does not give a general battle to the French not because he does not want - the sovereign wants this, the entire headquarters wants this - but because it is contrary to the natural course of things, which he is not able to express in words.

When this battle takes place, the author does not understand why, out of dozens of similar fields, Kutuzov chooses Borodino, no better and no worse than others. By giving and accepting the battle in Borodino, Kutuzov and Napoleon acted involuntarily and senselessly. Kutuzov on the Borodino field does not issue any orders, he only agrees or disagrees. He is focused and calm. He alone understands everything and knows that at the end of the battle the beast received a mortal wound. But it takes time for him to die. Kutuzov makes the only textbook-historical decision in Fili, one against all. His unconscious popular mind defeats the dry logic of military strategy. Leaving Moscow, he wins the war, subordinating himself, his mind, his will to the elements of the historical movement, he became this element. This is exactly what Leo Tolstoy convinces us of: “Personality is a slave of history.”

Essay "Kutuzov and Napoleon (based on the novel "War and Peace")"

Speaking about the Battle of Borodino, one cannot remain silent about two key figures of this decisive event in the history of the nineteenth century: Kutuzov and Napoleon.

Tolstoy in his novel “War and Peace” portrays these people as diametrically opposed. Kutuzov's behavior sometimes puzzles readers. Tolstoy shows the commander-in-chief dozing, inactive. But this shows the special wisdom of this old man. He doesn’t give orders, but in a special, human way he says:

Go, my dear, go, Christ is with you... Napoleon is active, sometimes fussy. He writes orders

receives gifts, has breakfast. There is a sense of joyful excitement in him before a decisive battle. They predict the capture of Moscow: “In three days you will see Moscow. You probably didn't expect to see the Asian capital. You will make a pleasant trip.”

For Kutuzov and all Russian people, fate was being decided on the Borodino field: to be or not to be a country.

For Napoleon, this is another victory, so he thought, which will make him the ruler of half the world.

“Napoleon spent the entire day of August 25th,” as his historians say, “on horseback, inspecting the area, discussing the plans presented to him by his marshals, and personally giving orders to his generals.”

Kutuzov talks with Prince Andrei, listens to Denisov’s project on organizing partisan detachments and answers:

“Okay, okay, darling, stay here at headquarters, we’ll talk tomorrow.”

The commander-in-chief, as if reluctantly, agrees to sign the papers:

“He winced...

No, tell me to serve, my dear, here’s a table, I’ll take a look...”

Kutuzov listens to the report “only because he had ears... but it was obvious that nothing that the general on duty could tell him could not only surprise or interest him, but that he knew in advance everything that they would tell him... .”. Kutuzov believes that little is decided at headquarters. Everything will depend on the soldiers. Therefore, to Andrei Bolkonsky’s desire to fight in the regiment, Kutuzov responds:

“I’m sorry, I would need you: but you’re right, you’re right. This is not where we need people. There are always many advisers, but no people... go your way with God. I know your path is the path of honor.”

Russian people on the Borodino field showed miracles of fortitude and heroism. They understood that the outcome of the battle depended on everyone. There was no need to patronize them or push them forward. This was their land that had to be saved and defended. Kutuzov believes in the soldiers and officers of the Russian army. He is their flesh, he thinks and feels the same way as them, so he knows that the French will “eat horse meat!” After meeting with Kutuzov, the smart and insightful Prince Andrei realized that the commander-in-chief knows that there is something stronger than his will - this is the course of events, he knows how to see it and “understand the meaning.” Kutuzov takes on great responsibility when deciding to surrender Moscow. He wants to save the army, save Russia.

Napoleon is full of vanity, he, without thinking about the consequences, occupies Moscow... then flees Russia, abandoning his army. Tolstoy shows him as an adventurer who, for the sake of personal glory, plunged thousands of people into mortal danger. And as the logical conclusion of his thoughtless policy, Tolstoy shows the inglorious death of the French army and Napoleon himself.

Kutuzov brought the work entrusted to him to completion. After the expulsion of the French from Russia, he died, but in the hearts of all generations of Russians he will remain the winner and liberator of Russia, its good genius.

Essay “The theme of life and death in L. N. Tolstoy’s novel “War and Peace”

One of the most striking features of L. N. Tolstoy’s novel “War and Peace” is the deep psychologism and attention of the author to the feelings and thoughts of the characters. The life process itself becomes main theme his creativity. He shows the whole person in such a way that what appears before us is not the skeletons and patterns with which typicality often sins, but those unique, unique, intimate movements of a certain soul, which represent both the most precious and the most undoubted in each of us. And the most important and astonishing thing is that it is from these individual details, from these human details, from this scattering of the personal that world integrity grows, such an unheard-of generalization that binds not only people, but all living things in general into a single whole. The concepts of “life and death” are key to understanding the writer’s philosophical concept, the psychology of the characters, and the historical fate of the country. After all, already in the title of the novel “War and Peace” these two concepts are heard, opposed and complementing each other at the same time. The theme of life and death can be considered in the novel from different points of view: these are military events that bring destruction, horror, and the blood of innocents; this is a meaninglessly lived life, similar to death; it is also death for the sake of life. The attitude towards the life and death of the heroes is one of the criteria for the moral assessment of the characters in the novel.

Before talking about the life and death of heroes, it should be noted that death affects them differently. Some die quietly, their lives passing almost without a trace. This is how the death of the old Count Bezukhov and Helen is depicted. Other characters are close to the author and loved by him, so parting with them is very painful. This is the description of the death of Prince Andrei and Lisa Bolkonskaya.

The author divides the heroes into two groups: those developing spiritually and those frozen in their development. The “living” heroes can be immediately distinguished from the “dead” ones. The first (Pierre, Andrey, Nikolai) change their beliefs, search, suffer, while the second are motionless and always the same. It seems that they are not able to think or feel at all. These heroes are only able to change their mask labels. So Prince Vasily Kuragin changed his mask “ statesman” to the mask of a “heartbroken father” (after the death of his daughter, for whom he had almost no paternal feelings); Julie Karagina changed the mask of “drowned in the abyss of melancholy” to the mask of a “happy bride”. Throughout the entire novel, the author never once looked into the soul of such a hero. Without showing any interest in such souls, he showed that everything there is static, darkness reigns there. Such heroes are not capable of love, of manifestations of human feelings. Here's an example. In the Kuragin family, the daughter Helen dies, and the father does not stop intriguing at court for an hour, using his position as a “heartbroken father.” How can one not recall Drubetskaya’s cool, thoughtful behavior in the house of the dying Count Bezukhov! These people are guided only by selfishness and self-interest. They are morally sterile.

There are “living” heroes in the novel. These include Prince Andrei, Princess Marya, Pierre, Nikolushka, Natasha, Platon Karataev and others.

Physical death does not add anything to the death of “dead” heroes. They are drowning in oblivion. Helen was very quickly forgotten in St. Petersburg. Physical death has a different effect on “living” heroes. They die, but a trace remains behind them. So, Prince Andrei left behind a son and good memory everyone close to you. So, Princess Marya makes sure that all her actions and deeds are in agreement with the will of the deceased. While raising Nikolushka, she constantly asks herself whether her brother would approve of her actions or not. Nikolushka dreams of becoming just like her father.

The life of the “living” is not useless.

Tolstoy has the most mysterious and incomprehensible death in his novel - awakening from life. This death is similar to a person leaving for a monastery. A person renounces everything earthly. This happened to Prince Andrei. In a dream, Andrei thinks that emptiness is bursting into the room and a candle is blown out by a gust of wind. Describing the thoughts of the dying hero, Tolstoy shows the impossibility of those around him to understand what was revealed to Prince Andrei. Such death is inaccessible to “dead” heroes; they are not capable of awakening from their own petty life.

Along with the symbol of death - a gust of wind blowing out a candle, a symbol of life also appears - a flame. This flame burns differently in each hero. Probably this flame burns most brightly in the soul of Natasha Rostova. This is not an even burning in Princess Marya, this is not Pierre’s fire - sometimes bright, inspired, sometimes weak, lost in the darkness. Natasha's life is a bright, juicy flame of life. (It’s not for nothing that the critic and writer V.V. Veresaev called this main quality of Natasha “living life”). Natasha sings or makes her nightly visits to her mother in shoes on bare feet, or she dances Russian, and from her, this “countess”, “where, how, when she absorbed this spirit into herself,” a bright current of cheerfulness emanates; and in the “velvet” darkness of the night so much is done, so joyful work in progress in her receptive and creative soul, greedy for being, and so all this is covered with happiness that, it would seem, the world is bending over the world and there is nothing else but this joy, except this girl who burns with her human fire, breathes with all her youth chest. Natasha goes from a little girl to a mother who devotes herself to children. Tolstoy especially emphasizes Natasha’s fertility. And life is always fruitful.

The writer sees fundamental difference the lives of the “dead” from the life of the “living” heroes. The “dead” became dead because there were no “living” with them. And “living” life is continuous. So Pierre considers Platon Karataev’s life ideal and strives to imitate him. Nikolushka idealizes “Uncle Pierre” and wants to become just like him. There is continuity of life.

So, death in the novel “War and Peace” is shown by Tolstoy in three aspects. There is an image of physical death, moral death and death as an awakening from life. Death is invisible and incomprehensible, but final and irrevocable.

The writer’s life is also divided into physical and moral. Exactly moral life all the positive heroes of the novel live.

Kutuzov’s essay “Kutuzov in the Battle of Borodino” runs through the entire book, almost unchanged in appearance: an old man a gray head “on a huge thick body,” with cleanly washed folds of a scar where “where the Ishmael bullet pierced his head.” N “slowly and sluggishly” rides in front of the regiments at the review in Braunau; dozing at the council of war before Austerlitz. He hardly changes internally throughout the novel: at the beginning of the War of 1805 we see the same calm, wise, understanding Kutuzov as at the end of the Patriotic War of 1812. He is a man, and nothing human is alien to him: the old commander-in-chief gets tired, has difficulty getting on a horse, has difficulty getting out of a carriage; before our eyes he chews slowly, with effort fried chicken, enthusiastically reads a light French novel, mourns the death of his friend, obeys the Tsar, and talks to Pierre in a secular tone. And with all this, in our consciousness he stands special, separate from all people; we guess about his inner life, which has not changed in seven years, and we bow before this life, because it is burdened with responsibility for our country, and does not share that responsibility with anyone, it bears it itself. But how does Kutuzov appear to us before the Battle of Borodino and during it? The Battle of Borodino is the center of the novel, its climax; a decisive moment in the life of the entire country and many of the characters in the book. As soon as Kutuzov took command of the armies, he remembers Prince Andrei and sends him an order to arrive at the main apartment in Tsarevo-Zaimishche. Prince Andrei arrives at the moment when Kutuzov’s troops are being reviewed before the battle. After the review, Kutuzov goes to the main apartment, where, having finished signing the last papers, he invites Prince Andrei to his place for an important conversation. “An intelligent, kind and at the same time subtly mocking expression shone on Kutuzov’s plump face.” It may seem strange to us, but the prince with the deepest regret refuses Kutuzov’s offer. “Thank your Lordship... I got used to the regiment, fell in love with the officers, and the people seemed to love me. I would be sorry to leave the regiment...” Kutuzov said with regret: “I’m sorry, I would have needed you: but you’re right, you’re right...”; “Go your way with God. I know your path is a path of honor.” On August 25, “the militia, both those who were in the village and those who worked at the battery, threw down their shovels and ran to meet the church procession.” “The crowd surrounding the icon suddenly opened up. Someone, probably a very important person, judging by the haste with which they shunned him, approached the icon.” Before the Battle of Borodino, Kutuzov behaved rather strangely and unrestrainedly, driving everything out as if extra people from headquarters, talking to almost no one and finding out nothing. And then August 26 comes - the day of the Battle of Borodino. Seven chapters out of twenty describing the Battle of Borodino are dedicated to Napoleon, and only one to Kutuzov. Napoleon in these chapters is intensely active, and Kutuzov, in comparison with him, is inactive. Even during the Battle of Borodino, Tolstoy emphasized that Kutuzov “did not give Nikah orders, but only agreed or disagreed with what was offered to him.” But he “gave orders when his subordinates required it. Tolstoy tried to show how calmly Kutuzov surrenders to the will of events, how little, in essence, he leads the troops, knowing that “the fate of battles” is decided by “an elusive force called the spirit of the army.” But when necessary, he leads armies and gives orders that no one else would dare to do. Leaving Moscow, he not only wanted to preserve the Russian army, he understood that the French troops would scatter throughout the huge city, and this would lead to the disintegration of the army - without losses, without battles, the death of the French troops would begin. But pressure was exerted on him from all sides, and he was forced to give an order for battle, “which he did not approve of.” But still, no matter how the enemy advances, no matter what difficulties lie in wait, no matter what losses the army suffers, the Russians still defended their honor. Kutuzov was shown as a commander who surpassed Napoleon, as great personality: they won a “moral victory” because “for the first time at Borodino the hand of a powerful enemy was laid upon the French.” The essay “The role of landscape - based on the novel “War and Peace”” Lev Nikolaevich Tolstoy is a great master of landscape. He includes a description of nature in the narrative fabric of the novel in order to highlight certain feelings of the hero, to show the artificiality or far-fetchedness of this or that theory, or to show harmony with the great “Mother Nature.” Landscape plays a big role in the novel “War and Peace”; it helps the writer show all the pettiness and ridiculousness of Prince Andrei’s dreams of glory, heroism... On the battlefield in the face of death, Prince Andrei realized that idols and glory are far from true meaning life. “There was nothing above him anymore except the sky - a high sky, not clear, but still immeasurably high, with gray clouds quietly creeping across it... Yes! everything is empty, everything is deception, except this endless sky. There is nothing, nothing, except him. But even more than that, there is nothing but silence, tranquility. And thank God!" Now seeing his idol Napoleon so close, Prince Andrei understands the insignificance of this “ little man", which he imitated. All this is small and insignificant compared to what happens between his soul and this high sky. Andrey finds the true meaning of life in serving his family and raising his son. Prince Andrei believes that his life is over. There is no hope for happiness. As if echoing his thoughts, an old powerful oak tree stands in a blossoming birch grove. Its branches stick out in different directions, ugly against the background of young birch trees. The oak seems to say: “Spring, and love, and happiness! And how can you not get tired of the same stupid, senseless deception!.. There is no spring, no sun, no happiness...” “Yes, he is right, that same oak tree is right a thousand times,” thought Prince Andrei, “let others young people again succumb to that same deception, but we know life - our life is over! He decides to exist quietly and calmly, to live out his life, doing no harm to anyone, taking care of his loved ones, fulfilling his fatherly duty. But how radically Prince Andrei’s thoughts change after visiting Otradny and meeting Natasha. Her night conversation with Sonya, accidentally overheard by the prince, reveals to him the soul of this girl. Her enthusiasm and rapture for life are involuntarily transmitted to Bolkonsky. He begins to understand the value of life, every moment of it. On the way back he sees the same oak tree, but what a one! " an old oak, completely transformed, spread out like a tent of lush, dark greenery, was thrilled, slightly swaying in the rays of the evening sun. No gnarled fingers, no sores, no old grief and mistrust - nothing was visible. “Yes, this is the same oak tree,” thought Prince Andrei, and suddenly an unreasonable spring feeling of joy and renewal came over him.” His whole life flashes before the prince’s mind’s eye. He is sure that it is not time to “bury” himself. He is full of strength, he is only thirty-one years old, he can benefit not only his loved ones, which is, of course, very important. Andrei understands that he is capable of great things, he can be useful to the Fatherland, there is no point in burying himself in the village, he must go to the capital, where political life takes place. It is noteworthy to note that only best heroes Tolstoy is close to nature, they feel their connection with it, “spiritual kinship.” Negative heroes are far from nature, from everything natural and beautiful. They not only do not notice nature with its grandeur and calm beauty, but even moreover they do not suspect its existence. Thus, Lev Nikolaevich Tolstoy includes a description of nature not only as a background, nature is a character that helps to reveal best qualities his favorite heroes, to emphasize their spirituality, high impulses and aspirations. Such a description of nature is a tradition of Russian literature, which began in our oldest monument, “The Tale of Igor’s Campaign,” and Lev Nikolaevich Tolstoy and other Russian classics developed and improved this tradition, bringing it to the level of art. The essay “Landscape as a means of psychological analysis in L. N. Tolstoy’s novel “War and Peace” The writer’s use of pictures of nature always enriches the work in ideological and artistic terms. A landscape can perform a huge number of very diverse functions: it is indispensable for a subtle psychological analysis of the state of heroes, for enhancing the pictures of any events, for vividly characterizing the situation in which this or that action unfolds. Pictures of nature can serve to express any thought of the author or his feelings and experiences, to fulfill ideological compositional role, i.e. help reveal the idea of ​​the work. By the creation of a particular landscape, one can judge the author’s attitude towards his characters, his views on nature, and its role in the life of society and man. Therefore, landscape is one of the main means of psychological analysis. In my opinion, L. N. Tolstoy most vividly depicted pictures of nature in the novel “War and Peace.” For the author of the epic, nature is the highest wisdom, the personification moral ideals And true values. A “natural” person, close to nature, was the writer’s ideal. Therefore, one of the important characteristics of Tolstoy’s heroes is their attitude to nature. In the novel “War and Peace” we never see Helen, Anna Pavlovna, Julie Kuragina, Prince Vasily in the lap of nature, since this is not their element. They do not like nature and do not understand its higher meaning. Spiritually devastated, morally ugly, if they talk about nature, it is in a forced and false way. But the main characters of the novel perceive this harmonious world, close to the ideal of the writer - the “natural man”. These are spiritually beautiful people, seeking happiness, internally close to the people, dreaming of useful activities. Their life path- this is the path of passionate quest leading to truth and goodness. Tolstoy reveals the richness of the inner world, the “dialectic of the soul” of these heroes through their perception of nature. For example, the spiritual beauty of Natasha Rostova, the poetry of her nature are manifested in the heroine’s relationship to the natural elements. Nature organically enters the life of L. N. Tolstoy’s “seeking” heroes, intertwined with their thoughts and experiences, sometimes helps to rethink, reconsider their life and even radically change it. Tolstoy often uses landscape for analysis state of mind Prince Andrei in moments of spiritual depression or emotional takeoff (the image of an old oak tree is a symbol of “fading” and “rebirth”). Nature often helps the hero himself to recognize his condition, to understand everything (the sky over Austerlitz, the description of the Danube, the image of an oak tree, etc.) The picture of nature recreates the situation that characterizes the beginning of the Battle of Borodino: the sun, splashing onto the fields due to fog, served as a signal to Napoleon to the speech. The landscape in the coverage of wars, battles, battles carries Tolstoy’s main ideological load, reveals the nature of the war, reflects the author’s point of view on what is happening. These are the functions of the landscape in L. N. Tolstoy’s novel “War and Peace”, for the reconstruction of which the author used various artistic features. Revealing the inner world of the heroes, the writer painted pictures of nature that were in tune with the emotional experiences of a particular image, or contrasted the state of mind of the heroes and nature in order to highlight the depth of the characters’ inner emotions. Thus, the landscape helps to analyze the mental state of the hero, pictures of nature depict the situation, in in which events occur express the thoughts, feelings and experiences of the author himself. And, of course, the bright, colorful pictures of nature created by the writer are artistically beautiful. Night in Otradnoye and the sky of Austerlitz, a picture of a hunt and a description of an oak tree - best pages novel...Severe mental trauma leads Andrei Bolkonsky to despair, he loses the meaning of life, but after a while we see spiritual rebirth hero. It is connected with his perception of the reviving spring nature when both young birches and the old angry oak feel a surge of energy and vitality. Wonderful description autumn nature connected with a picture of a hunt in Otradnoye: “Already the greenery has turned away and the bright green has separated from the stripes of browning, cattle-killed, winter and light yellow spring stubble with red stripes of buckwheat. The peaks and forests... became golden and bright red islands in the midst of bright green winter fields.” This Russian late autumn awakens some kind of inner spiritual strength in a person. In addition, it is in tune with people’s passion for hunting, music, and dancing, which Tolstoy skillfully displays in the novel. The bright, clear nature gives a person joy and strength and makes the actions of people killing each other very incomprehensible. The morning of the Battle of Borodino “was clear, fresh, dewy and cheerful. The sun, which had just broken out from behind the cloud that was obscuring it, splashed half of its rays, broken by the cloud, through the roofs of the opposite street, onto the dew-covered dust of the road, onto the walls of the houses.” Pierre at this time sees a panorama of the Borodino field: “The oblique rays of the bright sun cast piercing light with golden and pink hues and dark, long shadows on it in the clear morning air.” And then this wonderful picture of Russian nature is replaced by a terrible view of the field: “Clouds gathered, and rain began to fall on the dead, on the wounded, on the frightened, and on the exhausted, and on the doubting people. It was as if he was saying: “Enough, enough, people. Stop it... Come to your senses. What are you doing?” “The harsh Russian climate has raised strong, resilient, but at the same time sincere people. From a distant fire, a hundred paces away, a friendly, cheerful laugh was heard: there Russian soldiers were feeding porridge to a half-frozen Frenchman, and one of them tried to imitate the French dialect. They all rejoiced that they could help the man, forgetting that recently he had been their enemy.” “And everything became quiet. The stars, as if knowing that now no one would see them, played out in the black sky. Now flaring up, now extinguishing, now shuddering, they busily whispered among themselves about something joyful, but mysterious.” It seemed that nature itself sympathized with the manifestation of a simple kind, friendly feeling. Each of the loved ones Tolstoy's heroes the “high endless sky” opens - a symbol of sublime aspirations. The landscape in the novel takes on philosophical meaning and plays an important compositional role. Essay “The world of nature in the novel “War and Peace” by L. N. Tolstoy” Not what you think, nature: Not a cast, not a soulless face - It has a soul, it has freedom, It has love, it has there is a language... F.I. Tyutchev Yasnopolyansky Park. Silence. An alley under the arches of centuries-old trees. High eternal sky. And a small hill on the side, on the edge of the ravine, among dense greenery. On it is a modest bouquet of flowers, usually wildflowers. This is probably the only grave of a great man in the world on which there is neither a monument nor even a modest tombstone. Here lies the brilliant writer of the Russian land, Lev Nikolaevich Tolstoy. So he bequeathed to bury himself: he wanted to return to eternal peace wildlife. But natural nature, living according to its own laws, becomes a full-fledged actor Tolstoy's books. It is precisely the character: Tolstoy’s landscape is not a background, not just a description of the situation; His nature is part of the surrounding world. It participates in events, influences a person, helps not only to reveal, but also to explain the hero’s state of mind. At the same time, the writer shows that nature does not depend on people’s moods, it can simply be perceived differently by them depending on their state of mind. And, truly, “there is a soul in it”: the landscape does not exist on its own, it is always inseparable from a person, from his external and internal life. For Tolstoy, the perception of nature, the ability to feel it, understand its “language” - most important characteristic person. Therefore, in “War and Peace” the landscape is given either “from the author” or in the perception of heroes living a rich spiritual life: Prince Andrei, Pierre, or “natural” people, such as Natasha and Nikolai Rostov. People are unspiritual, unnatural, cut off from the national soil (Kuragin, Berg, Drubetskoy), do not see and do not understand nature. For them, she is a “soulless face.” Pictures of nature often help the author of an epic express his attitude to what is happening. Thus, Tolstoy, perceiving war as “disgusting” human nature event”, depicts the Augest dam before and at the end of the battle, contrasting the beautiful peaceful rural life a bloodbath that mercilessly destroyed this life. Even after the Battle of Borodino, necessary in that fair, people's war, which was led by Russia, nature itself seemed to protest against mass murder: “Over the entire field, previously so cheerfully beautiful... there was now a haze of dampness and smoke...” It is in nature that Tolstoy sees a model of life for people. Probably not by chance for many goodies epics in turning points“the sky” opens up in their lives: the high endless sky of Prince Andrei near Austerlitz; the calm blue sky that Nikolai Rostov saw in his first battle; the Moscow dark starry sky with a bright comet in the middle, seen by Pierre in 1812, and the sky in captivity with a full bright month and “into the depths of the stars”, telling Pierre about the invincibility of human spiritual freedom; and, finally, the magical black clear sky of the excited Petya Rostov. The landscape has special compositional significance when it accompanies the thoughts of the characters and helps them make a decision. In these cases, nature is humanized: it perceives human emotions and experiences, like a person who understands everything. The picture of the spring oak tree, seen twice by Prince Andrei, is brilliant. “An old, angry and contemptuous freak” he stands “between the smiling birch trees,” looks at the gloomy prince, speaks to him in his words, sympathizes with him and understands everything. Very little time passes, but the internal work that was constantly going on in Prince Andrei after a conversation with Pierre on the ferry, a meeting with the poetic Natasha Rostova, an accidentally overheard night conversation of girls in Otradnoye - all this made a revolution in Bolkonsky’s soul - he felt his youth, love of life. And so, returning from Otradny, he again sees the oak and does not recognize it: the old oak has blossomed with young greenery. The old oak tree, a wise giant, renewed in the spring, helps Bolkonsky understand that “life is not over at 31,” that life is indestructible. Also clearly expressed in the landscape is the new attitude towards life of Pierre Bezukhov, developed by him in captivity. Admiring the panorama of Moscow, he “felt a new, unexperienced feeling of joy and strength of life,” seeing how “everything in front of him began to sparkle in a joyful light.” Reading how harsh and merciless the winter was during the flight of the French conquerors from Russia, you can’t help but think that nature itself intervened in people’s lives and delivered its fair verdict. Weak aliens cannot withstand Russian frosts and die here, causing not hatred, but pity. With his great novel, Tolstoy teaches us a lot. Rereading it, people discover something new every time. And one day, putting the book down, the reader will look around differently than always and, perhaps, his “sky” will open to him. And you will want to go to Yasnaya Polyana, stand by a small hill under which rests a genius who managed to understand the soul of his native land and become one of his own in the ever-living world - the world of nature.