"War and Peace" - epic novel by Leo Tolstoy. Today the book is 150 years old. In his work, the writer touched upon and highlighted all the problems not only of Russian society, but also of the state as a whole. Based on historical facts, the author describes in detail military operations - battles, the mood of the people and soldiers.
The problem between a man and a woman can be illustrated by the example of Andrei Bolkonsky and Natasha Rostova and Pierre Bezukhov and Natasha Rostova.
Andrei Bolkonsky is a widowed prince, disappointed in love. Natalya Rostova is a young girl who was distinguished by her simplicity and openness from an early age. Natasha resembles a scarlet flower that grew in love and care, protected from the influences of the world.
When meeting with a young beauty, Andrei seems to come to life, forgotten feelings awaken in him, giving him a new impetus in life. L. Tolstoy compares the prince with an old oak, which comes to life after a long time of "stagnation". For Bolkonsky, Natasha's love. like living water, giving him new strength. But, unfortunately, this love is not destined to become eternal. A fleeting connection with Bolkonsky gave ground for the development of feelings towards Pierre Bezukhov. The young count was an adviser and best friend of Prince Andrei. Natasha also turned to Bezukhov for help. After the death of the prince. The friendship between the count and the countess turned into something more - into such an alliance as marriage. If you watch the characters throughout the novel, you can see their similarity in outlook on life, they understood each other, we can say that Natasha and Pierre were kindred spirits. Using the example of his heroes, L. N. Tolstoy showed what true love is, how important mutual understanding between a man and a woman is.
Another, no less important problem is the problem of patriotism. A patriot is a person devoted to his Motherland, his state. Andrei Bolkonsky and Pierre Bezukhov are two main characters who defended Russia in different ways. Prince Andrei repeatedly proved himself in battles, proving his love for his native land. An example is the case when a frightened army of soldiers rushed to retreat. Overcoming fear, Andrei, with a banner in his hands, rushed to the attack, which gave confidence to the soldiers. Is this not a manifestation of patriotism? Bolkonsky's military service was intense, defending the honor of his country, Andrei dies. Pierre Bezukhov was not a participant in hostilities, and all his attempts to be useful on the battlefield were crowned with failure. But is it only so fashionable to be useful? No, realizing this, Tolstoy not only gives his hero life, but also a faithful companion. During the War of 1812, Pierre is involved in charity. And after, in December 1825, he defended the rights of the people. Isn't that patriotism? Despite his helplessness during the hostilities, Pierre makes a significant contribution to the development of the state. He cares not only about the honor of his country, he cares first of all about its people (building schools). Using the example of these two completely opposite heroes, Lev Nikolaevich showed that Russia had its own defenders who were not obsessed with glory and power.
The novel by Leo Nikolayevich Tolstoy "War and Peace" is a huge and invaluable treasure in Russian literature. It reflects the history of Russia, and the customs of high society, the development of the state itself and its people.
Updated: 2019-10-12
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39. moral and philosophical problems of the novel "War and Peace".Philosophical problems of the novel . Philosophical problems of the novel. The main philosophical themes of the novel are: a person and his place in the world, a person’s place in history (the problem of personal free will and historical necessity: the problem of the role of an individual in history, the relationship of personal fate and historical perspective), the meaning of history (the root cause of historical events, in the first place wars; assessment of the activities of secret societies, including the Decembrists), existential problems (the meaning of human life), the concept of ethics: the definition of moral imperatives arising from such a picture of the world (the characters are thinking about how to become “quite good” (whose expression is this?) how to find harmony in life). These problems are found in the novel at all levels of the plot (“war” and “peace”, the private fates and fate of Russia, the thoughts and actions of fictional heroes and the activities of real historical figures) and at the supra-plot level (philosophical reasoning of Tolstoy). a clear ethical system, then at each of the above levels of the plot one can easily find negative and positive “poles” embodied in the characters (Kutuzov and Napoleon, Natasha and the “evil” Vera, etc.). World and man. Man's place in the world. World unity. It is useful to compare Tolstoy's picture of the world with Dostoevsky's picture of the world. Dostoevsky recreates the Christian personacentric model of the world: an individual person is equivalent to the whole world, a person is reunited with God through the God-man - Christ. The protagonist of Dostoevsky's work is a personality as such, it reflects the World. Therefore, Dostoevsky's heroes are, to some extent, symbolic figures embodying spiritual, metaphysical principles. Tolstoy recreates the pantheistic model of the world: man is just one of the elements of an endless evolutionary process, he is a grain of sand in a vast cosmic world. There is no concept of “God-man” here, and God is a philosophical synonym for the concepts “whole life”, “nature”, “history”, “the world as a whole”, “all-unity”. So, in the first place is the World, then a man. The formula heard by Pierre Bezukhov in his Moscow dream (“Life is everything. Life is God. Life is the continuous self-consciousness of the Divine”) refers to Eastern religious and philosophical traditions (for Christianity, the world is not the continuous self-consciousness of God, but its one-fold creation). It can be said that Dostoevsky rather depicts "the world in man", and Tolstoy - "man in the world". Tolstoy's man is, first of all, a particle of the big World - the family, the people, humanity, nature, the invisible historical process. Let us note, for example, that in Crime and Punishment, the comparison of humanity with an anthill suggests a pejorative character, while in Tolstoy’s philosophical digressions, the comparison of human communities with a swarm, hive or herd arises quite naturally and does not imply any negative meaning. If we compare two close in time writing a novel - "Crime and Punishment" and "War and Peace", then we will see similar problems, but considered from fundamentally different sides. Both titles contain the idea of polarity, the antithesis of positive and negative principles, but the title of Dostoevsky's novel indicates the individual inner world of the hero, and the title of Tolstoy's novel indicates the global scale of the depicted, the commonality and connection of many human destinies. The “Napoleonic” theme also appears differently in these novels: for Dostoevsky it is an ethical question addressed to an individual (“Do you have the right to be Napoleon?”), while for Tolstoy it is rather a historiosophical question addressed to humanity (“Was there Napoleon a great man?"). Therefore, Napoleon becomes a character of Tolstoy, and Dostoevsky never wrote anything like a historical novel. All this does not mean that Tolstoy belittles the value of an individual human person: after all, it is understood that every person is a necessary part of the world, without which the world would be incomplete. In the novel Tolstoy often uses the symbolism of the part and the whole (the steps of the ladder and links of the chain in Pierre's "Masonic" monologue on the ferry in Bogucharov; the harmonic fusion of musical voices in the vision of Petya Rostov; a water ball consisting of individual drops in Pierre's dream, where the ball symbolizes the world, and the drops - human destinies; reasoning about the "personal" and "swarm" life of a person in one of the author's philosophical digressions; metaphors associated with a hive, swarm, herd (find them in the text of the novel); the argument that the invisible historical will is made up of "billions of wills"). All these symbols express the idea of world "unity", in Tolstoy's understanding of it. Each element of the big whole is inalienable. In accordance with this picture of the world, the novel examines the question of the role and place of an individual in history, nature, society, state, people, family. This is the philosophical problematic of the novel. The meaning of the historical process. The role of personality in history. This theme in the novel is considered in detail for the first time in the historiosophical discourse on the causes of the war of 1812 (the beginning of the second and the beginning of the third parts of the third volume). This reasoning is polemically directed against the traditional concepts of historians, which Tolstoy considers a stereotype that requires rethinking. According to Tolstoy, the start of the war cannot be explained by someone's individual will (for example, by the will of Napoleon). Napoleon is objectively involved in this event as well as any corporal who goes to war that day. The war was inevitable, it began according to the invisible historical will, which is made up of "billions of wills." The role of the individual in history is practically negligible. The more people are connected with others, the more they serve "necessity", that is, their will is intertwined with other wills and becomes less free. Therefore, public and state figures are the least subjectively free. "The king is a slave of history." (How does this thought of Tolstoy manifest itself in the depiction of Alexander?) Napoleon is delusional when he thinks he can influence the course of events. “... The course of world events is predetermined from above, depends on the coincidence of all the arbitrariness of the people participating in these events, and ... the influence of Napoleons on the course of these events is only external and fictitious” (Chapter XXVIII of the second part of the third volume). Kutuzov is right in that he prefers to strictly follow an objective process, and not to impose his own line, "not to interfere" with what should happen. The novel ends with a formula of historical fatalism: “... it is necessary to renounce the non-existent freedom and recognize the imperceptible; us dependence.” Attitude to war. The war turns out not to be a duel between Napoleon and Alexander or Kutuzov, it is a duel between two principles (aggressive, destructive and harmonious, creative), which are embodied not only in Napoleon and Kutuzov, but also in characters appearing on other levels of the plot (Natasha, Platon Karataev and etc.). On the one hand, war is an event contrary to everything human, on the other hand, it is an objective reality that means personal experience for the heroes. Tolstoy's moral attitude to the war is negative (anti-war pathos was already felt in his autobiographical early military stories). For comparison:
Dostoevsky condemned only civil ("fratricidal") war, but he saw a positive meaning in international wars: the strengthening of patriotism, the heroic principle (see: F. M. Dostoevsky. "Diaries of a Writer", chapter "Paradoxalist"). Note that Dostoevsky, unlike Tolstoy, never personally took part in military events. In peaceful life, a kind of “war” also takes place: between “war” (an aggressive beginning) and “peace” (a positive, harmonious beginning). Heroes representing a secular society, careerists - a kind of "little Napoleons" (Boris, Berg), as well as those for whom war is a place for the realization of aggressive impulses (nobleman Dolokhov, peasant Tikhon Shcherbaty) are condemned. These heroes belong to the sphere of "war", they embody the Napoleonic principle. The "personal" and "swarm" life of a person. It may seem that such a vision of the world is deeply pessimistic: the concept of freedom is denied, but then a person's life loses its meaning. Actually it is not. Tolstoy separates the subjective and objective levels of human life: a person is in the small circle of his biography (microcosm, "personal" life) and in the large circle of universal history (macrocosm, "swarm" life). A person is subjectively aware of his "personal" life, but cannot see what his "swarm" life consists of. At the “personal” level, a person is endowed with sufficient freedom of choice and is able to be responsible for his actions. A "swarm" life a person lives unconsciously. At this level, he himself cannot decide anything, his role will forever remain the one assigned to him by history. The ethical principle that follows from the novel is as follows: a person should not consciously relate to his “swarm” life, put himself in any relationship with history. Any person who tries to consciously participate in the general historical process and influence it is mistaken. The novel discredits Napoleon, who mistakenly believed that the fate of the war depended on him - in fact, he was a toy in the hands of an inexorable historical necessity. In reality, he was only a victim of a process started, as he thought, by himself. All the heroes of the novel, who tried to be Napoleons, sooner or later part with this dream or end badly. One example: Prince Andrei overcomes the illusions associated with state activities in Speransky's office (and this is correct, no matter how "progressive" Speransky is). People fulfill the law of historical necessity without knowing it, blindly, knowing nothing but their private goals, and only truly (and not in the "Napoleonic" sense) great people are able to renounce the personal, to be imbued with the goals of historical necessity, and this is the only way to become a conscious conductor of a higher will (an example is Kutuzov). Ideal being is a state of harmony, agreement with the world, that is, a state of "peace" (in the sense: not war). To do this, personal life must be reasonably consistent with the laws of "swarm" life. Wrong existence - enmity with these laws, a state of "war", when the hero opposes himself to people, tries to impose his will on the world (this is the path of Napoleon). Positive examples in the novel are Natasha Rostova and her brother Nikolai (harmonious life, taste for it, understanding of its beauty), Kutuzov (the ability to be sensitive to the course of the historical process and take their reasonable place in it), Platon Karataev (this hero has a personal life practically dissolves in the “swarm”, as if he does not have his own individual “I”, but only a collective, national, universal “We”). Prince Andrey and Pierre Bezukhov at different stages of their life journey are likened to Napoleon, thinking that they can influence the historical process with their personal will (Bolkonsky's ambitious plans; Pierre's passion first for Freemasonry, and then for secret societies; Pierre's intention to kill Napoleon and become the savior of Russia) , then they acquire the correct view of the world after deep crises, emotional upheavals, disappointments. Prince Andrei, after being wounded in the battle of Borodino, died, having experienced a state of harmonious unity with the world. A similar state of enlightenment came to Pierre in captivity (let us note that in both cases, along with simple, empirical experience, the characters also receive mystical experience through a dream or vision). (Find it in the text.) However, it can be assumed that Pierre's ambitious plans will return again, he will be carried away by secret societies, although Platon Karataev might not have liked this (see Pierre's conversation with Natasha in the epilogue). In connection with the concept of "personal" and "swarm" life, the dispute between Nikolai Rostov and Pierre about secret societies is indicative. Pierre sympathizes with their activities (“Tugendbund is a union of virtue, love, mutual help; this is what Christ preached on the cross”), and Nikolai believes that “a secret society is therefore hostile and harmful, which can only give rise to evil,<...>if you form a secret society, if you begin to oppose the government, whatever it may be, I know that it is my duty to obey it. And tell me now Arakcheev to go at you with a squadron and chop - I won’t think for a second and go. And then judge as you wish. This dispute does not receive an unequivocal assessment in the novel; it remains open. You can talk about "two truths" - Nikolai Rostov and Pierre. We can sympathize with Pierre along with Nikolenka Bolkonsky. The epilogue ends with Nikolenka's symbolic dream about this conversation. Intuitive sympathy for the cause of Pierre is combined with dreams of the glory of the hero. This is reminiscent of Prince Andrei's youthful dreams of "his own Toulon", which were once debunked. Thus, in Nikolenka's dreams there is a "Napoleonic" beginning that is undesirable for Tolstoy - it is also in Pierre's political ideas. In this regard, the dialogue between Natasha and Pierre in Ch. XVI of the first part of the epilogue, where Pierre is forced to admit that Platon Karataev (the person with whom the main moral criteria are connected for Pierre) “would not approve” of his political activity, but would approve of “family life”. The true meaning of life. The final phrase in the novel provokes the reader to make a pessimistic conclusion about the meaninglessness of life. However, the internal logic of the plot of "War and Peace" (in which it is no coincidence that the whole diversity of human life experience is recreated: as A. D. Sinyavsky said, "the whole war and the whole world at once") says the opposite. The meaning of life exists, but many do not understand it, continuing to live by inertia or setting "Napoleonic" goals for themselves. The most intelligent, thinking heroes of the novel (and the author himself along with them) say that the meaning of life is revealed under the condition of harmonious relations (unity, reconciliation) of a person with the world (with the people, with nature, with the “will of history”). The following example can be given: when Pierre tells Prince Andrei about Freemasonry and introduces him to the symbolism of the “stairs”, “chain links”, etc. (a conversation in Bogucharov), Bolkonsky replies that this is just a book “Herder’s teaching”, which is too abstract: "Life and death - that's what convinces." One could object to Prince Andrei: what he says is also rather abstract. However, throughout the course of the plot, Tolstoy gives the reader the opportunity to understand what is meant by this expression of Bolkonsky. The point is that the meaning of life can be perceived spontaneously and directly, through a specific life experience. First of all, these are experiences associated with the key moments of human life (“root situations of being”) - love, birth, death. So, the death of his wife and the birth of a son, love for Natasha constitute an inalienable life experience for Prince Andrei, but the final meaning of life is revealed to him only before death. Bolkonsky experienced the proximity of death twice - first near Austerlitz (and this also became an important milestone in his life), and then near Moscow. (Reread the chapters that talk about the last days of the life of Prince Andrei. Pay attention to the symbolism of the “door” and the comparison of death with “awakening” (understanding of reality as a dream, and death as awakening is characteristic primarily of Eastern religious and philosophical systems.) For many heroes, the experience of the nearness of death turns out to be an important milestone in personal growth (the first battle of Nikolai Rostov, Pierre's stay on the Raevsky battery and in captivity). However, the moment of revelation is not necessarily associated with the proximity of death. Tolstoy shows all the drama of human experience and all its diversity: much is revealed in situations of everyday life (the card loss of Nikolai Rostov), when communicating with nature (recall the description of the hunt, the famous oak in Otradnoye, let's also pay attention to frequent situations when the hero looks at the sky and reflects on the eternal: Pierre and the comet, Prince Andrei and the sky of Austerlitz, Natasha and the starry night in Otradnoye), while communicating with people (the life of Nikolai Rostov in the regiment). (Compare two storylines: the story of Prince Andrei's disappointment in Napoleon and the story of Nikolai Rostov's disappointment in Alexander. How do Bolkonsky and Rostov's feelings towards the "idol" differ? How does each of them perceive himself? What thoughts do they have about relatives and relatives? How does disappointment occur? What are the psychological consequences of disappointment in the "idol" for each of the characters? Draw conclusions about the characters of Bolkonsky and Rostov.) For people of the egocentric type, life ultimately depreciates, comes down to fussy service to one's whims (an example of this is the Kuragin family). Some heroes are able to feel the fullness of being, the fullness of life with deep meaning in the simplest, everyday situations - first of all, these are Natasha and Nikolai Rostov (see the description of the ball, the hunting scene). Other heroes come to this feeling only through exceptional (extreme, crisis, "threshold") situations, or, as Tolstoy writes, "radical situations of being" (in the words of Prince Andrei: "Life and death - that's what convinces"). For Prince Andrei, an example of such an encounter with "life and death" is Austerlitz, the death of his wife Lisa, and especially Borodino. For Pierre, this is a duel with Dolokhov, Borodino, and especially being in captivity after the execution of the arsonists, which struck the hero. Having survived such difficult moments, Prince Andrei and Pierre begin to better understand the meaning of life, or rather, to feel the fullness of life with meaning. Napoleon's Way. Napoleon is the embodiment of voluntarism and extreme individualism. He seeks to impose his will on the world (that is, on the vast masses of people), but this is impossible. The war began in accordance with the objective course of the historical process, but Napoleon thinks that he started the war. Having lost the war, he feels despair and confusion. The image of Napoleon in Tolstoy is not devoid of grotesque and satirical shades. Napoleon is characterized by theatrical behavior (see, for example, the scene with the "Roman King" in Chapter XXVI of the second part of the third volume), narcissism, vanity. The scene of the meeting between Napoleon and Lavrushka is expressive, wittily “thought-out” by Tolstoy in the wake of historical materials. Napoleon is the main emblem of the voluntaristic path, but many other heroes follow this path in the novel. They, too, can be likened to Napoleon (cf. "little Napoleons" - an expression from the novel). Vanity and self-confidence are characteristic of Bennigsen and other military leaders, the authors of all kinds of "dispositions" who accused Kutuzov of inaction. Many people in secular society are also spiritually similar to Napoleon, because they always live as if in a state of "war" (secular intrigues, careerism, the desire to subordinate other people to their own interests, etc.). First of all, this applies to the Kuragin family. All members of this family aggressively interfere in the lives of other people, try to impose their will, use the rest to fulfill their own desires. Some researchers pointed to the symbolic connection between the love story (the treacherous Anatole’s invasion of Natasha’s world) and the historical one (Napoleon’s invasion of Russia), especially since the episode on Poklonnaya Hill uses an erotic metaphor (“And from this point of view, he [Napoleon] looked at lying in front of him, an oriental beauty [Moscow] that they had never seen before,<...>the certainty of possession excited and terrified him" - ch. XIX of the third part of the third volume). True and false in human life. One of the important ideological confrontations for Tolstoy in the novel "War and Peace" is Truth and Falsehood. The contrast between the true (genuine, natural) and the false (imaginary, artificial) is a pervasive motif of the novel. This opposition has the following important aspects. True and false communication between people. True communication presupposes naturalness and immediacy (“simplicity”). This is characteristic primarily of the Rostov family, as well as some other characters (Denisov, Marya Dmitrievna, Captain Tushin, Kutuzov, and others). "Simplicity" brings them closer to the people. False communication implies artificiality, it is communication by rules, it is feigned, theatrical, ultimately insincere and hypocritical. This is how it is customary to communicate in high society (the salon of Anna Pavlovna Sherer, the Kuragin family) and in political circles (Speransky). Prince Andrei Bolkonsky is initially inclined to live according to the rules of a secular society, but gradually these rules depreciate for him. Pierre Bezukhov first thinks about the deceitfulness of secular society after a duel with Dolokhov. For him, the "debauchery" and "evil" of the world are embodied in his wife Helen, daughter of Vasily Kuragin and sister of Anatole. In the future, the embodiment of "simplicity, goodness and truth" for him becomes a peasant soldier Platon Karataev, whom Pierre met in captivity. True and false patriotism. Tolstoy debunks the traditional emblems of patriotism (for example, "banners"), which imply the identification of the motherland with the state and its official policy. Rastopchin's pseudo-patriotic rhetoric does not arouse sympathy: this character is contrasted with the restrained-wise Kutuzov, who does not speak beautiful words about Moscow and Russia, but really seriously thinks about how to "drive out" the French as soon as possible. True and false beauty. Here the main opposition is living (natural, "warm") and lifeless (artificial, "cold") beauty. Another important opposition is internal (spiritual) and external (bodily) beauty. Consider a portrait of Helen. Depicting the "beauty", Tolstoy uses metaphors referring to inanimate matter ("marble" shoulders, on which it was like a varnish from the views, etc.). She is contrasted with Natasha, whose beauty is natural and therefore good (in addition, Natasha combines external charm and inner, spiritual beauty). Pay attention also to the portrait of Princess Marya (“ugly face”, but “radiant eyes”) and to the portrait of Kutuzov (physical weakness, but at the same time inner fortitude). In general, it seems that Tolstoy does not appreciate external (bodily) beauty, as if he does not trust it. It is noteworthy that Natasha Rostova in the epilogue of the novel loses her girlish vivacity, but the author stubbornly admires her. Such an attitude to the theme of beauty is connected with the conflict of ethical and aesthetic principles, the ideals of Beauty and Goodness, which is important for Tolstoy. Dostoevsky's statement that "beauty will save the world" is impossible in Tolstoy. We advise you to read Tolstoy's late article "What is Art?", in which the writer analyzes the history of the concept of beauty in European culture and philosophy from his ethical positions. True and false greatness. This theme arises in connection with Napoleon. “For us, with the measure of good and bad given to us by Christ, there is nothing immeasurable. And there is no greatness where there is no simplicity, goodness and truth.
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1 ARGUMENTS for an essay from Leo Tolstoy's novel "War and Peace"
2 1 The problem of hypocrisy. careerism problem. The problem of spiritual emptiness Tolstoy does not accept and severely condemns people whose goal is career, wealth, mercenary politicking, power, cruelty and the ability to kill. These people he refers to the world of war. To expose them, he develops his own method of "tearing off all and sundry masks." So, outwardly, we see elegance, intelligence, tact, high political interests in the salon. And internally these are false people, their conversations and behavior are hypocritical. For example, Prince Vasily, speaking on high political topics, thinks only about the arrangements of his son. Hiding selfish intentions, he speaks, "like a wound clock," "like an actor says the words of an old play."
3 For all the guests, "the smile merged with the unsmile." Constantly sounding French speech emphasizes the isolation of the nobility from the people, their interests, culture, 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, simple human feelings.
4 Helen Kuragina has never loved anyone, her heart is dead. She does not just get carried away and make mistakes, moving from admirer to admirer, she has a conscious line of behavior. That is why discord and evil appear, that she has no heart, there are only base instincts. The baseness of her behavior with Pierre, her relationship with Dolokhov and Boris Drubetsky, her ugly role in the story with Natasha and Anatole, her attempt to marry two husbands at once while Pierre is alive, all create the appearance of a depraved and prudent secular beauty. Pierre says about the Kuragins: “Oh, vile, heartless breed!”
5 2 The problem of consumer attitude to life, the desire for profit. The problem of the goal and the means to achieve it. The Problem of False Values in Life People of "war" can be dangerous to protect their vested interests. This is manifested in episodes of the struggle for the inheritance of the old Count Bezukhov. In the struggle for a will (for a mosaic briefcase), the true face of Prince Vasily is revealed, which is expressed through a portrait characteristic: “His cheeks began to twitch nervously, giving his face an unpleasant expression that was never shown on his face when he was in living rooms.” Pierre sees "the embittered face of the princess, which has lost all decency." The masks are torn off, the essence is exposed.
6 3 The problem of real life. The sincerity of the Rostovs is opposed to the artificial life of light. Two receptions (at Sherer and at the name-days of two Natalias) are different in everything. In the salon - a ceremony of greeting an aunt no one needs, the Rostovs have "gratitude to everyone without exception." Naturalness, lack of falseness, purity of the inner world, closeness to the people is manifested in a number of scenes. For example, Natasha Rostova is the personification of naturalness, happiness, love, sincerity and self-will. She is distinguished by cordial responsiveness (crying 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 the cake will be).
7 There is another way to get away from the empty, hypocritical life of light. This is a measured, meaningful life of the mind and soul. This is how the Bolkonskys live in the Bald Mountains. This is a "special breed" of people. All of them are distinguished by the similarity of their eyes, which glow with intelligence and kindness, "unaccustomed brilliance", Princess Marya has "radiant". They are connected by a deep work of thought, high intelligence, a penchant for mental activity, the depth of the spiritual world, pride, aristocracy.
8 4 The problem of true and false heroism How to distinguish true from false? For this, Tolstoy has two criteria: the true comes from the depths of a person’s soul and is expressed simply, without posture and “playing for the public.” The false, on the contrary, is generated by the low side of human nature and is always oriented towards an external effect. What does Tolstoy mean by the concept of "false heroism"? As long as a person wants to perform a feat primarily in order to be noticed, and dreams of a feat that is certainly beautiful, this, according to Tolstoy, is not yet real heroism. True heroism arises when a person thinks not about himself, but about the common cause and does not care about how he looks from the outside.
9 Captain Tushin is shown as a true hero in battle. There is nothing heroic about him. Before the fight, he says that he is afraid of death, but in the battle, "Tushin did not experience the slightest feeling of fear, and the thought that he could be killed or hurt painfully did not occur to him." He makes decisions on his own: "No one ordered Tushin where and with what to shoot, he decided that it would be good to set fire to the village." As a result, it was he who, with his battery, stopped the movement of the French in the center of the battle. The courage, heroism, selflessness of Tushin and his batteries are shown as the natural behavior of true heroes in the war.
10 5 False heroism Zherkov is brave in front of his superiors, cowardly in battle. He was sent to Tushin’s battery to convey the order to retreat: “Zherkov, smartly, without taking his hand off his cap, touched the horse and galloped. But as soon as he drove away from Bagration, his forces betrayed him. An insurmountable fear came over him, and he could not go where it was dangerous. Dolokhov also belongs to the pseudo-heroes, for whom the war is a way to regain the title 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 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. A wound with a bayonet, I remained in the front.
11 True heroism in war is shown first of all by ordinary people - soldiers, captain Tushin, captain Timokhin and others. "Simplicity, goodness and truth" are the main criteria for distinguishing the true from the false in "War and Peace".
12 Striving for glory, Prince Andrei performs a feat during the Battle of Austerlitz. With a banner in his hands, he raises the soldiers to attack: “Here it is! thought Prince Andrei, embracing the staff of the banner and hearing with pleasure the whistle of bullets, obviously directed against him ... He ran forward with undoubted confidence that the whole battalion would run after him. Indeed, he ran only a few steps alone. The whole battalion shouted "Hurrah!" ran forward and overtook him.
13 The wounded Bolkonsky sees Napoleon in front of him and understands that a person who is guilty of the death of thousands of people cannot be great. He understands that his former desire for glory is insignificant: “And his hero himself seemed so petty to him, with this petty vanity and joy of victory.” Thus comes disappointment in Napoleon, an understanding of the insignificance of a feat accomplished in the name of personal glory.
14 6 The problem of moral insight. The problem of finding the truth. The problem of a person's ability to reject erroneous ideas about life. The problem of the influence of nature on man Before the eyes of Prince Andrei, a clear high sky is revealed - a symbol of truth: “How quiet, calm and solemn, not at all the way I ran,” thought Prince Andrei, “not the way we ran, shouted and fought. .. clouds crawling across this high, endless sky is not at all like that. How could I not have 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. "
15 What does Prince Andrei include in this “everything”? (Vanity, lies, the struggle of vanities, the senselessness of war, the passion for Napoleon.) Instead of the former idol, he acquires high and eternal values \u200b\u200bthat he did not know before: the happiness of just living, the ability to breathe, to see the sky, to be.
16 7 The problem of finding the meaning of life. The problem of the goal of life (What goal should a person set for himself?) Pierre Bezukhov and Andrei Bolkonsky have a common goal to discover the meaning of human life and humanity as a whole. The path of doubts, grave crises, rebirths and new catastrophes is for them the path of self-knowledge and at the same time the path to other people. Pierre goes through a great evolution from affirming the progressiveness of Napoleon to recognizing the people's truth and practical participation in the secret Decembrist society in the name of just ideas and goals. His path is the path to the people's world, to the truth.
17 8 The problem of moral self-improvement. (Should a person struggle with his own shortcomings? Should a person work on himself?) Through delusions, mistakes, bitter disappointments, he seeks his place in life. Already in part 1 of volume 1 it becomes clear that Pierre's inner motives and the objective result of his actions contradict each other. For example, giving the word to Bolkonsky that he would stop communicating with the company of Kuragin and Dolokhov, he immediately, breaking his promise, goes to this company and participates in carousing, suffering from this contradiction himself. The test of wealth and idle life lead him to another delusion - marriage to Helen Kuragina. Pierre's blinding by the outward beauty of Helene, with inattention to her spiritual emptiness, shows the victory in him of the sensual principle over the spiritual and moral. He considers himself guilty that he married without loving, that he lied, saying to Helen: "I love you." It is his fault that he has associated himself with a world alien to him.
18 Pierre struggles with internal vices (Pierre's diary). He seeks to change the life of his peasants, for which he makes a trip to the Kyiv province. His activity does not bring results, because, as the author writes, "Pierre did not have that practical tenacity that would give him the opportunity to directly get down to business." All this activity brings him deep satisfaction, which he tells Andrei Bolkonsky in the scene of the meeting on the ferry: “I lived for myself and ruined my life. And only now, when I live for others, only now have I understood all the happiness of life.
19 9 The problem of guilt. The problem of repentance Seeing the "dead reproachful face of his wife", Bolkonsky suddenly realizes that he was cruel and unfair to his wife, demanded more from her than she was given. Realizing his guilt, he felt that something had been torn off in his soul. Prince Andrei condemns the cold, proud person in himself, and this is a new step in the moral quest of the hero.
20 10 The Problem of True Friendship Andrei Bolkonsky returned home from the war, ready for “peace”, and he was overwhelmed by the death of his wife and the fact that he felt guilty. Now he has an "extinct, dead look." He plunges into the care of his son and decides never to serve in the army again. “I lived for others, and not almost, but completely ruined my life. And since then it has become calmer, as I live for myself alone, ”he says to Pierre. Meeting with Pierre helped him come back to life. He sees the sky again, there is a desire to live a full life, to enjoy it.
21 “A meeting with Pierre was for Prince Andrei an epoch from which began, although in appearance it is the same, but in the inner world, his new life.” There is an absolute value in this conversation, independent of any future results, losses, defeats, moments of breathtaking intensity and fullness of human communication, a subtle interaction of thoughts and souls, an open exchange between them. Standing on the ferry while moving from one village to another, two people, who have forgotten about everything, solve eternal life questions.
22 11 The problem of the unity of man with nature Tolstoy speaks about nature, spiritualizing it, endowing it with human features (hands, fingers, old sores). Prince Andrei identifies himself with a sick tree (the pronouns “we”, “our” sound). "There is no spring, no sun, no happiness." Tolstoy's inner monologues are spoken not only by people, but also by trees. The famous oak, which Andrei Bolkonsky meets twice, is a confirmation of this. “Spring, and love, and happiness! as if this oak spoke. And how not to get bored of you. There is a spiritual rapprochement between Prince Andrei and oak, a rapprochement between the two worlds of man and nature. One at the edge of the road; the other is on the edge of a life not yet lived.”
23 Thoughts of Prince Andrei at the sight of an oak
24 Episode of a moonlit night in Otradnoye. Natasha Rostova lives with emotions, feelings, it is easy for her, so she feels the desire, squatting down and clasping her knees, to fly. Merging with nature inspires her and "raises" Bolkonsky towards spring. Thanks to Natasha and him, now it's "easy". Harmonious connection with nature gives Natasha a feeling of happiness.
25 12 The problem of attitude towards aging loved ones. The problem of relations between people of different generations Many episodes of the novel speak of how despotic and strict with his daughter the old prince Nikolai Bolkonsky, who in his own way loves her and wishes her well. He seeks to give his daughter a serious education, giving her lessons himself. Princess Mary resignedly submits to her eccentric and despotic father, not only out of fear, but also out of a sense of duty as a daughter who does not have the moral right to judge her father. At first glance, she seems timid and downtrodden. But in her character there is hereditary Bolkon pride, an innate sense of self-worth. With particular force, the firmness and strength of character of this modest, shy girl is revealed during the Patriotic War of 1812. When the French companion promised Princess Mary, who found herself in a difficult situation, the protection of her compatriots, she stopped communicating with her and left Bogucharovo, as her patriotic feeling was offended. When a stroke is made with her father, Princess Marya faithfully looks after him.
26 Petya, brother of Natasha Rostova, dies. Mother almost went crazy, and Natasha spends all the time with her. “She alone could keep her mother from insane despair. For three weeks, Natasha lived hopelessly with her mother, slept in an armchair in her room, gave her water, fed her and never stopped talking to her, talking, because one gentle, caressing voice calmed the countess. After the death of her son, the Countess turned from a flourishing, cheerful woman into an old woman. Natasha touchingly takes care of her mother. The girl finds the strength in herself to help her in everything. Love for her mother makes Natasha gather herself inwardly. “Love woke up, and life woke up.” Natasha does not spare herself, gives all her strength, willingly makes sacrifices for those she loves.
27 13 The problem of patriotism Old Prince Bolkonsky gathers the militia, arms them, preparing to defend himself to the last. And only the disease stopped him (paralyzed, he is taken to Bogucharovo). He feels pain for Russia: “Russia is dead! Ruined! Princess Mary, in a difficult moment of her life connected with the death of her father, is united in her patriotic moods with her father, with her brother, with the Russian people. She refuses Bourrienne's offer to surrender to the mercy of the French because "she felt like a representative of her late father and Prince Andrew".
28 Rostovs are distinguished by sincere patriotism, pain for their homeland. Nikolai is fighting in the war; Petya, still a boy, goes to war in 1812 with the consent of his parents and dies in the first battle. Natasha demands to give carts to the wounded. Rostovs leave their home, like many residents. In the scene of the departure of the Rostovs, when, at the insistence of Natasha, the carts will be given to the wounded, and the property will be left; again a common feeling appears (we are not Germans of any kind).
29 Andrei Bolkonsky refuses to serve in the headquarters. He no longer aspires to get into the higher spheres. Now he firmly knows that the fate of the Motherland is not decided there. Prince Andrei remains among the most needed people in the war, soldiers and officers of the army in the field. Dreams of personal glory no longer bother him. We see the unity of soldiers, militias in white shirts, officers and the commander-in-chief in the prayer scene, where the oath of allegiance to the Russian land is sounded.
30 14 The problem of heroism Through the description of the panorama of the Battle of Borodino, Tolstoy reveals the greatness of the battle and the inhumanity of the war. In the center of the description of the battle, scenes are given on Raevsky's battery. These people are busy doing business. Tolstoy shows their inconspicuous heroism as hard work in the war. They are united by friendship, brotherhood, the ability to defend the Motherland, to support each other with a joke, serious efficiency. Under the influence of the common actions of the soldiers of this battery, Pierre also becomes an assistant in a common cause, draws closer to the people, and he recognizes his own (“our master”) in him. Pierre bows before the soldiers, because they are simple and do not talk in vain, but do their job. This simplicity, with which Russian soldiers perform immortal feats, arouses Pierre's awe.
31 15 The problem of forgiveness (Is it necessary to forgive those who offended you? Is it necessary to forgive the enemy?) Andrei Bolkonsky is experiencing a new mental crisis after being wounded. He forgives Anatoly Kuragin in the hospital. “He remembered Natasha, and love, and tenderness for her, even more alive and stronger than ever, woke up in his soul.” Thoughts of universal forgiveness are born along with a stormy surge of religious feelings, faith in a wise Creator. A new understanding of the meaning of life opens up to him: “Compassion, love for brothers, for those who love, love for those who hate us, love for enemies, yes, that love that God preached on earth, which Princess Mary taught me and which I did not understand; that's why I felt sorry for life, that's what was left for me, if I were alive. But now it's too late. I know it!"
32 A person should also be merciful to his enemies, even though they kill your loved ones. An example of this is Kutuzov, who will show mercy and compassion for the French fleeing Russia. He understands that they acted on orders from Napoleon and did not dare to contradict him. Therefore, in the scene of Kutuzov’s speech to the soldiers of the Preobrazhensky Regiment, we see that they are united not only by a feeling of hatred for the enemy, but also by pity for the defeated, insignificant enemy: “It’s hard for you, but still you are at home; and they see what they have come to. Worse than the last beggars.
33 16 The problem of the inhumanity of war Tolstoy condemns the cruelty and inhumanity of war. In the scenes of the Battle of Borodino, using his favorite artistic device, the antithesis, he contrasts the “merry beautiful” field (before the battle) with a field dotted with dead bodies, the ground soaked in blood. Nature itself, interfering with the terrible deeds of people with rain, calls: “Enough, enough, people. Stop come to your senses What are you doing?”
35 17 The problem of the cult of individuals Tolstoy opposes the cult of individual great people, because such a cult of a great man automatically gives him power over other people, and Tolstoy adhered to the principle of complete equality of people. Consciously, Tolstoy emphasizes Kutuzov's external decrepitude, obesity, old age: “Physical strength left the old man. Several times his head sank low, as if falling, and he dozed off"; "Kutuzov still gained weight, flabby and swollen with fat ... He, heavily blurry and swaying, sat on his cheerful horse." By this he rejects the false cult of the superhuman hero.
36 Napoleon - commander of an army of robbers, marauders and murderers, "the most insignificant instrument of history, a man with a darkened conscience." His image shows the complete manifestation of the cult of personality, megalomania, narcissism, arrogance, vanity, hypocrisy, falsehood, posturing.
37 18 The problem of the role of personality in history. What influence does personality have on the course of history? In the novel "War and Peace" L. Tolstoy reflects on the role of the personality of the commander Kutuzov in history and in the war of 1812. Great is the role of that person in history who, together with his people, defends the freedom and national independence of his country. The strength and greatness of Kutuzov are manifested in the ability to pity and save people, in the inseparability of a commander and a modest person in him, in the fusion of politics and morality. Tolstoy sees the greatness of Kutuzov in the folk spirit of "simplicity, goodness and truth."
38 19 The problem of the strength of human relations Devotion involves the provision of assistance in difficult life circumstances, the desire to save from trouble. The heroes of Leo Tolstoy's novel "War and Peace", Andrei Bolkonsky and Pierre Bezukhov, are decent, noble people. Each of them goes his own way of moral quest. They are honest and frank with each other, they support each other in difficult times. At first, Prince Andrei supports Pierre, trying to protect his friend from the harmful influence of Dolokhov's company. Then Pierre (remember the scene on the ferry) arrives in Bogucharovo and helps Bolkonsky return to life after Austerlitz and the death of his wife. The highest manifestation of devotion to a friend is the upbringing of his son. In the family of Pierre and Natasha Rostova, the formation of Nikolenka Bolkonsky takes place after the death of Prince Andrei.
39 20 The problem of a person's loyalty to his duty (What helps a person not to deviate from the intended path?) Kutuzov, the hero of L. Tolstoy's novel "War and Peace", is faithful to his duty. Let us recall the scene of the council in Fili. This episode shows that the decision taken by Kutuzov to leave Moscow is the only way to save the army, on which the future victory depends. Tolstoy admired the wisdom and far-sightedness of the commander-in-chief, his ability to understand the situation, use his power and make an unpopular, but courageous and good decision. From here begins the dissatisfaction of the official authorities with Kutuzov, which will result in his resignation as soon as the French are expelled from the country. The resignation will turn for Kutuzov into a tragedy of loneliness and death. He accomplished his hard and great feat: the military campaign of the years has not yet been completed, but the people's war is over: the Fatherland is free. The voice of the narrator sounds sublime and impassive: "There was nothing left for the representative of the people's war but death. And he died."
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The problematics of the novel "War and Peace" includes several themes. Let's look at the main ones.
Real life theme
What is real life? Many heroes of the novel contribute to the development of society and are quite active people. However, real life is what is going on in their souls. We are talking mainly about the Rostovs, Bezukhovs, Bolkonskys, and even about ordinary peasants. The most sincere and real person is, without a doubt, Andrei Bolkonsky.
The life of Andrei Bolkonsky
What does he do throughout the novel?
He constantly strives for a real life and, when he finds something new, he believes that this is exactly what he lacked. First, he meets such a little cheerful Liza, who is not like him. Then he goes to war and sees his destiny in this. As a matter of fact, why not?
This is followed by a period of quiet life, and then he again leaves for the service. But a truly fateful event was his acquaintance with a slightly unusual and cheerful girl - Natasha Rostova. This issue of the novel "War and Peace", although not the main one, is by no means the last.
The life of Pierre Bezukhov
And what can be said about Pierre Bezukhov? He is also looking for a real life, but in the process of searching he paves his own, personal path. He thinks that Helen is destined for him, but he is mistaken. Then he becomes interested in Freemasonry and believes that this is the truth. Then the relationship with Natasha begins. In fact, immediately after meeting this girl, Bezukhov realized that she was strikingly different from the rest, but then he did not yet realize that he had been waiting for her all his life. Later it will become a discovery for him.
The rest of the heroes of the work are also looking for real life. Some will find it, some won't, but everyone is desperate to find it. the novel "War and Peace" is close to many modern people.
Family Theme
The family for the writer is the basis for the development of the human soul.
So it really is. On the example of several families, the author expresses his opinion about the hearth. The novel tells in detail about the Kuragins, Rostovs and Bolkonskys. These are the main characters of the work.
Rostov and Bolkonsky
As for the Rostovs and Bolkonskys, their way of life originates from national traditions. This can best be seen in the first example. Members of this slightly naive and noble family live by momentary impulses and feelings, however, seriousness is not alien to them. In addition, they are inherently tall and this makes them look like the Bolkonskys. This issue of the novel "War and Peace" is very interesting, when studying the work, one should focus on it.
Kuragins
And what about the Kuragins? These people do not value family relationships at all. How much meanness and meanness in each of them ... In their family there is neither love nor mutual assistance. The mother is jealous of her daughter, the father treats his sons badly, calling them both fools. This family consists exclusively of egoists, some of its members are surrounded by a certain veil of romance and create a pleasant impression, but this is only an appearance.
These people caused a lot of trouble to others. For a long time, Tolstoy's thoughts were occupied by precisely this problem. "War and Peace" generally shows the true attitude of the author to many important things.
The theme of the people and personality
In this work, the image of the people is in the first place in importance. It embodies such qualities highly valued by Tolstoy as sincerity, mercy and simplicity. A person has no value if he is separated from the people. And if he is a particle of a large group of people, then his life has meaning.
The Russian people have done a lot to save their country, and this thought runs like a red thread throughout the novel. Tolstoy's main work on patriotism is War and Peace. Its problems are not limited only to this, but this topic is the main one. At that terrible time, people united.
Regardless of age, gender and class, in the soul of every person settled to the Motherland, expressed not in beautiful reasoning, but in actions, often spontaneous, unconscious, but contributing to a favorable outcome.
However, some people remained on the sidelines. These are the so-called "military drones", among whom there was hostility, and they were also extremely concerned about their careers. The novel shows how Russia was divided into two camps: true patriots and hypocrites. This is undoubtedly the main issue. "War and Peace" is a work created in order to tell about exploits and meanness, about truth and hypocrisy, about all human manifestations inherent in people who lived at that distant time.
Many destinies are reflected in Tolstoy's novel. Of course, they are all different, but there are many similarities in them. When the war came, no one could stand aside, even if they wanted to, this historical event affected absolutely everyone. It's just that some showed their best side, while others showed their worst qualities.
Lesson topic:
“L.N. Tolstoy’s novel “War and Peace”. Problems, images, genre.
Epigraph:
from screaming
outbursts of dying old man, everything
everything is in this picture.
N. Strakhov .
Lesson Objectives:
Educational: - to acquaint with the history of the creation of the novel, to reveal its genre originality;- reveal the meaning of the name of the novel - epic;- to reveal the meaning of the concepts of "peace", "war"; -identify issues;Developing: - develop the creative potential of students;- to develop in students the ability to express their thoughts and feelings in the correct literary language;- to improve the ability to create their own statements (to formulate conclusions), to improve the monologue speech of students.Educational: - to form in students the moral qualities of the individual, attitudes and beliefs, instilling a sense of pride in the Russian land, people;- to cultivate an attentive, careful attitude to the native word.
Lesson type : A lesson in learning new material.
Methods and techniques : heuristic method, teacher's word;Lesson equipment : laptop, screen, projector, presentation;
Literature : Yu.V. Lebedev Literature grade 10 (part 2); Bibliographic dictionary;Explanatory Dictionary of the Living Great Russian Language by V.I.Dal.
Internet resources:
Slide #1
Today we begin to study an unusual work. For more than 150 years, interest in it has not faded in many countries of the world. The novel "War and Peace" by Leo Tolstoy is one of the most patriotic works in Russian literature of the 19th century.
Of all the artistic creations of Tolstoy, and they are all beautiful, this novel of his is the most significant, sublime, morally pure and life-affirming.
Slide #2
K. Simonov, a famous poet and prose writer of the 20th century, recalled: “For my generation, who saw the Germans at the gates of Moscow and at the walls of Stalingrad, reading “War and Peace” at that period of our life became an unforgettable shock not only aesthetic, but also moral ... It was "War and Peace" that became during the war years the book that most directly strengthened the spirit of resistance that engulfed the country in the face of enemy invasion ... "War and Peace" was the first book that came to our mind then, on war."
Slide #3
Write down the topic of the lesson: "L.N. Tolstoy's novel" War and Peace ". Problems, images, genre.
Slide #4
Epigraph:
All passions, all moments of human life,
from screaming newborn child to the last
outbursts of dying old man, everything
sorrows and joys available to man -
everything is in this picture.
N. Strakhov .
Slide #5
The first reader of the novel, the writer's wife Sofya Andreevna Tolstaya, wrote to her husband: spiritually your novel. Over the novel "War and Peace" by L.N. Tolstoy worked from 1863 to 1869. It was the best time of his life. Sixties of the 19th century. He was at the age that the ancient Greeks called "akme" - the age of full maturation of all the physical and spiritual forces of man.
For seven years he worked on the novel as an artist and as a historian. Often the chapters were rewritten 12-13 times. The novel demanded from the writer the maximum creative return, the full tension of all spiritual forces. During this period, Tolstoy said: "On every day of work, you leave a piece of yourself in the inkwell."
He took for him an epochal event that shook the world in the 19th century - the Patriotic War of Russia with Napoleon and his troops, gathered from almost all countries of Western Europe.
Science and art merged into an indissoluble unity. Dostoevsky rightly wrote about this: “I drew an irresistible conclusion that the writer is an artistic one, in addition to the poem, he must know to the smallest accuracy (historical and current) the reality depicted. In our country, in my opinion, only one shines with this - Count Leo Tolstoy.
Contemporaries were fascinated, delighted, and, of course, immediately began sharp and long disputes. The Slavophiles recognized in Tolstoy their adherent. DI. Pisarev, an evil and implacable critic of the nobility, condescendingly reproached the author of the novel for the idealization of the nobility, for his "involuntary and natural tenderness" for his noble heroes.
Slide #6
We have to deal with many issues in the process of studying the novel "War and Peace", and today we will work according to the following plan:
1. Time of creation and historical basis of the novel
2. The meaning of the name
3. Image system
4. Genre originality
5. The problems of the novel
Slide number 7
And we proceed to the first point of our plan.
Time of creation and historical basis.
Student message:
Initially, the story on the modern theme "Decembrists" was conceived, only three chapters remained of it. Sofya Andreevna Tolstaya, the writer's wife, notes in her diaries that at first L.N. Tolstoy was going to write about the Decembrist who returned with his family from Siberia, and the action of the novel was to begin in 1856 (amnesty of the Decembrists by decree of Emperor Alexander 2), before the abolition of serfdom. In the process of work, the writer decided to tell about the uprising of 1825, then pushed back the beginning of the action to 1812.- time of childhood and youth of the Decembrists. But since the Patriotic War was closely connected with the campaign of 1805-1807. Tolstoy decided to start the novel from that time.
As the idea progressed, there was an intense search for the title of the novel. The original, "Three Pores", soon ceased to meet the content, because from 1856 and 1825 Tolstoy went further and further into the past; only one time was in the center of attention - 1812.
So a different date appeared, and the first chapters of the novel were published in the Russky Vestnik magazine under the title "1805". In 1866, a new version appeared, no longer specifically historical, but philosophical: "All is well that ends well." And, finally, in 1867 - another name, where the historical and philosophical formed a kind of balance - "War and Peace".
The writing of the novel was preceded by a huge work on historical materials. The writer used Russian and foreign sources about the war of 1812, carefully studied the archives, Masonic books, acts and manuscripts of the 1810-1820s in the Rumyantsev Museum, read the memoirs of contemporaries, family memoirs of Tolstoy and Volkonsky, private correspondence from the era of the Patriotic War , met with people who remembered 1812, talked with them and wrote down their stories. Having visited and carefully examined the Borodino field, he compiled a map of the location of Russian and French troops. The writer admitted, talking about his work on the novel: “Wherever historical figures speak and act in my story, I did not invent, but used the material from which I accumulated and formed a whole library of books during my work.”
teacher's word
So, the novel was written in the 60s of the 19th century, the year a new, post-reform era of Russian history began. The government of Alexander 2 abolished serfdom, but did not give the peasants land, and they rebelled. The Decembrists were returned from Siberia, but Chernyshevsky was sentenced to 20 years hard labor. The state was undermined by the failures of the Crimean War.
A participant in the battles in Sevastopol, Tolstoy arrives in St. Petersburg. At the same time, the Decembrists with their families are returning from Siberia under an amnesty. It was at this time that the writer had the idea to write a novel about the Decembrists. But he began to fulfill this plan only in 1863.
Slide #8
Let's see how he defined the idea himself
1856 - the beginning of the idea.
1856, when, following the end of the Crimean War, the royal mercy granted forgiveness to the prisoners of Siberia, and the hero of the "Decembrists" returns to his ancestral Moscow nest.
"In 1856, I began to write a story with a well-known direction and a hero who should be a Decembrist returning with his family to Russia."
1825 . But then Tolstoy decided to move on to the era of his hero's delusions and start the story from 1825. At this time, his hero is already a mature person.
“Involuntarily, I passed from the present to 1825, the era of my hero’s delusions and misfortunes.”
1812 - war. The decisive link in the plot fell out - the youth of the hero, which coincided with the Patriotic War of 1812.
“In order to understand my hero, I had to go back to his youth, and his youth coincided with the glorious era of 1812 for Russia.”
1805-1807 years - foreign campaigns of the Russian army.
“I was ashamed to write about our triumph in the fight against Bonaparte France without describing our failures and our shame.”
teacher's word
Thus, the author begins the story from 1805, with its culmination, unpleasant for the Russian army, - Austerlitz (Russia lost this battle) - "the time of our failures and our shame," as Tolstoy notes. According to Tolstoy, he was "ashamed to write about the triumph of Russian weapons in the fight against Bonaparte France, without describing the failures in the war of 1805-1807."
Huge material has been accumulated about the historical events of 1805-1856. and the plot of the novel changed. The events of 1812 turned out to be in the center, and the Russian people became the hero of the novel. L.N. thick wrote:"Most of all in the novel, I loved the thought of the people." The main problem is the fate of the people, the people are the basis of the moral and moral foundations of society.
Slide #9
Chronology of the novel.
The novel "War and Peace" tells about the struggle between Russia and Napoleonic France.The novel includes 4 volumes and an epilogue. .
The 1st volume describes the events of 1805, when Russia fought in alliance with Austria on its territory.
In the 2nd volume - 1806 - 1811, when Russian troops were in Prussia.
Volume 3 - 1812 - Napoleon's troops invaded Russia.
Volume 4 - 1812 - 1813 - Patriotic war and its consequences.
The 3rd and 4th volumes are devoted to a broad depiction of the Patriotic War of 1812, which Russia waged on its native land.
In the epilogue, the action takes place in 1820. Thus, the action of the novel covers 15 years. The action takes place either in St. Petersburg, or in Moscow, or on the estates of Bald Mountains and Otradnoye. Military events - in Austria and in Russia.
Slide #10
The meaning of the name.
L.N. Tolstoy began publishing the novel even before it was completed. In 1865 - 1866 in the journal "Russian Messenger" appeared a version of the first volume under the title "1805". And only at the end of 1866 the title "War and Peace" appeared.
Did you know that in the 19th century the words MIR and MiR in Russian differed in meaning? Here are the meanings of these words in the dictionary of V.I. Dalia:
WORLD -
Absence of war, quarrels - Consent, unanimity - Calmness
Mir -
Universe - Globe - All people - Community, society of peasants
In modern Russian there is a single spelling of this word. They are considered homonyms, and each word, in turn, has many meanings. (Give an example with the word "porcelain": 1. service; 2. material).
Here is how the meanings of these words are defined inAcademic Dictionary :
WORLD 1
1. All forms of matter in terrestrial and outer space 2. Globe, Earth 3. All living things, everything around 4. People in general 5. Order, structure of life
WORLD 2
1. Consent, no disagreement 2. No war 3. Cessation of hostilities, peace treaty 4. Peace, prosperity
teacher's word
How do you understand such concepts as "peace", "war"?
Slide #11
Let's write down in a notebook the meaning of the words "war", "peace" in the understanding of L.N. Tolstoy:
War (in Tolstoy's narrative) - not only military clashes between warring armies, it is generally enmity, misunderstanding, selfish calculation, lies, hypocrisy, baseness in human relations.
World - this is the life of the people without war, this is the whole people, without distinction of estates, united by a single feeling of pain for the fate of the fatherland.
Thus, "Peace" is not only a peaceful life without war, but also that community, that unity to which people should strive. “War” is not only bloody battles and battles that bring death, but also the separation of people, their enmity. From the title of the novel, its main idea follows, which Lunacharsky successfully defined: “The truth lies in the brotherhood of people, people should not fight with each other. And all the characters show how a person approaches or departs from this truth.
Slide #12
Image system.
There are about 600 characters in the novel, among them about 200 are real historical figures: Napoleon, Alexander I, Kutuzov, Bagration and others; representatives of the nobility and the people are shown.
All heroes can be conditionally divided intofavorite (« people of the world" ) Andunloved (« people of war" ). Kutuzov, Bolkonsky, Rostov, Timokhin, Platon Karataev are people of the world, because they are driven by a thirst for consent. They hate not only war in its truest sense, but also the lies, hypocrisy, selfishness that divide people.
War exists not only in war. In the ordinary, everyday life of people separated by social and moral barriers, conflicts and clashes are inevitable. Prince Vasily, his children, Count Rostopchin, Drubetskoy - people of war, because. they are driven by a feeling of envy, selfishness.These are people (regardless, of course, of their personal participation in military events) who bring disunity, enmity, and criminal immorality.
teacher's word
Thus, the people of the world, Tolstoy's favorite heroes, seek the meaning of life, make mistakes, suffer, live a complex inner life. Unloved people make a career, achieve some success, but do not change internally.
Slide #13
Genre originality.
Already Leo Tolstoy's contemporaries felt that "War and Peace" is a book of a complex genre. I.S. Turgenev wrote that this work includes an epic, a historical novel and an essay on morals. While working on the work, Tolstoy understood that “the whole Russian life of that time” could not be reflected on its pages. Therefore, the subject of the image is not the life of a person, not the life of a generation, but "the activity of all the people who took part in the event." Gradually, the work becomes "a story not about people, not about events, but about life in general, about the course of life." The changed idea demanded not only a change in the name, but also a new genre form. Tolstoy himself called his offspring just a book, not accepting the "scientific" characteristics of War and Peace.
Consider the main features of the epic. Let me remind you that there are about 600 characters in the novel, about 200 of them are historical persons.
While working on the work, the writer had to re-read a lot of historical literature. Having done such a great job, Tolstoy came to the conclusion that almost everywhere the events are described "from the words of various generals." He actually created a new method of depicting historical events. A private person, in the writer's view, is included in history not only when he directly participates in wars, battles, but throughout his private life he constantly, sometimes unconsciously creates history.
Let's deal with the concept of "epic novel ».
Tolstoy himself said: “What is War and Peace? 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.
And he expressed it in the form of a novel - an epic.
According to the Dictionary of Literary Terms, ed. L. I. Timofeeva:
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 broad, multifaceted, even comprehensive picture of the world, including historical events, and the appearance of everyday life, and a many-voiced human choir, and deep reflections on the fate of the world, and intimate experiences. Hence the large volume of the novel, more often not many volumes.
* Epic novel (from "epic" and Greek. Poieo- I create)– This is a large work of art of an epic nature. One of the most famous examples of the epic is Homer's Iliad. Epos is one of the three types of literature, characterized by an objective narrative character.
Slide #14
So, let's highlight the characteristic features of the epic:
In the center of the narrative is a decisive historical event that is important for the entire nation as a whole, and its main driving force is the people;
Tells about the great deeds of folk heroes, historical figures;
One of the characteristic features of the epic is considered to be a multi-plot, the plots are superimposed on the fate of various personalities, families, there are many characters in the work;
Depicts a large period of time, a whole era in the life of the people.
Slide #15
Revealing the features of the epic in the novel "War and Peace".
- Pictures of Russian history (Battles of Shengraben and Austerlitz, the Peace of Tilsit, the war of 1812, the fire of Moscow, the partisan movement).
Events of social and political life (freemasonry, Speransky's legislative activity, the first organizations of the Decembrists).
Relations between landlords and peasants (transformation of Pierre, Andrei; revolt of the Bogucharov peasants, indignation of Moscow artisans).
Display of various segments of the population (local, Moscow, St. Petersburg nobility; officials; army; peasants).
A wide panorama of everyday scenes of noble life (balls, high society receptions, dinners, hunting, visiting the theater, etc.).
A huge number of human characters.
Long time span (15 years).
Wide coverage of space (Petersburg, Moscow, Lysyye Gory and Otradnoye estates, Austria, Smolensk, Borodino
teacher's word
Thus,Tolstoy's idea required the creation of a new genre, and only an epic novel could embody all the author's conditions.
Slide #16
The problems of the novel
What is a problematic?
Answer: Problematics - the selection and comprehension by the author of those aspects of phenomena and characters that are of most interest to the writer.
The complexity and depth of the content of "War and Peace" required that the components of many genres of realistic prose intertwine in this book.
Let me remind you that the epic novel involves several aspects of the image of life:
Historical - appeal to real historical events;
Philosophical - reflections on the laws of life, on the place of man in the historical process;
Moral - a deep and multifaceted display of the inner world of a person, the search for the meaning of life.
Slide #17
Based on the foregoing, let's try to identify the genre elements in the epic novel War and Peace.
1. Family household (in the center of the story are several generations, several families, « family issues”: love, engagement, marriage, birth and upbringing of children, etc.);
2. Psychological (showing the growing up of heroes, the formation of personality, analysis of the "dialectics of the soul" of the characters (psychological analysis);
3. Philosophical (views on the historical process; life and death, war and peace, the universe and man; the concept of non-resistance to evil by violence);
4. Historical (presence of real historical persons; use of historical documents; social and political conflicts of the era).
Slide #18
Summarizing:
Tolstoy was able to raise the fundamental questions of people's life and
to create a heroic epic at a time when in many radical circles the very thought of Russia caused only annoyance or outright ridicule. We observe how in the novel one generation replaces another. The epic shows a large period of time from 1805 to 1820. Tolstoy showed an entire era.
John Galsworthy wrote of "War and Peace": "If I had to name a novel that fits the definition so dear to the compilers of literary questionnaires:" the greatest novel in the world "- I would choose" War and Peace ".
Homework
Grading
Verification work. Purpose: to determine the degree of assimilation of the material.
Answer the questions briefly.
1. About whom was Leo Tolstoy's novel originally conceived?
2. How many years did the writer work on the novel, if possible, indicate the dates._________________________________________________________________________
3. What historical events are reflected in the novel? ____________________________________________________________________________
4. What meaning did the writer put into the concept of "world"? ________________________________________________________________________________________________________________________________________________________________________________________________________________________________
5. Why can the work of L. N. Tolstoy "War and Peace" be called an epic novel?
