The novel "War and Peace". History of creation, problems, genre and composition.
- 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, visiting the Borodino field)
- Peter Ivanovich Labazov - the Decembrist who returned from exile
- Then - Peter 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 actors: more than 600
- Duration in the novel "War and Peace": 15 years (from 1805 to 1820)
- Events take place in Moscow, St. Petersburg, in noble estates, abroad, in Austria
- « I was ashamed to write about our triumph in the struggle against Bonaparte France, without describing our failures and our shame ... I intend to lead not 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 Pores, 1805, All's Well that Ends Well
- The original idea - the story "The Decembrists" (Pyotr Ivanovich Labazov - the Decembrist who returned from a 30-year exile)
- The meaning of the name
- "War and Peace"
- The meaning of the name
- In pre-revolutionary Russia, there are two words: MIR and MIR
- From the "Explanatory Dictionary of the Living Great Russian Language" by V. I. Dahl:
- MIR - absence of quarrel, enmity, disagreement, war; harmony, harmony, unanimity, affection, friendship, benevolence; silence, peace, calm
- МIPъ - one of the lands of the Universe; our earth, globe, light; all people, the whole human race; community, society of peasants; life in worldly cares, vanity
- WORLD 1. The totality of all forms of matter in the earth and outer space, the Universe; human society, social environment, system, united on any grounds, etc.
- WORLD 2. Consent, absence of enmity, quarrel, war; the consent of the belligerents; calmness, silence
- WAR:
- Armed struggle between states or peoples, between social classes within a state;
- Fighting, hostile relationship with someone or something
- In modern Russian:
- The meaning of the name
- Understanding - misunderstanding
- Love is dislike
- Kindness is coldness
- Sincerity is deceit
- Life death
- Destruction is creation
- Harmony - dissonance
- Military actions, battles, misunderstanding, hostility, separation of people
- People's life without war, community, unity of people
- The meaning of the name
- "War and Peace"
- Problems of the novel
- A lot of problems of a philosophical nature were raised: the meaning of life, the role of the individual in history, the relationship between freedom and necessity, responsibility, true and false in human life, "popular thought", "family thought"
- Two main conflicts:
- the struggle of Russia with the army of Napoleon (culmination - the Battle of Borodino, the denouement - the defeat of Napoleon);
- the struggle of the progressive nobles with the "conservatism of government spheres and social life" (culmination - the dispute between P. Bezukhov and N. Rostov, the denouement - P. Bezukhov's entry into a secret society)
- “This is not a novel, even 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 and household, socio-psychological, philosophical, historical, battle novels, as well as documentary chronicles, memoirs
- Genre and
- composition of the novel
- An epic novel (from the Greek epopoija, from epos - narration and poieo - I create):
- The ancient epic is a kind of folklore based on mythological legends and ideas about life (Iliad, Odyssey, Mahabharta, Kalevala)
- Largest (unlimited) narrative genre of literature; a novel or a cycle of novels depicting a large period of historical time or a significant historical event in its scale and contradiction; the most monumental form of the epic kind of literature. The epic depicts the events in which the fate of the nation, the people of the whole country is decided, reflects the life and life of all strata 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 features:
- combining a story about national events with a story about the fate 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 in the historical process of that time.
- the combination of realistic pictures of life of the 19th century, with the author's philosophical reasoning about freedom and necessity, the role of personality in history, chance and regularity, etc.
- Genre and
- composition of the novel
- Composition- construction, arrangement and interconnection 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 "couplings":
- the plot is branched, the plot lines are pulled to a single center - the Battle of Borodino
- The 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;
- Third and fourth volumes
- 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 - the chronicle of the life of noble families (Bolkonsky, Rostov, Bezukhov, Kuragin)
- Two criteria are considered primary for the characterization of images in Tolstoy:
- Attitude towards the Motherland and native people.
- The morale of the heroes, i.e. spiritual life or spiritual death.
- Genre and
- composition of the novel
- The most important artistic techniques in the novel:
- the main technique is antithesis;
- methods of "removal", author's characteristics;
- dialogues, monologues, internal monologues;
- artistic detail, images-symbols
- A fundamentally new solution to the organization of artistic time and space in the novel
Leo Tolstoy's novel "War and Peace" is an epic novel: problems, images, genre All passions, all moments of human life, from the cry of a newborn child to the last outburst of feeling of a dying old man, all the sorrows and joys available to man - everything is in this picture! Critic N. Strakhov.
- "I tried to write the history of the people"
- 1857 - after meeting with the Decembrists, Leo Tolstoy conceived a novel about one of them.
- 1825 - "Involuntarily I passed from the present to 1825, the era of delusions and misfortunes of my hero"
- 1812 - "To understand my hero, I need to travel back to his youth, which coincided with the glorious epoch of 1812 for Russia."
- 1805 - "I was ashamed to write about our triumph, without describing our failures and our shame."
- Conclusion: a huge amount of material has accumulated about the historical events of 1805 - 1856. and the idea of the novel changed. The events of 1812 were in the center, and the Russian people became the hero of the novel.
- First - second volume
- Russian-Austro-French
- war of 1805
- War between a coalition of European powers (Great Britain, Russia, Austria, Sweden) and Napoleonic France. The allies set themselves the goal of expelling French troops from the territories they had occupied and restoring pre-revolutionary order in France. The main role in the war was assigned to Austria and Russia. Napoleon, having received the news that the Austrian troops entered Bavaria on August 27, with a skillful maneuver of his main forces surrounded the army of Makk and forced it to surrender. The Russian troops, who arrived at Braunau on September 29, found themselves in a difficult situation and were forced to start withdrawing along the right bank of the Danube. Napoleon tried to encircle the Russian troops in the area of St. Pelten. But Kutuzov, having guessed the enemy's plan, crossed the Danube before the French approach and dealt a crushing blow. On November 4, Bagration's detachment in the Shengraben battle repelled the attacks of the 30-thousandth vanguard of the French troops and ensured the connection of the main forces with the Austrian troops. On November 20, in the Battle of Austerlitz, the allied forces were defeated. Austria withdrew from the war and signed a separate peace with France. Russian troops were withdrawn to Russia.
- Third - fourth volumes
- Patriotic War of 1812
- Liberation war of Russia against Napoleonic aggression. The invasion of Napoleon's troops was caused by the aggravation of Russian-French economic and political contradictions, the actual refusal of Russia from the Continental blockade.
- The main events of 1812:
- June 12 - the transition of the French army across the Niemen (the forces of the sides by the beginning of the Patriotic War: the French - about 610 thousand people; Russians - about 240 thousand people);
- August 4-6 - Battle of Smolensk, Napoleon's unsuccessful attempt to defeat the main forces of the Russian troops;
- August 8 - appointment of MI Kutuzov as commander-in-chief;
- August 28 - Battle of Borodino;
- September 1 - military council in Fili, Kutuzov's decision to leave Moscow; the entry of French troops into Moscow;
- September 2-6 - the fire of Moscow;
- September-October - Kutuzov conducts the Tarutinsky march-maneuver, forcing the French to leave Moscow and retreat along the Old Smolensk road; a guerrilla war is unfolding;
- November 14-16 - Battle of the Berezina;
- November-December - death of the French army;
- December 14 - expulsion of the remnants of the "great army" from Russia.
- Epic novel
- "Novel" signs: plot development, in which there is a plot, action development, culmination, denouement - for the whole story and for each storyline separately; interaction of the environment with the character of the hero, the development of this character.
- Signs of an epic- theme (epoch of great historical events); ideological content - “the moral unity of the narrator with the people in his heroic activity, patriotism ... the glorification of life, optimism; the complexity of the composition; the author's aspiration for national-historical generalization ”.
- Some literary scholars define War and Peace as a philosophical-historical novel. But we must remember that history and philosophy in the novel are only constituent parts. The novel was created not to recreate history, but as a book about the life of the whole people, nation, artistic truth was created. Therefore, this is an epic novel.
- "Favorite" heroes
- Given in dynamics
- Outwardly ugly
- Spiritually rich
- Make mistakes (spiritual quest)
- Service to the Fatherland, to the common cause
- Are in the period of "childhood"
- Love children
- They do not live in Petersburg
- Have a family
- Happy at the end of the story
- Families Rostov, Bolkonsky, Bezukhov;
- Kutuzov, Timokhin, Tushin, Davydov.
- "Unloved" heroes
- Given in statistics
- Outwardly beautiful
- Lack of spirituality
- Self-confident (make no mistakes) - no spiritual work
- Service to yourself
- Are in the period of "adolescence"
- Do not like children
- Live in St. Petersburg
- No family
- Missing in the epilogue
- Families of Kuragin, Karagin, Drubetsky, Berger; Scherer, Napoleon.
Slide 1
Lev Tolstoy
"War and Peace" 1 volume
Slide 2
1 lesson. The most important features of Tolstoy as an artist and thinker. "War and Peace". The meaning of the title. Genre. Composition. Problems.
Tolstoy created his moral teaching on the basis of Christian teaching, but freed from the elements of official churchliness. 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 created by him has three main directions: simplification, moral self-improvement and non-resistance to evil by violence (a call to fight against evil by any means, except one - violence). Hence the assertion of double humanism: the humanism of not only goals, but also the means of achieving them.
Slide 3
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 the third volume of the novel "War and Peace" when evaluating 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 - "people's thought": "In War and Peace, I love popular 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 own selfish interests.
Slide 4
All of Tolstoy's heroes belong either to the "peace" party or to the "war" party
The pole of the "world" in the novel is the Kutuzov and Karataev principles, to which all Rostovs, Bolkonskys, Tushin, Timokhin, Vasily Denisov, partisans, ordinary soldiers and the whole people are drawn.
The highest expression of "war" is the Napoleonic and Kuragin principles. The "war" includes the Drubetskoy, Berg, the entire entourage of Alexander I and Napoleon, staff officers and the secular nobility.
Slide 5
Two heroes (Prince Andrew and Pierre) are not rigidly attached to either of the poles. They make their way through disappointments, spiritual crises 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”.
Slide 6
"War and Peace" as an epic novel
An epic novel is a special genre that combines features of both the novel and the epic. The novel beginning is manifested in the formulation of the problem of the personality, its ideological and moral quest, in the depiction of the difficult life path of the main characters. At the same time, the fate of the heroes is shown against the broad background of Russian life. 2. The epic beginning is manifested in the depiction of the most important event in national history - the Patriotic War of 1812. Therefore, the problem of depicting the people is of particular importance. Hence, a 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 searches of individual heroes are given in close connection with national-historical events. The author shows that it is possible to find the meaning of life only in unity with the people.
Slide 7
Epic Signs of the genre
1. It is based on the most important historical event on which the fate of an entire nation depends (the Patriotic War of 1812). 2. A large number of actors of various estates and classes. 3. The protagonist of the historical novel - the epic - the people.
Slide 8
Composition
1. The alternation of military scenes with peaceful ones: 1vol. The war of 1805-1807 abroad and the peaceful life of heroes in Russia. 2 volume. Lack of hostilities. War is presented as a struggle between good and evil for moral principles in a person. Volume 3. War of 1812. 4 volume. The results of the moral quest of heroes and the partisan war. Epilogue. The fate of heroes after the war of 1812.
Slide 9
2. Comparison of heroes according to their inner qualities, views, behavior. For example, in volume 1 of part 1 - the opposition to the Scherer salon of the Rostov and Bolkonsky families. 3. The presence of the author's philosophical digressions devoted to the problem of the role of the individual and the masses in history. 4. The presence of landscape sketches, diverse in their functional role. 5. Abundance of crowd scenes.
Slide 10
Composition of 1 volume
Volume 1 - the events of 1805, when Russia was at war with Austria on its territory. Part 1 plays the role of exposure. Many themes of the novel are stated in it: what is the beauty of human life, what kind of life can be considered real, condemnation of the highest Petersburg and Moscow nobility, the theme of attitude to war. Key episodes: 1. Evening in the salon of A.P. Scherer. Petersburg. (chapters 1-6). 2. Struggle for the inheritance of Count Bezukhov. Moscow. (12-13, 18-21 chapters). 3. The Rostov family. Name days (chapters 7-11, 14-17). 4. Bolkonsky. Life in the Bald Mountains (22-25 chapters).
Slide 11
1 volume 2 -3 part 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 (1-3 chapters). 2. The image of war "in blood, in suffering, in death." The storyline of Nikolai Rostov (chapters 4, 8, 15, 19). 3. The battle of Shengraben: False heroism (Zherkov, Dolokhov) and the true heroism of Timokhin and Tushin (15-17, 20-21 chapters). The behavior of Prince Andrew, dreams of "Toulon" (3, 12, 15-17, 20-21).
Slide 12
Part 3 Key episodes
Battle of Austerlitz: 1. Kutuzov and Emperor Alexander (chapters 15-16). 2. Nikolay Rostov in battle (13,17,18). 3. The feat of Prince Andrew and his disappointment with Napoleon (11-12, 16, 19).
Slide 13
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, private moral problems: duty and honor, friendship, love and others.
Slide 14
Features of psychologism in the novel
Psychologism is a detailed and deep reproduction of the inner world of a person. With the help of psychologism, Tolstoy reveals the moral quest of his heroes, the process of comprehending the meaning of life by them. 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 heroes. (feelings and experiences of Andrei Bolkonsky on the Austerlitz field after being wounded, Natasha's perception of the opera, Pierre Bezukhov's impression of the shooting of prisoners). 2. Internal monologue. The author conveys the stream of thoughts and feelings 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, dynamics, revealing indirect and often illogical connections between thoughts, ideas, memories. (The psychological state of Pierre in Torzhok before meeting with Bazdeev, Natasha's thoughts after meeting with Anatol 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 his death), borderline states of consciousness (delirium of Nikolai Rostov after being wounded).
Slide 15
Homework 1 volume, 1 part
April 3rd. 2 lesson. Seminar. Group work. (Volume 1, part 1) Meet the heroes. A critical portrayal of high society in the novel. Family thought in the novel. What kind of life does Tolstoy consider real? 1 group. A critical portrayal of high society in the novel. Salon A.P. Sherer. Group 2. A critical portrayal of high society in the novel. The Kuragin family. Group 3. The Rostov family. Birthday at the Rostovs. 4 group. Andrey Bolkonsky. The Bolkonsky family. The Bald Mountains Estate.
Slide 16
2-3 lessons. What kind of life does Tolstoy consider real?
Slide 17
A critical portrayal of high society
Tolstoy does not accept and severely condemns people whose goal is career, wealth, selfish politicking, power, cruelty and the ability to kill. He refers these people to the world of war. To expose them, he develops his own method - "tearing off all and all kinds of masks." So, outwardly, we see grace, intelligence, tact, high political interests in the cabin. And internally these are fake people, their conversations and behavior are hypocritical. For example, Prince Vasily, discussing high political topics, thinks only about the arrangement of his son. Concealing selfish intentions, he says, "like clockwork", "like an actor speaks the words of an old play." For all the guests, "a smile merged with a unsmile." Constantly sounding French speech emphasizes the isolation of the nobility from the people, their interests, culture, and language. Tolstoy compares the owner of the salon to the mistress of a spinning workshop, emphasizing the automatism of everything that happens, the lack of sincerity, and simple human feelings.
Slide 18
"Decency tightened masks" ...
People of "war" can be dangerous if they need to protect their own selfish interests. This is manifested in episodes of the struggle for the inheritance of the old Count Bezukhov. In the struggle for the will (for the mosaic portfolio), the true face of Prince Vasily is revealed, which is expressed through the portrait characterization: "His cheeks began to twitch nervously, giving his face an unpleasant expression that was never shown on his face when he was in the drawing rooms." Pierre sees "the princess's embittered face, which has lost all decency." The masks are torn off, the essence is exposed.
Slide 19
Tolstoy opposes the "life of the heart" of the Rostovs and the "life of the mind" of the Bolkonskys to the "people of war". There are only two living people in Scherer's salon - Pierre and Prince Andrew. Pierre's appearance frightens the owner of the salon, there was something "not inherent in the place" in 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 a different, childish, kind one appeared."
Slide 20
Andrei Bolkonsky knows the true value of light. "Living rooms, gossip, balls, vanity, insignificance - this is the vicious circle" from which he wants to escape. Therefore, he goes to war: "I am going because this life that I am leading here, this life, is not for me!" Both of them, Pierre and Prince Andrew, are carried away by Napoleon, consider him a great man.
Slide 21
"Life of the Heart" of the Rostovs
"A ray of light enters the living room with this young generation."
Slide 22
"Life of the Heart" of the Rostovs
The Rostovs' sincerity is contrasted with the artificial life of light. The two receptions (at Scherer's and at the birthday of two Natalias) are different in everything. In the salon - the ceremony of greeting the unwanted aunt, the Rostovs - "gratitude to everyone, without exception." Naturalness, absence of falsehood, purity of the inner world, closeness to the people are manifested in a number of scenes. How do we see Natasha Rostova in these scenes?
Slide 23
She lives with feelings, and so far it's fine
Natasha is 12 years old. She is the personification of naturalness, happiness, love, sincerity and self-will. The portrait details emphasize this: the epithets convey her inner feeling of happiness (“flushed”, “lively”, “she has a ringing laugh”). She is distinguished by her heartfelt 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 (she kisses Boris, loudly asks what kind of cake it will be). The immediacy of experiences, the exuberant joy of life, leave no room for thought. Pierre will tell about her later; "She doesn't deign to be smart."
Slide 24
"She doesn't deign to be smart."
Slide 25
"Life of the Mind" by the Bolkonskys
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 the Bald Mountains. This is a "special breed" of people. All of them are distinguished by their short stature, definite and dry features, the main thing is the similarity of their eyes, which shine with intelligence and kindness, "an unusual brilliance", for Princess Marya - "radiant". They are connected by a deep work of thought, high intelligence, a tendency to mental activity, the depth of peace of mind, pride, aristocracy.
Slide 26
Homework 1 volume 2 part
1 group. Episode analysis (chapters 1-3). How does the review of troops at Braunau characterize Kutuzov as a commander and a man? How is the attitude of the people to the war revealed? Group 2. The depiction of war "in blood, in suffering, in death." The storyline of Nikolai Rostov (chapters 4, 8, 15, 19). Group 3. How did A. Bolkonsky change during the war? How is it different from other staff officers? How do Kutuzov and the officers relate to him? (Chapters 3, 9, 12). How is the Napoleonic principle manifested in him? 4 group. For what purpose did Kutuzov undertake the Battle of Shengraben? How is the theme of true and false heroism resolved? Compare the behavior of soldiers, staff officers, Prince Andrey, Tushin, Timokhin, Dolokhov during the battle. Track Captain Tushin's behavior before, in, and after combat. How did Prince Andrew see him? What did he understand? 5 group. What did A. Bolkonsky dream about on the eve of the Shengraben battle? What were his ideas turned out to be wrong? (3,12, 15-17, 20-21 chapters).
Slide 27
Tolstoy's Kutuzov and Napoleon personify two indigenous human types, two concepts of life, about the conflict of which the novel was written
Slide 28
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 obstruct the aggressive activities of Napoleon. 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 the troops came from Russia. With this in mind, he wanted to go out to meet the regiment, so the worse the position of the regiment, the more pleasant it would be for the commander-in-chief. " And indeed, Kutuzov, "looking at the shoes, several times sadly shook his head and pointed at it to the Austrian general with such an expression that he did not reproach anyone for this, but he could not help but see how bad it was."
Slide 29
Unity of the commander-in-chief and the army
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 the soldiers to whom Kutuzov, passing through the ranks, said “several sweet words ”. And the conversation of the soldiers after the show (“How did they say, Kutuzov is crooked, about one eye?” , which pleased Kutuzov, - everything confirms the unity of the commander-in-chief and the army - even more important in 1812.
Slide 30
The anti-war theme in Nikolai Rostov's novel "And why did I come here!"
Tolstoy's negative attitude to the war is expressed through landscape sketches, through the scene of peaceful communication between Russian and French soldiers before the battle, through the perception of the war by Nikolai Rostov, as yet not a military man (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 deep!" And this heaven is higher and more important than what is happening on earth now: senseless murders, sacrifices, it is not known in the name of what they are offered. At the beginning of the battle, he thinks about the enjoyment of the attack ("Oh, how to cut him!"), When they want to kill him, he is horrified: "It cannot be that they wanted to kill me." Here he is, wounded, sitting on a gun carriage and realizing that he was not created for murders: "And why did I come here!"
Slide 31
The battle of Shengraben is a symbol of Russian courage
The Battle of Shengraben, initiated by Kutuzov, gave the Russian army the opportunity to join forces with its units moving from Russia. To ensure this, Kutuzov sent a detachment of Bagration to the Vienna - Znaim road, whose heroic actions would save the army. The objectives of this battle are clear to the soldiers, therefore, without hesitation, they are preparing for battle: "The four thousandth detachment of Bagration, cheerfully laying fires, dried, heated, and none of the people of the detachment knew or thought about what lay ahead of him."
Slide 32
"I'm going to save the army" Andrei Bolkonsky in the Battle of Shengraben
“I am going to war because this life that I am leading here is not for me,” Bolkonsky says to Pieru. 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, which 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 a 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 who are looking for an easy career and awards. In the most difficult moments, he strives to be useful. From Brunn goes to "save the army." With calm courage he is in the most dangerous areas of the Shengraben battle. Meeting with Tushin before the battle and at his battery, and then after the battle and at the headquarters of Bagration made him see real heroism and military feat in its true light.
Slide 33
"We must be closer to the sun"
Prince Andrew believed that only a person holding a high official position or having a heroic appearance could accomplish the feat. But small, unsightly and tongue-tied Tushin refuted this erroneous idea with his courage. This new knowledge offends his pride. Why? Tushin, who has just accomplished the feat, cannot defend himself in front of his superiors. He would have been severely punished if not for the intervention of Prince Andrew. Leaving the headquarters and saying goodbye to Tushin, Prince Andrey could not suppress his contempt for him. He painfully experiences any touch of the prose of life. He is attracted only by the outstanding, the exceptional (Kutuzov, Napoleon). No wonder he says: "We must 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.
Slide 34
True and false
One of the main vices of modern civilization, according to Tolstoy, is the wide spread of false concepts. In this regard, the problem of true and false becomes one of the leading in the work. How can you tell 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 audience." The false, on the contrary, is generated by the base side of human nature and is always focused on the external effect. What does Tolstoy mean by the concept of “false heroism?” While a person wants to perform a feat first of all in order to be noticed, and dreams of a feat that will certainly be beautiful, this, according to Tolstoy, is not yet real heroism. True heroism arises when a person thinks not of himself, but of a common cause and does not care about how he looks from the outside.
Slide 35
The theme of true and false heroism
Captain Tushin is shown as a true hero in the battle. In his appearance, the author seeks to see non-regulation, human, therefore there is nothing heroic in his appearance: "There was something special in his figure, completely non-military, somewhat comic, but extremely attractive." Before the battle, he says that he is afraid of death, while in battle "Tushin did not feel the slightest feeling of fear, and the thought that he could be killed or hurt hurt did not occur to him." He makes decisions on his own: "Nobody ordered Tushin where and how to shoot ... he decided that it would be good to set fire to the village." As a result, it was he and his battery who stopped the movement of the French in the center of the battle.
Slide 36
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 the authorities, 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 staunchness of Captain Tushin with his company."
Slide 37
"We owe the success of the day most of all ... to the heroic fortitude of Captain Tushin and his company."
Slide 38
Timokhin is also a true hero, who looked very unattractive in the scene of the review of the troops at Brownau: “The captain's face expressed the concern of a schoolboy, who was told to say a lesson he had not learned. There were spots on the red (obviously from intemperance) face, and the mouth could not find a position. " During the battle, he "ran into the enemy with one skewer." "It was Timokhin's company, which alone in the forest kept in order ... and unexpectedly attacked the French."
Neither Tushin nor Timokhin receive awards, the Zherkovs and Dolokhovs receive awards. Zherkov is brave before his superiors, cowardly in battle. He was sent to the Tushin battery to convey the order to retreat: “Zherkov, briskly, without taking his hand off his cap, touched the horse and galloped off. But as soon as he drove away from Bagration, his forces betrayed him. An overwhelming fear came over him, and he could not go where it was dangerous. "
Slide 39
Dolokhov also belongs to false heroes, 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 the troops, he turns to Kutuzov: "I ask you to give me an opportunity to make amends for my guilt and prove my loyalty 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. A bayonet wound, I stayed at the front. "
Slide 40
True heroism is shown in war, first of all, 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.
Slide 41
test
Part 1 Read the passage below and complete assignments B1 through B7; C1 - C3. The soldiers, mostly handsome fellows (as always in a battery company, two heads taller than their officer and twice as wide as him), all, like children in a difficult situation, looked at their commander, and the expression that was on his face was invariable reflected on their faces. As a result of this terrible hum, noise, need for attention and activity, Tushin did not experience the slightest unpleasant feeling of fear, and the thought that he could be killed or hurt painfully did not occur to him. On the contrary, he became more and more cheerful.
Slide 42
It seemed to him that a very long time ago, almost yesterday, there was that moment when he saw the enemy and fired the first shot, and that the patch of field on which he stood was a familiar, kindred place to him for a long time. 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 a feverish delirium or the state of a drunk man.
Slide 43
Because of the deafening sounds of their guns from all directions, because of the whistle and blows of enemy shells, because of the sight of the perspiring, flushed, hurrying around the guns of the servants, because of the blood of people and horses, because of the sight of enemy haze on that side (after which every time a nucleus flew and hit the ground, into a person, into a tool or into 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.
Slide 44
- See, puffed again, - said Tushin in a whisper to himself, while a puff of smoke jumped out from the mountain and was blown to the left in a stripe, - now wait - send the ball back. - What do you order, your honor? - asked the fireworks, who stood close to him and heard that he was muttering something. - Nothing, a grenade ... - he answered. “Come on, our Matvevna,” he said to himself. Matvevna imagined in his imagination a large extreme, old-fashioned cannon. The French appeared to him as ants by their guns. The handsome man and the drunkard, the first number of the second gun in his world was an uncle; Tushin looked at him more often than others and rejoiced at his every move.
Slide 45
The sound of the fading, then again intensifying rifle firefight under the mountain seemed to him someone's breath. He listened to the fading and heating of these sounds. “Look, I’m breathing again, breathing,” he said to himself. He himself imagined himself of enormous stature, a powerful man who hurls cannonballs at the French with both hands.
Slide 46
- Well, Matvevna, mother, don't give it out! - he said, moving away from the gun, as a strange, unfamiliar voice rang out over his head: - Captain Tushin! Captain! Tushin looked around in fright. It was the headquarters officer who drove him out of Grunt. He shouted to him in a breathless voice: - What are you, crazy? You were ordered twice to retreat, and you ... "Well, why are they me? ..." Tushin thought to himself, looking with fear at the chief. “I… nothing…” he said, putting two fingers to the visor. - I…
Slide 47
But the colonel did not finish everything he wanted. A cannonball that flew close made him, diving, bend over on his horse. He fell silent and was just about to say something else when the core stopped him. He turned his horse and galloped away. - Retreat! All retreat! He shouted from afar. The soldiers laughed. (Leo Tolstoy "War and Peace")
Slide 48
When performing 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 a combination of words. Write each letter legibly in a separate box. Write words without spaces, punctuation marks and quotation marks.
Slide 49
B3 What is the name of N.G. Chernyshevsky gave the artistic discovery of Tolstoy, reflecting the "fluidity" of a person's inner life, its variability? Answer: _________________________________________ . B4 Write out from 3 paragraphs of the fragment the word by which the author denotes the unusual state of the hero, his inner vision and feeling of what is happening. Answer: _________________________________________ . B5 What means of artistic depiction, with the help of which the author characterizes the behavior of the soldiers of the battery during the battle (see 1 paragraph of the fragment). Answer: _________________________________________ .
Slide 50
B6 What technique does the author use when comparing Tushin's various manifestations: his inner identification with a “powerful man” and fear of his boss? Answer: _________________________________________ . B7 What is the name of an expressive detail in a work that carries an important semantic and ideological load (for example, an old cannon, nicknamed "Matvevna" by Tushin)? Answer: _________________________________________ .
Slide 51
To complete tasks C2 - C3, use the answer form number 2. First, write down the number of the task, and then give a coherent answer to the question in the amount of 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 USE 2008 REFERENCES, grade 11. © Federal Service for Supervision of Education and Science of the Russian Federation (2008 - 7) C3 In what works of Russian classics are problems close to the problems of the given episode raised, and how do they resonate with Tolstoy's "people's thought"?
Slide 52
C-2
In the episode, the theme of true, unseen heroism sounds. 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 person, inconspicuous, afraid of his superiors (“Well, why are they me? ...” Tushin thought to himself, looking with fear at his boss). “I… nothing…” he said, putting two fingers to the visor. - I…). In battle, "he imagined himself of enormous stature, a powerful man who hurls cannonballs at the French with both hands." The reception of contrast emphasizes that "the heroic Tushin, as he imagines himself, is more real than the" real "visible Tushin." One cannot but agree with such an assessment of the hero, because, do not feel like Tushin is a hero, he cannot defeat the French.
Slide 53
Answers
В1 Schengrabenskoe В2 Bolkonsky В3 dialectics of the soul В4 pleasure В5 comparison В6 contrast antithesis
Slide 54
Battle of Austerlitz
1 volume 2 -3 part (11-19 chapters). Image of the war of 1805-1807 ("The era of our failures and our shame"). 1. Kutuzov and Emperor Alexander (chapters 15-16). 2. Nikolay Rostov in battle (13,17,18). 3. The feat of Prince Andrew and his disappointment with Napoleon (11-12, 16, 19).
Slide 55
Battle of Austerlitz
This is a battle of three emperors, its goals are incomprehensible to ordinary soldiers. Tolstoy believed that a battle without a high moral incentive would be lost. And the personal will of individuals, including Kutuzov, cannot change the course of events. Kutuzov has a negative attitude towards the battle: he believes that it is necessary either to retreat, or to wait for reinforcements from Russia. He predicts the outcome of the battle: "I think the battle will be lost." At the council of war, he does not offer 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 thick crowd." There is "fog" all around, and the orders of the commanders are foggy.
Slide 56
“What are they doing! What are they doing? Kutuzov muttered to himself. - What is this?"
For the mediocrity of the emperors, the soldiers and officers of the active army are paying the price. Here Rostov learns that out of "the entire mass of huge handsome people (cavalry guards) after the skirmish, only eighteen people remained." Then he saw that “in the field, like heaps on a good plowed land, there were 10-15 people, killed and wounded at every deed of the place”. Hundreds of soldiers are killed on a narrow dam. All this hell arose through the fault of a man "with a beautiful happy face and gentle voice." After the defeat, Alexander 1 already looks different: "The Tsar was pale, his cheeks were sunken and his eyes were hollow," "crying," he "covered his eyes with his hand."
Slide 57
Internally similar to the Russian emperor and Napoleon. Both have happiness on their faces before the battle. They are related by childish frivolity in relation to the army, the people. In the letter, Napoleon addresses Alexander with the words: "Sovereign, my brother." They are brothers in spirit and purpose, they build their happiness on the misfortune of others. This is how the main idea of volume 1 is revealed - the idea of the insignificance of those who live by themselves, by their own happiness, built on the misfortune of others.
Slide 58
"I will give everything for a minute of glory!" (Andrey Bolkonsky)
Slide 59
"Here is that happy moment, that Toulon, which he has been waiting for so long." "I want fame, I want to be known to people, I want to be loved by them .. This is what I want, for this I live."
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 the result of suffering and death of people. Striving for glory, Prince Andrey really accomplishes a feat, with a banner in his hands he raises the soldiers to attack: “This is it! - thought Prince Andrey, embracing the flagstaff and hearing with delight the whistle of bullets, obviously directed against him ... He ran forward with the undoubted confidence that the entire battalion would run after him. Indeed, he ran only a few steps ... The entire battalion shouted "Hurray!" ran ahead and overtook him. "
Slide 63
For Tolstoy, however, war is blood and filth, pain and the forced murder of their own kind, "an event that is contrary to human reason and all human nature." To this truth he leads his hero (and readers) through all the intricacies of the military campaign of 1805, through the field of Austerlitz. In Prince Andrey's striving to realize himself "in the image and likeness" of an idol, to repeat his path, Tolstoy hates everything: both the idol himself and the desire to come true in someone else's fate. And then a stunning insight comes to Prince Andrew.
Slide 64
"Everything is empty, everything is deception, except this endless sky"
And before the eyes of Prince Andrew, a clear high sky will open - a symbol of truth. And the abrupt, harsh phrases generated by the confusion of the battle give way to a stately, slow and deep narration: "How quietly, calmly and solemnly, not at all the way I ran," thought Prince Andrew, "not the way we ran, shouted and fought ... the clouds crawl across this high endless sky not at all. How have I not seen this high sky before? And how happy I am that I finally recognized it. Yes! Everything is empty, everything is deception, except for this endless sky. " What does Prince Andrew include in this “all”? (Vanity, lies, the struggle of vanities, the senselessness of war, fascination with Napoleon). Instead of the former idol, he acquires high and eternal values that he did not know before: happiness is simply to live, the ability to breathe, see the sky, be.
Slide 65
(Volume 2) What life does Tolstoy call peaceful and real, and why is the "world" collapsing by the end of Volume 2?
Spiritual searches of Pierre Bezukhov (retelling-analysis of chapters: 1 part 4-6 chapters; 2 part 1-4, 10 chapters; 3 part 7 chapter). 1. How do we see Pierre in scenes of a quarrel and a break with his wife, in a scene of a duel with Dolokhov? 2. What brought Pierre to the Masonic society? What activities does he do in it? What are the reasons for disappointment?
- to determine the author's attitude to the norms of life of the high society;
- note the techniques that help L.N. Tolstoy when describing heroes;
- to show the tearing off of the "masks" from the representatives of the high society;
- analyze the speech of persons close to the royal court;
- determine the meaning of 1 chapter in the composition of the novel.
- What characters, in what sequence, does the author introduce the reader in the first chapters of the novel?
- Track how the author rips off the masks from his heroes.
- Heroes who “do not fit” into the living room of A.P. Scherer?
- The ratio of French and Russian at the time of the appointment. The role of the "anecdote" of Prince Hippolytus at the end of the evening.
- Why S. Bondarchuk misses in his film a fragment of A.P. Scherer with Prince Vasily?
- Where does the director focus the audience's attention?
- Is chapter 1, missed in the film, important for understanding the author's intention?
- What is her role?
- The naturalness of the first acquaintance with the hero through the description of his appearance.
- The deep psychological content of the portrait, the expression through it of changes in feelings and moods.
- Allocation of 1-2 permanent signs (bright expression of Prince Vasily's flat face; an enthusiastic, as if glued-on smile of Anna Pavlovna; Pierre's smart, timid glance ...).
- How does L.N. Tolstoy to the norms of life of a secular society?
- Does the author have the same feelings for all representatives of high society?
- What artistic techniques helped us to realize what L.N. Tolstoy?
Analyze the episode “The Rostov family. Name day ". (Part 1, Ch. 7-11; 14-17).
- Connection of the episode "Name Day" with the previous one ("Salon Scherer").
- Reception of guests by the hosts. The nature, topics of conversations.
- The emergence of youth. Interests and behavior.
- The meaning of the gift of Countess-mother Anna Drubetskaya.
- Lunch setting. The attitude of guests and hosts to the war.
- Entertainment and customs at the Rostovs.
Understand the nature of the military campaign 1805 - 1807;
Reveal the ideological and artistic features of the image of war .;
Reveal L.N. Tolstoy.
- Historical concreteness in Tolstoy's depiction of war.
- The versatility of the image of war.
- The author's demonstration of the uselessness and unpreparedness of this war. The attitude of Kutuzov and the soldiers towards her (the scene of the review in Braunau, Part 2, Chapter 2 ) The combination of crowd scenes and close-ups in the novel.
- Tolstoy's attitude to the war. Affirmation of the senselessness and inhumanity of war. Storyline of N. Rostov, her role ( h. 2 ch. 4.8, 15)
- The difficulty of constructing a phrase in Tolstoy (part 2, chapter 9)
- How should an experienced strategist behave in the described conditions? (part 2, chap. 2, 14)
a) the image of the cowardice of Zherkov and the headquarters officer, the ostentatious courage of Dolokhov, the true heroism of Timokhin and Tushin (part 2, chap. 20-21);
b) The behavior of Prince Andrew, dreams of "Toulon" (Part 2, Ch. 3.12, 20-21)
- a) by whom and how it was conceived, the ironic attitude of the author to the "dispositions" (chap. 12);
- b) the influence of nature on the course of the battle (part 3, chapter 14);
- c) Kutuzov and Emperor Alexander; the flight of the Russians (Ch. 15-16);
- d) the feat of Prince Andrew and his disappointment in the "Napoleonic" dreams (part 3, ch.16, 19);
The lack of a moral incentive for waging war, the incomprehensibility and alienation of its goals to the soldiers, mistrust between the allies, confusion in the troops - all this was the reason for the defeat of the Russians.
"The era of our failures and our shame" - this is how Tolstoy himself defined this war.
Slide captions:
The presentation was prepared by SI Ogulkova, a teacher of Russian language and literature, Sadovskaya school №1.
"Tolstoy is the whole world. Without knowing Tolstoy, you cannot consider yourself a cultured person." M.Gorky
"This is a revelation for us young people, a whole new world." Guy de Maupassant
The conscience of Russian literature.
1828 - 1910
If it were necessary to name a novel that corresponds to the definition, so dear to the heart of the compilers of literary questionnaires: "the greatest novel in the world" - I would choose "War and Peace." John Galsworthy
"I was ashamed to write about our triumph in the struggle against Bonaparte France, without describing our failures and our shame" Leo Tolstoy
The novel reflects the problems of both the beginning of the century and its middle. Therefore, in the novel there are, as it were, two planes: the past and the present.
Leo Tolstoy, conceiving his grandiose epic, wanted to get to the very essence. For Tolstoy the writer has always been characterized by an ambivalent attitude towards life. In his work, life is given in a unity that unites the writer's interest in both the “history of the human soul” and the “history of an entire people”.
Problems of the beginning of the century:
"Most of all in the novel I loved popular thought." The main problem is the fate of the people, the people are the basis of the moral and moral foundations of society. 3. "Who is the true hero?" - the social role of the nobility, its influence on the life of society and the country. 4. True and false patriotism 5. The purpose of a woman is to preserve the family hearth.
Mid-century problems:
The fate of the people, the question of the abolition of serfdom - the reforms of the 60s. 2. The gradual withdrawal of the nobility from the "arena" of struggle, the failure of the nobility, the beginning of the raznochin movement. 3. The issue of patriotism related to the defeat in the Crimean War. 4. The question of the liberation of a woman, of her female emancipation.
In the novel volume IV and the epilogue:
Volume I - 1805 Volume II - 1806-1811 Volume III - 1812 Volume IV - 1812-1813 Epilogue - 1820
Specificity of the epic novel genre:
The epic novel is the largest and most monumental form of epic literature. The main feature of the epic is that it embodies the fate of peoples, the historical process itself. The epic is characterized by a wide, multifaceted, comprehensive picture of the world, including historical events and the appearance of everyday life, and a polyphonic human chorus, and deep meditations over the fate of the world, and intimate experiences. Hence the large volume of the novel, usually several volumes. ("Dictionary of literary terms" edited by LI Timofeev)
1. What is an epic novel?
2. Traits of the epic in the novel "War and Peace".
Pictures of Russian history (battles of Shengraben and Austerlitz, Peace of Tilsit, the war of 1812, the fire of Moscow, partisan movement). Events of social and political life (Freemasonry, Speransky's legislative activity, the first organizations of the Decembrists). Relations between landowners and peasants (transformations of Pierre, Andrey ; the revolt of the Bogucharov peasants, the indignation of the Moscow artisans). Display of various strata of the population (local, Moscow, Petersburg nobility; officials; army; peasants). A wide panorama of everyday scenes of noble life (balls, high society receptions, dinners, hunting, theater visits, etc.). ) A huge number of human characters. -Long duration in time (15 years). Wide coverage of space (Petersburg, Moscow, Lysye Gory and Otradnoe estates, Austria, Smolensk, Borodino).
"To live honestly ..."
“To live honestly, you have to break, get confused, fight, make mistakes, start and quit, and start again, and quit again, and fight and lose forever. And calmness is spiritual meanness "(from a letter to Leo Tolstoy dated October 18, 1857)
The life path of Andrei Bolkonsky
"Road of honor"
Evening in the salon of A.P. Sherer.
Why is he "alien" here?
"Living rooms, gossip, balls, vanity, insignificance ... This life that I lead here, this life is not for me."
Military campaign 1805-1807 in the fate of Prince Andrew. Bolkonsky's ambitious dreams. The relationship of the prince to Bonaparte. Participation in the Shengraben battle.
Battle of Austerlitz. Fight at Prazenskaya height. Eternal sky of Austerlitz and the words "Le petit caporal." "Here is a wonderful death!"
- Reassessment of values in life and a deep mental crisis. The family drama of Prince Andrei. Reform activities in the commission of M.M. Speransky. Household concerns in Bogucharov. Law on Free Farmers. Andrey's thoughts on the growing influence of serfdom on the owners of "baptized property".
- Andrey's spiritual rebirth. Love for Natasha.
Reasons for breaking up with Natasha.
The Patriotic War of 1812 in the fate of the prince. battle of Borodino
Fatal wound. Detachment from one's own destiny and the experience of suffering. Reconciliation with everyone, the last meeting with Natasha.
"There was something in this life that I did not understand and do not understand."
Epilogue. The son of Andrei Bolkonsky is Nikolenka.
"... you see what a kind and glorious fellow I am."
The life path of Pierre Bezukhov
"Jacobin", "ill-mannered Bonapartist" in the living room of A.P. Sherer
- Friendship with Andrei Bolkonsky. Pierre's "Heart of Gold".
The illusory nature of family happiness. Marriage to Helene. Moral shock of Pierre in the collision with Dolokhov.
Meeting with Dolokhov. Duel.
Freemasonry. Disappointment in the "brotherhood of free masons" "Why live and what am I, why do I live?"
Pierre's economic and economic activities in the Kiev estates; the liberation of peasants from serfdom, the construction of schools and hospitals. Impracticality of Pierre Bezukhov.
Borodino field in the fate of Pierre. Attitude towards Napoleon. Decision to stay in Moscow - Expectation of death.
Life in captivity, meeting with Platon Karataev. “They caught me, locked me up. They hold me captive. Who me? Me? Me - my immortal soul. " Finding inner freedom.
Pierre's spiritual rebirth. Love for Natasha. Pierre's keynote speech, active participation in the political opposition.
… What is beauty, and why do people deify it? A vessel is it, in which there is emptiness, Or a fire flickering in a vessel. N. Zabolotsky
Female images in the novel "War and Peace".
Helen Kuragina.
“... shining with the whiteness of her shoulders, the gloss of her hair and diamonds, she walked between the men who parted and straight, without looking at anyone, smiling again and as if graciously giving the right to admire the beauty of her body, full shoulders, very open, in the fashion of that time, of her chest and back, and as if bringing with itself the brilliance of the ball ... "
“- Quelle belle personne! - said everyone who saw her. "
"What was in the general smile that always adorned her face ..."
"... la femme la seduisante dePetersbourg, young, little princess Bolkonskaya ..." "... pretty, rosy, ... little princess Bolkonskaya ..."
Liza Bolkonskaya
"Princess Marya turned to her brother and through the loving, warm, meek look of her beautiful at that moment, big radiant eyes ..."
“Beams of kind and timid light shone from her big eyes. These eyes illuminated all the sickly, thin face and made him beautiful. "
Natasha Rostova is the most charming girlish image in the world of fiction. She is naturalness itself. She is affectionate, sensitive and responsive, childishly naive and feminine, romantic, impetuous, tender, headstrong, capricious and full of inexhaustible charm.
- “Black-eyed, with a big mouth, ugly, but lively girl, ..., she was at that sweet age when the girl is no longer a child, and a child is not a girl ...” - “... laughing with her eyes and blushing”, “... that everyone, even the prim guest, laughed against their will "," ... through the tears of laughter ... "
"Where, how, when she absorbed from the Russian air that she breathed — this decanter, brought up by an emigrant Frenchwoman — this spirit, from where she got these techniques. But these spirit and techniques were the same, unexamined, Russian ..."
Natasha goes through a difficult path of searching: from a joyful, enthusiastic perception of life,
... through the apparent happiness from the engagement with Prince Andrey ...
... through the mistakes of life - treason to Prince Andrey with Anatole,
... through a spiritual crisis and self-disappointment,
... through rebirth under the influence of the need to help loved ones, through high love for the wounded Prince Andrei ...
- to comprehend the meaning of life in the role of wife and mother.
