War and peace interesting presentations. Presentation on the topic “L.N. Tolstoy “War and Peace””. Family theme "War and Peace"

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Lev Tolstoy
"War and Peace" Volume 1

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1 lesson. The most important features of Tolstoy the artist and thinker. "War and Peace". Meaning of the title. Genre. Composition. Issues.
Tolstoy created his moral teaching on the basis of Christian teaching, but freed from elements of official churchism. He outlined the essence of his teaching in the essay “What is My Faith?”, in which he announced his break with the official church. The original doctrine he created has three main directions: simplification, moral self-improvement and non-resistance to evil through violence (a call to fight evil by any means except one - violence). Hence the affirmation of double humanism: humanism not only of goals, but also of the means to achieve them.

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The meaning of the title of the novel "War and Peace"
The basis of Tolstoy’s moral position was the ideal of “simplicity, goodness and truth,” expressed by him in volume 3 of the novel “War and Peace” when assessing Napoleon: “There is no greatness where there is no simplicity, goodness and truth.” Tolstoy measured the value of a person or event by the degree of his closeness to the people's truth. Hence the main idea of ​​the novel - “folk thought”: “In “War and Peace” I love people’s thought.” This explains the meaning of the words “war” and “peace” in the title of the novel. Peace is not only a break between battles, it is also a peasant world, a community that became Tolstoy’s ideal, since there was no social coercion in it, it was distinguished by equality based on moral foundations. This means that the second meaning of the word “peace” is equality, the unity of people, and “war” is coercion, inequality, the presence of power, disunity, forcing people to fight for their selfish interests.

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All of Tolstoy's heroes belong either to the party of "peace" or to the party of "war"
The pole of “peace” in the novel is the Kutuzov and Karataev beginning, to which all the Rostovs, Bolkonskys, Tushin, Timokhin, Vasily Denisov, partisans, ordinary soldiers and the entire people are drawn.
The highest expression of “war” is the Napoleonic and Kuragin beginnings. The “war” includes the Drubetskys, Berg, the entire entourage of Alexander I and Napoleon, staff officers and the secular nobility.

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The two heroes (Prince Andrei and Pierre) are not strictly attached to any of the poles. Through disappointments and spiritual crises, they make their way from “war” (at the beginning of the novel, where they are carried away by Napoleon), to the people’s “simplicity, goodness and truth,” that is, to “peace.”

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"War and Peace" as an epic novel
An epic novel is a special genre that combines the features of both a novel and an epic. The novel's beginning is manifested in the formulation of the problem of personality, its ideological and moral quest, in the depiction of the complex life path of the main characters. At the same time, the fates of the heroes are shown against the broad background of Russian life. 2. The epic principle is manifested in the depiction of the most important event in national history - the Patriotic War of 1812. Therefore, the problem of depicting people is of particular importance. Hence the large number of crowd scenes and characters (over 550). 3. The combination of these two principles is achieved by the fact that the ideological and moral quests of individual heroes are given in close connection with national historical events. The author shows that finding the meaning of life is possible only in unity with the people.

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Epic Genre Signs
1. It is based on the most important historical event on which the fate of an entire people depends (the Patriotic War of 1812).

2. A large number of characters of various estates and classes.

3. The main character of a historical novel - an epic - is the people.
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Composition

1. Alternation of military scenes with peaceful ones: 1 volume. The war of 1805-1807 abroad and the peaceful life of heroes in Russia. Volume 2 No military action. War is presented as a struggle between good and evil for the moral principles in man. Volume 3 War of 1812. Volume 4 The results of the moral quest of heroes and guerrilla warfare.

Epilogue. The fate of heroes after the War of 1812.

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Volume 1 – the events of 1805, when Russia fought with Austria on its territory. Part 1 plays the role of exposition. It states many of the themes of the novel: what is the beauty of human life, what kind of life can be considered real, the condemnation of the highest St. Petersburg and Moscow nobility, the theme of attitude towards war. Key episodes: 1. Evening in A.P.’s salon. Scherer. Petersburg. (chapters 1-6). 2. The struggle for the inheritance of Count Bezukhov. Moscow. (12-13, 18-21 chapters). 3. The Rostov family. Name day (7-11, 14-17 chapters). 4. Bolkonskys. Life in the Bald Mountains (chapters 22-25).

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Volume 1 Part 2 -3 Image of the war of 1805-1807 “The era of our failures and our shame”
Part 2. Key episodes: 1. Scene of the review of troops in Braunau (chapters 1-3). 2. The image of war “in blood, in suffering, in death.” Storyline of Nikolai Rostov (4, 8, 15,19 chapters).

3. The Battle of Shengraben: False heroism (Zherkov, Dolokhov) and the true heroism of Timokhin and Tushin (chapters 15-17, 20-21). The behavior of Prince Andrey, dreams of “Toulon” (3, 12, 15-17, 20-21).

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Part 3 Key episodes

Battle of Austerlitz: 1. Kutuzov and Emperor Alexander (Chapters 15-16). 2. Nikolai Rostov in battle (13,17,18). 3. The feat of Prince Andrei and his disappointment in Napoleon (11-12, 16, 19).

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Problems of the novel

1. The theme of the heroic struggle of the Russian people. 2. The problem of the role of the individual and the masses in history. 3.The theme of war and peace, anti-war theme. 4. The problem of the relationship between the people and the noble class. 5. The problem of true and false heroism. 6. The problem of exposing the lack of spirituality of the highest secular society, its anti-patriotism. 7. The problem of finding the meaning of life. 8. The problem of real life. Hence the private moral problems: duty and honor, friendship, love and others.

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Psychologism is a detailed and deep reproduction of a person’s inner world. With the help of psychologism, Tolstoy reveals the moral quest of his heroes, the process of their comprehension of the meaning of life. To do this, he uses different techniques. 1. Psychological analysis. The author analyzes and explains the reasons for this or that psychological state of the characters. (feelings and experiences of Andrei Bolkonsky on the Field of Austerlitz after being wounded, Natasha’s perception of the opera, Pierre Bezukhov’s impression of the execution of prisoners). 2. Internal monologue. The author conveys the flow of thoughts and experiences of the character. (Pierre after the duel with Dolokhov, Natasha’s prayer, Nikolai Rostov’s thoughts after the attack on the French). 3. “Dialectics of the soul” (Chernyshevsky’s term). Tolstoy was one of the first to depict the inner world of a person in movement and dynamics, revealing indirect and often illogical connections between thoughts, ideas, and memories. (Pierre’s psychological state in Torzhok before meeting with Bazdeev, Natasha’s thoughts after meeting Anatole at the opera). 4. Psychological details (more often a portrait through which the inner state of a person’s soul is revealed). 5. Dreams (A. Bolkonsky before death), borderline states of consciousness (Nikolai Rostov’s delirium after being wounded).

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Homework volume 1, part 1
April 3. Lesson 2. Seminar. Work in groups. (Volume 1, part 1) Meet the heroes. Critical portrayal of high society in the novel. Family thought in the novel. What kind of life does Tolstoy consider real? 1 group. Critical portrayal of high society in the novel. Salon A.P. Scherer. 2nd group. Critical portrayal of high society in the novel. The Kuragin family. 3rd group. The Rostov family. Name day at the Rostovs. 4th group. Andrey Bolkonsky. Bolkonsky family. Estate Bald Mountains.

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2-3 lessons. What kind of life does Tolstoy consider real?

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Critical portrayal of high society
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 own method - “tearing off all and every mask.” 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 speaking the words of an old play.” 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 automatism of everything that happens, the lack of sincerity and simple human feelings.

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“Masks pulled down decently”...

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 the portrait description: “His cheeks began to twitch nervously, giving his face an unpleasant expression that was never shown 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.

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Tolstoy contrasts “the people of war” with the “life of the heart” of the Rostovs and the “life of the mind” of the Bolkonskys. There are only two living people in Scherer's salon - Pierre and Prince Andrei. Pierre's appearance frightens the owner of the salon; there was something “uncharacteristic of the place” about him. What exactly? “This fear could only relate to that intelligent and at the same time natural look that distinguished him from everyone in this living room.” Tolstoy also emphasizes his special smile: “On the contrary, when a smile came, then suddenly, instantly, a serious face disappeared and another, childish, kind one appeared.”

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Andrei Bolkonsky knows the true price of light. “Drawing rooms, gossip, balls, vanity, insignificance - this is the vicious circle” from which he wants to break out. That’s why he goes to war: “I’m going because this life that I lead here, this life is not for me!” Both of them, Pierre and Prince Andrei, are passionate about Napoleon and consider him a great man.

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“A ray of light enters the living room with this younger generation.”

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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 auntie, at the Rostovs it is “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. What kind of Natasha Rostova do we see in these scenes?

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She lives by feelings, and it’s great so far
Natasha is 12 years old. She is the personification of naturalness, happiness, falling in love, sincerity and self-will. Portrait details emphasize this: epithets convey her inner feeling of happiness (“blushed”, “lively”, “she has a ringing laugh”). 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). The spontaneity of experience and the exultant joy of life leave no room for reflection. Later Pierre will talk about her; "She doesn't deign to be smart."

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"She doesn't deserve to be smart"

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"Life of the Mind" by Bolkonsky
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 short stature, definite and dry features, the main thing is the similarity of the eyes, which glow with intelligence and kindness, “unusual brilliance”; Princess Marya’s is “radiant”. They are connected by deep work of thought, high intelligence, a penchant for mental activity, depth of spiritual peace, pride, aristocracy.

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Homework 1 volume 2 part
1 group. Episode analysis (chapters 1-3). How does the review of troops at Braunau characterize Kutuzov the commander and the person? How is the people's attitude towards the war revealed? 2nd group. The image of war is “in blood, in suffering, in death.” Storyline of Nikolai Rostov (4, 8, 15,19 chapters). 3rd group. How did A. Bolkonsky change during the war? How is it different from other staff officers? How do Kutuzov and the officers treat him? (3, 9, 12 chapters). How does the Napoleonic element manifest itself in him? 4th group. For what purpose did Kutuzov undertake the Battle of Shengraben? How is the topic of true and false heroism resolved? Compare the behavior of soldiers, staff officers, Prince Andrey, Tushin, Timokhin, Dolokhov during the battle. Trace the behavior of Captain Tushin before the battle, during the battle and after it. How did Prince Andrei see him? What did he understand? 5 group. What did A. Bolkonsky dream of on the eve of the Battle of Shengraben? Which of his ideas turned out to be wrong? (3.12, 15-17, 20-21 chapters).

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Kutuzov and Napoleon in Tolstoy personify two fundamental human types, two concepts of life, about the conflict of which the novel was written

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Battle of Shengraben Kutuzov - commander and man
The Russian government entered the war out of fear of the spread of revolutionary ideas and the desire to prevent Napoleon's aggressive activities.

In the scene of the review of troops at Braunau, we see that the Russian army is not ready for war and its goals are incomprehensible to ordinary soldiers. Kutuzov’s goal is to save his soldiers, to convince the Austrian generals that the Russian army is not ready to join the army of General Mack. Kutuzov, who, as stated in the previous chapter, “intended to show the Austrian general the sad situation in which troops arrived from Russia. For this purpose, he wanted to go out to meet the regiment, so the worse the regiment’s position was, the more pleasant it would be for the commander-in-chief.” And indeed, Kutuzov, “looking at the shoes, sadly shook his head several times and pointed them out to the Austrian general with such an expression that he did not seem to blame anyone for this, but could not help but see how bad it was.”

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How do we see Kutuzov? He has a heavy gait, a weak voice, a plump face disfigured by a wound. He has a negative attitude towards war on foreign territory and seeks to keep the army from fighting. Tolstoy repeatedly emphasizes the closeness of the commander-in-chief and people “from the ranks” - Timokhin (“Another Izmail comrade”), “officers whom he knew from the Turkish war,” and sometimes soldiers to whom Kutuzov, passing through the ranks, spoke “a few kind words " And the conversation of the soldiers after the inspection (“What did they say, Kutuzov is crooked, about one eye? - Otherwise, no! Not at all crooked. - Not... brother, he has more eyes than you. Boots and tucks - he looked at everything...”), and the song , which pleased Kutuzov, - everything confirms the unity of the commander-in-chief and the army - even more important in 1812.

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Anti-war theme in the novel by Nikolai Rostov “And why did I come here!”
Tolstoy’s negative attitude towards war is expressed through landscape sketches, through a scene of peaceful communication between Russian and French soldiers before the battle, through Nikolai Rostov’s perception of the war, still a non-military person (for him this is the first battle). How did Rostov feel in the first battle? What did he see? He saw the sky, the sun: “How good the sky seemed, how deep, calm and profound!” And this sky is higher and more important than what is happening on earth now: senseless murders, sacrifices made for unknown reasons. At the beginning of the battle, he thinks about the pleasure of the attack (“Oh, how to chop him!”), but when they want to kill him, he is horrified: “It can’t be that they want to kill me.” Here he is, wounded, sitting on a gun carriage and realizing that he is not made for killing: “And why did I come here!”

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The Battle of Shengraben is a symbol of Russian courage
The Battle of Shengraben, undertaken on the initiative of Kutuzov, gave the Russian army the opportunity to join forces with its units coming from Russia. To ensure this, Kutuzov sent a detachment of Bagration to the Vienna-Znaim road, whose heroic actions would save the army. The goals of this battle are clear to the soldiers, therefore, without hesitation, they prepare for battle: “Bagration’s four-thousand-strong detachment, cheerfully laying fires, dried out, warmed itself, and none of the people in the detachment knew or thought about what lay ahead of them.”

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“I’m going to save the army” Andrei Bolkonsky in the Battle of Shengraben
“I’m going to war because this life I’m leading here is not for me,” Bolkonsky says to Pierre. Along with the desire to break out of the “vicious circle,” he dreams of his Toulon, of a feat that will glorify him: “Here he is, that Toulon that will lead him out of the ranks of unknown officers and open the first path to glory for him!” He is Kutuzov’s adjutant, and his sense of responsibility for the fate of the army (“we are not lackeys who do not care about the master’s business”) distinguishes him from staff officers looking for an easy career and awards. In the most difficult moments, he strives to be useful. He is coming from Brunn to “save the army.” With calm courage he is in the most dangerous areas of the Shengraben battle. A meeting with Tushin before the battle and at his battery, and then after the battle and at Bagration’s headquarters made him see real heroism and military feat in its true light.

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"We need to be closer to the sun"
Prince Andrei believed that the feat could only be accomplished by a person occupying a high official position or having a heroic appearance. But small, unprepossessing and tongue-tied Tushin refuted this erroneous idea with his courage. This new knowledge offends his pride. Why? Tushin, who has just accomplished a feat, cannot defend himself in front of his superiors. He would have been severely punished if not for the intervention of Prince Andrei. Leaving the headquarters and saying goodbye to Tushin, Prince Andrei could not suppress his contempt for him. He painfully experiences any touch to the prose of life. He is attracted only by the outstanding, the exceptional (Kutuzov, Napoleon). No wonder he says: “We need to be closer to the sun.” During this period of his life, Bolkonsky experiences his first mental crisis, when he realizes the fallacy of his ideas about the feat and the people who perform it.

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True and false
One of the main vices of modern civilization, according to Tolstoy, is the widespread dissemination of false concepts. In this regard, the problem of true and false becomes one of the leading ones in the work. 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.

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Theme of true and false heroism
Captain Tushin is shown as the true hero in the battle. In his appearance, the author strives to see the non-statutory, human, therefore there is nothing heroic in his appearance: “There was something special in his figure, completely non-military, somewhat comical, but extremely attractive.” 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 his own decisions: “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.

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The courage, heroism, dedication of Tushin and his batteries are shown as the natural behavior of true heroes in war. After the battle, in the scene of summing up the results at the headquarters, he is again a “small” man, afraid of his superiors, who escaped punishment thanks to the intervention of Bolkonsky, who appreciated his feat: “We owe the success of the day most of all to the action of this battery and the heroic fortitude of Captain Tushin and his company.”

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“We owe the success of the day most of all... to the heroic fortitude of Captain Tushin and his company.”

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Timokhin is also a true hero, who in the scene of the review of troops at Braunau looked very unsightly: “The captain’s face expressed the anxiety of a schoolboy who is told to tell a lesson he has not learned. Spots appeared on the red (obviously from intemperance) face, and the mouth could not find its position.”
During the battle, he “ran at the enemy with one skewer.” “It was Timokhin’s company, which alone in the forest kept in order... and unexpectedly attacked the French.”

Awards do not go to either Tushin or Timokhin; the awards go to the Zherkovs and Dolokhovs. Zherkov is brave in front of his superiors, but cowardly in battle. He was sent to the Tushin battery to convey the order to retreat: “Zherkov, briskly, without removing 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.”

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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.”

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True heroism is shown in war primarily by ordinary 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.”
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test

It seemed to him that a very long time ago, almost yesterday, there was that minute when he saw the enemy and fired the first shot, and that the patch of field on which he stood was a long-familiar, familiar place to him. Despite the fact that he remembered everything, understood everything, did everything that the best officer in his position could do, he was in a state similar to feverish delirium or the state of a drunken person.

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Because of the deafening sounds of their guns from all sides, because of the whistle and blows of enemy shells, because of the sight of the sweaty, flushed servants hurrying near the guns, because of the sight of the blood of people and horses, because of the sight of the enemy’s smoke on that side (after which each time a cannonball flew in and hit the ground, a person, a weapon or a horse) - because of the appearance of these objects, his own fantastic world was established in his head, which was his pleasure at that moment. The enemy cannons in his imagination were not cannons, but pipes, from which an invisible smoker released smoke in rare puffs.

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“Look, he puffed again,” Tushin said in a whisper to himself, while a puff of smoke jumped out of the mountain and was blown to the left by the wind in a stripe, “now wait for the ball and send it back.” -What do you order, your honor? - asked the fireworksman, who stood close to him and heard him muttering something. “Nothing, a grenade...” he answered. “Come on, our Matvevna,” he said to himself. Matvevna imagined in his imagination a large, extreme, antique cast cannon. The French appeared to him like ants near their guns. The handsome and drunkard number two of the second gun in his world was his uncle; Tushin looked at him more often than others and rejoiced at his every move.

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The sound of the gunfire, which either died down or intensified again under the mountain, seemed to him like someone’s breathing. He listened to the fading and flaring up of these sounds. “Look, I’m breathing again, I’m breathing,” he said to himself. He himself imagined himself to be of enormous stature, a powerful man who hurled cannonballs at the French with both hands.

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- Well, Matvevna, mother, don’t give it away! - he said, moving away from the gun, when an alien, unfamiliar voice was heard above his head: - Captain Tushin! Captain! Tushin looked around in fear. It was the staff officer who kicked him out of Grunt. He shouted to him in a breathless voice: “Are you crazy?” You were ordered to retreat twice, and you... “Well, why did they give me this?...” Tushin thought to himself, looking at his boss with fear.

“I... nothing...” he said, putting two fingers to the visor. - I…

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But the colonel did not say everything he wanted. A cannonball flying close caused him to dive and bend over on his horse. He fell silent and was just about to say something else when another core stopped him. He turned his horse and galloped away.

- Retreat! Everyone retreat! – he shouted from afar.

The soldiers laughed.

(L.N. Tolstoy “War and Peace”)

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When completing tasks B1 - B2, write down your answer in answer form No. 1 to the right of the number of the corresponding task, starting from the first cell. The answer must be given in the form of a word or combination of words. Write each letter legibly in a separate box. Write words without spaces, punctuation marks or quotation marks.

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To complete tasks C2 - C3, use answer form No. 2. First write down the task number, and then give a coherent answer to the question in 5 - 10 sentences. C2 Formulate the main theme of the fragment and briefly comment on the statement of one of the researchers: “The heroic Tushin, as he imagines himself, is more real than the “real”, visible Tushin.” Demonstration version of the Unified State Exam 2008. LITERATURE, 11th grade. © Federal Service for Supervision of Education and Science of the Russian Federation (2008 - 7) C3 Which works of Russian classics pose problems similar to those of the above episode, and how do they resonate with Tolstoy’s “folk thought”?

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S-2
The episode features a theme of true, unostentatious heroism. Such heroism is shown by Captain Tushin and the soldiers of his battery, who managed to stop the movement of the French in the center of the battle. “Real, visible” Tushin is a small man, inconspicuous, afraid of his superiors (“Well, what are they doing with me?...” Tushin thought to himself, looking at his boss with fear).

“I... nothing...” he said, putting two fingers to the visor. - I…). In battle, “he seemed to be of enormous stature, a powerful man who threw cannonballs at the French with both hands.” The device of contrast emphasizes that “that heroic Tushin, as he imagines himself, is more real than the “real”, visible Tushin.” One cannot but agree with this assessment of the hero, because if Tushin does not feel like a hero, he will not be able to defeat the French.

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Answers

B1 Shengrabenskoye B2 Bolkonsky B3 dialectics of the soul B4 pleasure B5 comparison B6 contrast antithesis

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Battle of Austerlitz

Volume 1, part 2 -3 (chapters 11-19). Depiction of the war of 1805-1807 (“The era of our failures and our shame”). 1. Kutuzov and Emperor Alexander (Chapters 15-16). 2. Nikolai Rostov in battle (13,17,18). 3. The feat of Prince Andrei and his disappointment in Napoleon (11-12, 16, 19).

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This is a battle of three emperors, its goals are incomprehensible to ordinary soldiers. Tolstoy believed that a battle that does not have a high moral incentive will be lost. And the personal will of individual people, including Kutuzov, cannot change the course of events. Kutuzov has a negative attitude towards the battle: he believes that it is necessary to either retreat or wait for reinforcements from Russia. He predicts the outcome of the battle: “I think the battle will be lost.” At the military council, he does not propose his battle plan, he simply sleeps, knowing that he is powerless to change anything. Tolstoy calls the Russian-Austrian army a “crowd”: “the crowds fled back”, “the troops fled in a dense crowd.” There is “fog” all around, and the commanders’ orders are also vague.

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“What are they doing! What are they doing? - Kutuzov muttered to himself. - What is this?"
The soldiers and officers of the active army are paying for the mediocrity of the emperors. Here Rostov learns that out of “the whole mass of huge handsome people (cavalry guards) after the skirmish, only eighteen people remained.” Then he saw that “on the field, like heaps on good arable land, there were 10-15 people killed, wounded on every square of the place.” Hundreds of soldiers die on a narrow dam. All this hell arose due to the fault of a man “with a beautiful happy face and a gentle voice.” After the defeat, Alexander 1 looks different: “The Emperor was pale, his cheeks were sunken and his eyes sunken,” “having cried,” he “covered his eyes with his hand.”

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Internally similar to the Russian emperor and Napoleon. Both have happiness on their faces before the battle. They are united by childish frivolity towards the army and the people. In the letter, Napoleon addresses Alexander with the words: “Sovereign, my brother.” They are brothers in spirit and in purpose, they build their happiness on the misfortune of others.

This reveals the main idea of ​​volume 1 - the thought of the insignificance of those who live by themselves, by their own happiness, built on the misfortune of others.

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“I’ll give everything for a minute of glory!” (Andrey Bolkonsky)

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At the same time, Napoleon, looking at the sun emerging from the fog, saw how it would illuminate the field of his triumph. And he also did not think that his triumph would be a consequence of the suffering and death of people. Striving for glory, Prince Andrei really accomplishes a feat; 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 only ran a few steps... The entire battalion shouted “Hurray!” ran forward and overtook him.”

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For Tolstoy, war is blood and dirt, pain and the forced murder of one’s own kind, “an event contrary to human reason and all human nature.” He leads his hero (and readers) to this truth through all the intricacies of the military campaign of 1805, across the Field of Austerlitz. In Prince Andrei’s desire to self-realize “in the image and likeness” of the idol, to repeat his path, Tolstoy hates everything: both the idol itself and the desire to fulfill someone else’s destiny. And then a stunning insight comes to Prince Andrei.

Slide 64

"Everything is empty, everything is deception, except this endless sky"
And before the eyes of Prince Andrei, a clear, high sky will open - a symbol of truth. And the abrupt, sharp phrases generated by the confusion of the battle are replaced by a majestic, slow and deep narrative: “How quiet, calm and solemn, not at all like how I ran,” thought Prince Andrei, “not like how we ran, shouted and fought ... the clouds crawl across this high endless sky in a completely different way. 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 lie, except this endless sky.” What does Prince Andrey include in this “everything”?

(Vanity, lies, the struggle of vanities, the meaninglessness of war, passion for Napoleon). In return for his former idol, he acquires high and eternal values ​​that he did not know before: the happiness of simply living, the opportunity to breathe, to see the sky, to be.

Slide 65
(Volume 2) What kind of life does Tolstoy call peaceful and real and why does the “world” collapse by the end of Volume 2?

Spiritual quests of Pierre Bezukhov (retelling and analysis of chapters: part 1, chapters 4-6; part 2, chapters 1-4, 10; part 3, chapter 7). 1. How do we see Pierre in the scenes of the quarrel and breakup with his wife, in the scene of the duel with Dolokhov? 2. What brought Pierre to the Masonic Society? What activities does he conduct there? What are the reasons for disappointment?

• I tried to write the history of the people...
• L. N. Tolstoy

• History of creation

• work on the novel for 6 years - from 1963 to 1869 (research of documents, archives, historical books, meetings with veterans, participants in the Patriotic War of 1812, visit to the Borodino field)

• Pyotr Ivanovich Labazov - Decembrist who returned from exile
• Then - Pyotr Kirillovich Bezukhov,
• 1825, “the era of the hero’s delusions and misfortunes”;
• 1812, the youth of the Decembrist, a glorious era for Russia.

• Number of characters: more than 600
• Time period in the novel “War and Peace”: 15 years (from 1805 to 1820)
• Events take place in Moscow, St. Petersburg, on noble estates, abroad, in Austria

• « I was ashamed to write about our triumph in the fight against Bonaparte’s France, without describing our failures and our shame... I intend to take not just one, but many of my heroines and heroes through the historical events of 1805, 1807, 1812, 1825 and 1856...” ( L. N. Tolstoy)

• History of creation

• Original titles: “Three Times”, “1805”, “All’s Well That Ends Well”

• The original idea was the story “The Decembrists” (Petr Ivanovich Labazov - a Decembrist who returned from 30 years of exile)

• Meaning of the name

• "War and Peace"

• Meaning of the name

• In pre-revolutionary Russia there were two words: MIRЪ and MIRЪ

• From “Explanatory Dictionary of the Living Great Russian Language” by V. I. Dahl:
• PEACE – absence of quarrel, hostility, disagreement, war; harmony, agreement, unanimity, affection, friendship, goodwill; silence, peace, tranquility
• MIR – one of the lands of the Universe; our earth, globe, light; all people, the entire human race; community, society of peasants; life in worldly worries, vanity

• WORLD 1. The totality of all forms of matter in terrestrial and outer space, the Universe; human society, social environment, system, etc., united according to some characteristics.
• PEACE 2. Harmony, absence of hostility, quarrels, war; consent of the warring parties; calm, silence

• WAR:
• Armed struggle between states or peoples, between social classes within a state;
• Fighting, hostile relationship with someone or something

• In modern Russian:

• Meaning of the name

• Understanding - misunderstanding

• Love is hate

• Kindness - coldness

• Sincerity - deceit

• Life death

• Destruction - creation

• Harmony - dissonance

• Military operations, battles, misunderstandings, hostility, separation of people

• Life of a people without war, community, unity of people

• Meaning of the name

• "War and Peace"

• Slide 13

• Many problems of a philosophical nature are raised: the meaning of life, the role of the individual in history, the relationship between freedom and necessity, responsibility, the true and the false in human life, “folk thought”, “family thought”

• Two main conflicts:
• Russia's struggle with Napoleon's army (culmination - the Battle of Borodino, denouement - the defeat of Napoleon);
• the struggle of advanced nobles against the “conservatism of government spheres and public life” (the culmination is the dispute between P. Bezukhov and N. Rostov, the denouement is P. Bezukhov’s entry into the secret society)

• “This is not a novel, still less a poem, even less a historical chronicle. “War and Peace” is what the author wanted and could express in the form in which it was expressed.”
• L. N. Tolstoy

• Genre and
• composition of the novel

• The work combines elements of family life, socio-psychological, philosophical, historical, battle novels, as well as documentary chronicles and memoirs

• Genre and
• composition of the novel

• Epic novel (from the Greek epopoija, from epos - narration and poieo - I create):
• Ancient epic is a type of folklore based on mythological legends and ideas about life (“Iliad”, “Odyssey”, “Mahabharta”, “Kalevala”)
• The largest (not limited in scope) narrative genre of literature; a novel or series of novels depicting a large period of historical time or a significant historical event in its magnitude and controversy; the most monumental form of epic literature. The epic depicts events in which the fate of the nation, the people of the entire country are decided, reflects the life and way of life of all layers of society, their thoughts and aspirations
• (“Quiet Don” by M. Sholokhov,
• “The Living and the Dead” by K. M. Simonov)

• "War and Peace" as an epic novel has the following characteristics:
• combining a story about national events with a story about the destinies of individual people.
• description of the life of Russian and European society of the nineteenth century.
• There are images of various types of characters of all social strata of society in all manifestations.
• The novel is based on grandiose events, thanks to which the author depicted the main trends of the historical process of that time.
• a combination of realistic pictures of life in the 19th century, with the author’s philosophical reasoning about freedom and necessity, the role of the individual in history, chance and regularity, etc.

• Genre and
• composition of the novel

• Composition– construction, arrangement and interrelation of all parts, images, episodes, scenes in the work; division into parts, chapters, actions; way of storytelling; place and role of descriptions, monologues and dialogues)

• Genre and
• composition of the novel

• The novel is built on the principle of “linkages”:
• the plot is branched, the storylines are pulled together to a single center - the Battle of Borodino

• Historical basis of the novel
• The novel describes three stages of the war between Russia and France.
• The first volume depicts the events of 1805, the war of Russia in alliance with Austria and on its territory.
• In the second - 1806-1807, Russian troops were in Prussia;
• Volumes three and four
• dedicated to the Patriotic
• war of 1812 in Russia.
• In the epilogue the action takes place
• in 1820

• Genre and
• composition of the novel

• Genre and
• composition of the novel

• The system of images in the novel: in the center is a chronicle of the life of noble families (Bolkonskys, Rostovs, Bezukhovs, Kuragins)

• Two criteria are considered primary for characterizing Tolstoy’s images:
• Attitude to the Motherland and native people.
• The moral state of the heroes, i.e. spiritual life or spiritual death.

• Genre and
• composition of the novel

• The most important artistic devices in the novel:
• the main technique is antithesis;
• techniques of “detachment”, author’s characterization;
• dialogues, monologues, internal monologues;
• artistic detail, images-symbols

• A fundamentally new solution to the organization of artistic time and space in the novel

Slide 2

L.N. Tolstoy’s novel “War and Peace” is an epic novel: issues, images, genre.

All passions, all moments of human life, from the cry of a newborn child to the last flash of feeling of a dying old man, all the sorrows and joys available to a person - everything is in this picture! Critic N. Strakhov.

Slide 3

HISTORY OF CREATION

1. Meeting with Pushchin and Volkonsky
2. Novel "War and Peace"
3. Uprising on Senate Square
4. The story "Decembrists"
5. Patriotic War
6. War with Napoleon in alliance with Austria