Sections: Literature

Class: 10

Lesson objectives:

• Help students determine the main method of constructing an epic novel by L.N. Tolstoy "War and Peace".
• Develop the skill of analyzing an epic work.
• Cultivate interest in the subject.

Equipment:

• silhouette of L.N.'s face Tolstoy, cut from white paper;
• place the word “clutch” in the center of the board, attach a question mark just above it (where the topic of the lesson is usually written);
• texts of the novel by L.N. Tolstoy "War and Peace".

Advance task for the lesson:

Find statements from literary scholars about the composition of the novel by L.N. Tolstoy "War and Peace".

During the classes

I. Goal setting.

Who can answer the question: what technique (principle) underlies the construction of L.N.’s novel? Tolstoy's "War and Peace" at all individual levels (thematic level, level of individual episodes, scenes, detailed level, figurative, etc.)?

Are you silent? Not a single hand? Well done! And there’s nothing wrong with that, because no one will answer – neither you nor me. Let's think and reflect together. Write down the topic... Although not. We will write down the topic at the end of the lesson, formulating it together based on an analysis of the literary material.

So, during the lesson we will have to answer the question: what technique underlies the construction of the novel “War and Peace”? To help you somehow, I want to give you a little hint. The key word for today's lesson should be the word " clutch"(pay attention to the board).

II. Motivation of students (introduction to the topic of the lesson, the mood for serious work).

“Printing a work for which I have devoted four years of incessant labor best conditions life and the best period of my life, I would like readers to receive at least a small share of the pleasure that I experienced during this work,” wrote the author of “War and Peace.”

Every responsive reader can fulfill the author’s wishes without setting himself any study goals. But “War and Peace,” starting from the title, leads the reader into such vast spaces, draws him into such an unstoppable flow of life that he inevitably becomes a researcher. Humanity has books in its great literatures that rise like the greatest peaks of the Earth. Climbing to these heights, where hundreds of millions have already been, is an untrodden path for everyone. This test is necessary and desired, an anxious and - let's believe - happy test of oneself.

III. Checking homework.

In the novel, Tolstoy traces the fates of individual characters and the fates of entire families. His characters are connected by family, friendship, love relationship. The writer constantly transfers the action from one place to another. The novel develops many plot lines.

Let's listen to what famous literary scholars say about the composition of an epic novel. Maybe these statements will help us get closer to the answer to the question (we present only some statements).

Already the first readers of the novel “War and Peace” were amazed by the perfection of its composition. Here, for example, is what N.N. said. Strakhov: “What a bulk and what harmony! No literature presents us with anything like this. Thousands of faces, all possible spheres of public and private life, history, war, all the horrors that exist on earth, all passions, all moments human life, from the cry of a newborn child to the last flash of feeling of a dying old man, all the joys and sorrows available to a person, all kinds of emotional moods, from the feelings of a thief who stole chervonets from his comrade, to the highest movements of heroism and thoughts of inner enlightenment - everything is in this book. Meanwhile, not a single figure obscures another, not a single scene, not a single impression interferes with other scenes and impressions, everything is in place, everything is clear, everything is divided and everything is in harmony with each other and with the whole. Such a miracle in art, moreover, a miracle achieved by the simplest means, has never happened in the world.” (N.N. Strakhov. “War and Peace.” Work by Count L.N. Tolstoy. 1869).

“Continuity of plot development, plot flow is the basic principle of the composition of War and Peace. The narrative form holds all the episodes together and cements the entire composition. This is the foundation on which the entire work is built.” (A.A. Saburov. “War and Peace” by L.N. Tolstoy. Problematics and Poetics. 1959).

“The episodes of War and Peace are connected among themselves primarily not by the unity of action, in which the same characters participate, as in an ordinary novel; these connections are secondary in nature and are themselves determined by another, more hidden, internal connection. From the point of view of the poetics of the novel, the action in War and Peace is very unfocused and uncollected. It diverges in different directions, develops parallel lines; the internal connection that constitutes the “basis of cohesion” lies in the situation, the basic situation of human life, which Tolstoy reveals in its most diverse manifestations and events.” (S. Bocharov. L. Tolstoy’s novel “War and Peace”. 1978).

“Of course, this is not a fresco, and if we stick to comparisons from the same series, “War and Peace” is rather a mosaic in which each pebble sparkles on its own and is included in the brilliance of the entire composition.” (P. Weil, A. Genis. Native speech. 1995).

As we can see, in all studies devoted to “War and Peace” attention is drawn to the complexity and at the same time harmony of the composition. And in one of the excerpts from critical works the children read, our word flashed through - the clue “clutch”. Let us also try to open at least a little and enter into the secrets of Tolstoy’s stylistics.

IV. Analysis of literary material.

First training situation.

In the first chapters, Tolstoy, it would seem, calmly and leisurely describes a social evening that has no direct relation to everything that happens next. But here - unbeknownst to us - all the “threads”, storylines (SL) are tied up.

Identify these lines, themes - there are about a dozen of them. Reflecting on them, we can see one of the already mentioned compositional foundations of the novel - what Tolstoy called “cohesion.” (Students draw up their answers schematically in their notebooks, leaving space for writing down the topic and drawing up a diagram of “links”).

Here are possible student answers.

Pierre looks at the beautiful Helen for the first time with “almost frightened, enthusiastic eyes,” “when she passed by him.”

SL: Pierre – Helen

Anna Mikhailovna Drubetskaya comes here to place her son in a warm place in the guard. “The elderly lady bore the name of Princess Drubetskaya, one of the best surnames in Russia, but she was poor, had long since left the world and had lost her previous connections. She has now come to secure a placement in the guard for her only son.”

SL: Boris Drubetskoy, careerism in the army, “true” and “false” warriors

Here Pierre makes one discourteous thing after another and, leaving, is going to put on the general’s cocked hat instead of his hat. “... he (Pierre), as they say, did not know how to enter the salon and even less knew how to leave it, that is, before leaving, say something especially pleasant. Besides, he was distracted. Getting up, instead of his hat, he grabbed a triangular hat with a general's plume and held it, pulling the plume...

- Well, have you finally decided to do something? Will you be a cavalry guard or a diplomat? – asked Prince Andrei after a moment of silence.

Pierre sat down on the sofa, tucking his legs under him.

– You can imagine, I still don’t know. I don’t like either one.”

SL: Pierre and the search for a place in life

Here it becomes clear that Prince Andrei does not love his wife and did not know yet true love, - she can come to him at her own hour, much later, when he meets and appreciates Natasha. “He apparently not only knew everyone in the living room, but was already so tired of him that he found it very boring to look at them and listen to them. Of all the faces that bored him, the face of his pretty wife seemed to bore him the most. With a grimace marring his handsome face, he turned away from her.”

SL: Prince Andrey and finding the meaning of life

Here they decide to marry Anatole to Princess Marya. “Have you ever thought about marrying your prodigal son Anatole... I have onepetitapersonne, who is very unhappy with her father, is a girl... our relative, Princess Bolkonskaya. “Prince Vasily did not answer, although with the quickness of thought and memory characteristic of secular people, a movement of his head showed that he had taken this information into account.”

SL: Bolkonskie and Kuragin

“... Austria has never wanted and does not want war. She's betraying us. Russia alone must be the savior of Europe.”

“The main theme of the novel is “people's thought”, Russia is a liberator.

“...I often think how unfairly the happiness of life is sometimes distributed.” (Anna Pavlovna Sherer).

The theme of happiness in human life.

“You know, my husband is leaving me... He is going to his death. Tell me why this nasty war."

The theme of war as an anti-human phenomenon, the continuation and development of the theme stated in “Sevastopol Stories”, etc.

Now read the concluding phrase of Chapter IV of Part I of Volume I. (“…when and where will I see someone…”).

See how this relates to our keyword. Themes, ideas, storylines stated literally in the first lines of the novel will develop, intersect, and reveal themselves in the future. This means that we can conclude that coupling occurs, as the examples you gave show, at several levels. Which ones? (thematic level, hero level). Let's fill out our diagram (teacher on the board, children in notebooks).

But there are other levels in the work. Is it possible to find “clutches” there? Let's look for the answer together.

Second training situation.

The class is divided into three groups and completes one of the tasks below.

1. Episode “Salon A.P. Scherer” is “linked” (using Tolstoy’s own word, denoting the internal connection of individual paintings) with a description (Chapter VI) of the entertainment of St. Petersburg’s “golden” youth. What is the point of describing youth? ( This is “salon stiffness” in reverse. This description complements the characteristics of a secular society).
2. Episode “Salon A.P. Scherer" is linked by contrast (a characteristic compositional device) with the episode "Name Day at the Rostovs" (chap. XIV-XVII, part I, vol. I). How is the atmosphere in the Rostovs’ house different from the atmosphere in A.P.’s salon? Scherer? How are the young Rostovs contrasted with the St. Petersburg “golden youth”?
3. Episode “Salon A.P. Sherer" and the episode "Name Day at the Rostovs" are in turn linked to the last chapters of the first part, depicting the Bolkonsky family nest (chap. XXII-XXV). Try to establish an internal connection between these episodes. How do the atmosphere and relationships of people in Bald Mountains contrast with their depiction in A.P.’s salon? Scherer, and in what - in the Rostovs’ house?

(In order to save time during the lesson, these tasks can be given as advance ones. Regardless of when the task is offered - a lesson, homework- it is useful to recommend to the guys the following plan for analyzing episodes, reminding them that L.N. Tolstoy is a writer-psychologist, a master of artistic detail, for whom the slightest gesture, tilt or turn of the head, the shine of the eyes, etc. are important:

A) portrait characteristic, characters of the episode (details of appearance, clothing);
b) the relationship of the characters with each other in the analyzed episode;
c) behavior, gestures, feelings, facial expressions, mood of the characters, variability, staticity.

In general, students’ answers to questions 2 and 3 were as follows: these episodes are “linked” according to the principle of contrast. The Bolkonsky and Rostov families are real, natural heroes, guests of A.P. Scherer and she herself are masks, puppets; everything about these “people” is artificial.

The “real life” of the Rostov family is inextricably linked with the House, the estate. It is no coincidence that the daily life of the Rostovs in the Moscow house, and the Bolkonskys in the Bald Mountains estate, is described in such detail. The artificial life of the “cream of society” takes place in St. Petersburg salons. Visitors to these salons do not have family life, there is only an imitation of it.

The Rostov family is an ideal harmonious whole. Love binds all family members (the dissonance is cold Faith). It manifests itself not in sentimental exaltation of feelings, but in sensitivity, attention, and closeness (“Only the heart is vigilant.” Exupery). With the Rostovs, everything is sincere, it comes from the heart. Name day scene in the Moscow house of the Rostovs. At this moment, one can feel the spiritual harmony reigning in the heroes’ house. Love breeds trust. Parents raise their children by giving them all their love. They can understand, forgive and help. And children answer their parents in the same way. Rostovs are simple. Life of the heart, wise intuition, lack of mentality, honesty and decency determine their relationships and behavior.

In contrast, the Bolkonskys are proud. These are the aristocrats in in the best sense. The Bolkonsky family is described with undoubted sympathy. From generation to generation, all the best spiritual qualities and character traits are passed on in this family: patriotism, closeness to the people, a sense of duty, nobility of soul. The Bolkonskys are extremely active people. Each of the family members is constantly busy with something; there is not a drop of laziness and idleness in them, which are typical for families high society. The old prince Nikolai Andreevich, who believes that in the world “there are only two virtues - activity and intelligence,” tirelessly tries to follow his conviction. He himself, an honest and educated man, wants to “develop both virtues in his daughter”, giving her lessons in algebra and geometry and distributing her life in continuous studies. Princess Marya is afraid of her father. However, internally these people are very close to each other. Distinctive feature Bolkonsky - high spirituality, “pride and direct honor.” The life of the old prince is a continuous activity (writing memoirs, working on a machine, managing the estate, raising children). In Prince Andrei we also see this trait, inherited from his father. Prince Andrei respects and highly honors his father, who was able to instill in him a high concept of honor(The guys confirm their thoughts and reasoning with examples from the text).

We have considered only some of the “connections” of episodes that can be found in Part I of the novel. In the novel as a whole, these stage episodes are included in “an endless labyrinth of connections, which is the essence of art,” according to L. N. Tolstoy. Let's try to verify this by reading two scenes: “The Hunting Scene” (Chapter III-VII, Part IV, Vol. II) and “The Attack Scene of Nikolai Rostov’s Squadron” (Chapter XV, Part I, Vol. III).

Reading chapters. Discussion.

What unites, “links” these two scenes?

(It would seem that the hunting scene has nothing to do with the main theme of War and Peace. However, it is here that the psychology of a person in war is revealed, when he pursues the enemy (in the episode of the attack of Nikolai Rostov’s squadron, Tolstoy will not talk about Nikolai’s experiences, noting as if in passing: “it was the same as on a hunt”), and at the same time the psychology of a wounded animal, with which the behavior of Napoleonic troops after Borodin is then directly compared).

– So, at what level does “coupling” still occur? What is the meaning of such “links”?

(“Coupling” occurs at the level of episodes. Such “coupling” allows us to give full description one episode through concatenation with another; expand the idea of ​​some heroes in comparison with others; refer readers to events that have already occurred and draw analogies).

We continue filling out the diagram.

Third training situation.

So, we just have to consider the last level at which the clutch occurs - this is the level of the part. Find and read the description of the appearance of Andrei Bolkonsky, Napoleon and Speransky.

Prince Andrey: "What did you do withMademoiselle Scherer? “She’s going to be completely ill now,” said Prince Andrei, entering the office and rubbing his small white hands.”(Chapter V, Vol. I).

Napoleon: “Napoleon, hammering out each syllable with a calmness and confidence that was outrageous for Rostov, looked around the rows of Russian soldiers stretched out in front of him... Bonaparte, meanwhile, began to take off the glove from his small white hand...”(Chapter XXI, Part II, Vol. II).

Speransky: “Prince Andrei observed all the movements of Speransky, this man, recently an insignificant seminarian, and now in his own hands - these white, plump hands - who had the fate of Russia, as Bolkonsky thought”(Chapter V, Part III, Vol. II). “Everything was so, everything was good, but one thing embarrassed Prince Andrei: it was Speransky’s cold, mirror-like gaze that did not let into his soul, and his white, gentle hand, which Prince Andrei involuntarily looked at...”(Chapter VI, Part III, Vol. II).

What do the descriptions of these three seemingly different heroes have in common? ( They are united by one detail - “a small, white hand”).

What does this seemingly insignificant detail mean? ( With the help of this detail, Tolstoy internally brings these three heroes closer together: they are ambitious, strive for power, have contempt for people, etc.)

Thus, our “linkage” diagram looks like this.

V. Summing up.

No study is complete without conclusions; let us summarize some results. So how did you understand what clutch is? ( Cohesion is the internal connection of individual episodes, characters, themes, details).

Look at the diagram and notes made during the lesson and try to answer the question: what are the functions of a “clutch”? (“War and Peace” are endless connections. “Connection” is the main compositional technique for constructing an epic novel. Analyzing the form, we get closer to the content. “Connections” complement the characteristics of heroes, events...).

Thus, the ideological and artistic meaning of each scene and each character of War and Peace becomes completely clear only in their compositional connections with the comprehensive content of the epic. (We recommend writing down the conclusions of students and teachers).

Title auction.

You and I have one task left unfulfilled. Look at the hanging question. Every lesson should have a title, but we don't have one. Let's have an auction of lesson titles. So, your lots are names.

The following options were proposed:

“Coupling”, “Coupling as the main method of constructing a novel by L.N. Tolstoy “War and Peace”, “Endless Labyrinth of Links”, etc.

In the end, we decided to name the lesson in the words of the author of the epic novel L.N. Tolstoy: “An endless labyrinth of connections.”

VI. Homework.

Give examples of clutches of any level:

Level 1 – grade “4”: give examples of “links” of the sky image, explain their meaning.

Level 2 – score “5”: independently find examples of “clutches” and explain their functions.

This lesson can be conducted as an introductory lesson before studying the novel (then it is necessary to give advanced tasks) or as a general lesson after studying the novel, then the homework can be counted as a test.

Essay plan
1. Introduction. Tolstoy's innovation.
2. Main part. Plot and compositional features of the work.
— The principle of antithesis is the basis of the composition of the novel.
— The principle of “linkages” is the basis of plot development. Character system, artistic time and art space.
— Chronicle of the life of three families in the novel.
— Depiction of historical events as the basis for plot development. The beginning.
— The Battle of Borodino is the climactic scene of the novel.
- Denouement.
— Author's digressions and their role in the work.
- as a “monologue” novel.
3. Conclusion. The artistic originality of "War and Peace".

In the novel “War and Peace,” which combines the features of a novel and a folk-historical epic, L.N. acts as an innovative artist. And the unusual nature of the work was noted by contemporary criticism of the writer. So, P.V. Annenkov noted the absence of traditional intrigue in Tolstoy, which occupies a dominant position. The plot and composition of “War and Peace” were determined by the historical themes of the work, and the philosophical understanding of events, and the nature of the conflict underlying the development of the action. Let's try to consider the plot and compositional features of the epic novel.
Critics noted that the composition of the work is based on the principle of antithesis. Tolstoy contrasts war and peaceful life, the characters - Kutuzov and Napoleon, who are peculiar poles to which all the other characters in the novel gravitate. Secular society(Anna Pavlovna Scherer’s salon), with its “set” of false life values, is contrasted the best people from the nobility (Prince Andrei, Pierre Bezukhov), who are characterized by a search for the meaning of life; The Russian people, honest “working warriors” are depicted against the background of careerist officers. Inner beauty in the novel is contrasted with external beauty (Princess Marya and Helen), living, genuine life is contrasted with false (Natasha and Helen). The types of human natures – emotional and ideological – are also contrastingly compared in the novel. Thus, the Bolkonsky family embodies the intellectual and rational principle, the Rostov family – the emotional and intuitive one.
The very movement of the plot in the novel is determined by the principle of “linkages” (L.N. Tolstoy), leaving the impression of a mosaic of events. The work has several storylines, five hundred and fifty-nine characters, including real ones. historical figures, both fictional heroes and nameless characters (“the general who ordered”). The artistic time and artistic space of War and Peace are vast. The content of the novel covers a large period - from 1805 to 1820. From Russia the action moves to Prussia, Austria, Poland, from Smolensk to Moscow, from St. Petersburg to the village. We see the emperor's palace, the salon of Anna Pavlovna Scherer, the mansion of the dying Count Bezukhov, the Rostov estate in Otradnoye, the Bolkonsky house in Bogucharovo, the peasant hut in Fili, the fields of the Austerlitz, Shengraben and Borodino battles, the soldiers' camp tents.
At the center of the novel is a chronicle of the lives of three noble families - the Rostovs, the Bolkonskys and the Kuragins. At the same time, in the life of each of the families there are culminating events. Thus, Tolstoy assessed the episodes depicting Natasha’s infatuation with Anatole and her refusal to Prince Andrei as “the most difficult place and knot of the entire novel.” Readers thought the same. “The main interest of the book is as a novel,” wrote V.F. Odoevsky, - begins precisely with this culmination. And he added: “The outcome is curious.” However, the author himself noted that in the novel “the death of one person only aroused interest in other persons, and marriage seemed for the most part to be the beginning, not the end of interest.” The death of Count Bezukhov, Pierre's marriage to Helen, the failed matchmaking of Prince Vasily are thus important initial, but not defining, plot points of the work. At the same time, the personal lives of the heroes are inextricably linked with the most important historical events of the era.
The flow of private life in the novel organically merges with the historical plot. “Three main historical events form the core line of plot development. The beginning is the year 1805, the beginning of the war with Napoleon, a period whose main events are the battles of Austerlitz and Schöngraben.<…>These events of the first military stage precede the epic of the People's War of 1812 and serve as the beginning further development the lives of the heroes - Andrei Bolkonsky, Nikolai Rostov, Dolokhov and others. 1812, the Battle of Borodino - the climax of the novel."
The Battle of Borodino and the abandonment of Moscow is a whole era in spiritual development heroes, a kind of focus in which their destinies converge. It is with this event that the formation of new qualities in them, new views on the world and society is associated. All the main characters of the novel are put through the ordeal of fire, suffering, and death. Shortly before the Battle of Borodino, the old man Bolkonsky dies, and Princess Marya takes his death seriously. The year 1812 changes a lot in the life of Pierre Bezukhov. This is a period of restoring spiritual integrity, introducing him to the “common”, establishing in his soul a sense of the harmony of life. A big role here was played by Pierre's visit to Raevsky's battery during the Battle of Borodino and his stay in French captivity. Being on the Borodino field, among the endless roar of guns, the smoke of shells, the screech of bullets, the hero experiences a feeling of horror, mortal fear. The soldiers seem to him strong and courageous, there is no fear in them, no fear for their lives. The very patriotism of these people, seemingly unconscious, comes from the very essence of nature, their behavior is simple and natural. And Pierre wants to become “just a soldier,” to free himself from the “burden of the external man,” from everything artificial and superficial. Having encountered the people among the people for the first time, he acutely senses the falseness and insignificance of the secular-conventional world, feels the fallacy of his previous views and life attitudes. The Battle of Borodino becomes fateful for Prince Andrei. In battle, he is seriously wounded, after which he is operated on. Here the hero again feels the proximity of death, and a turning point occurs in his worldview. After suffering, he feels “a bliss that he has not experienced for a long time.” His heart is filled with a previously unexperienced feeling of Christian love, he finally overcomes his vanity, selfishness, and aristocratic prejudices. He feels pity and compassion when he sees the wounded Anatole lying next to him. “Compassion, love for brothers, for those who love us, who hate us, love for enemies - yes, the love that God preached on earth...” - all this is suddenly revealed to Prince Andrei. Bolkonsky dies, and his death becomes the greatest grief for Princess Marya and Natasha. Finally, the Battle of Borodino becomes a turning point in the development of historical theme, symbolizing the victory of Russia.
The denouement of the novel is the victory over Napoleon, the defeat of the French and the emergence of new ideas in Russian society. These events determine the personal destinies of the heroes, without, however, overshadowing the writer’s human personality. historical events shown by Tolstoy through the prism of various destinies and characters.
A major role in the novel is played by the author's digressions, which reveal Tolstoy's philosophical, religious and ethical views, and his thoughts on the historical process. The philosophical issues of the author's digressions are the structure of the world and the place of man in it, the role of the individual in history, the relationship between freedom and necessity in the fate of man, true and false values in life. In the novel, Tolstoy reveals his views on the war of 1812 and its participants. These views are based on historical fatalism (personality does not play a role in the historical process). History, according to the writer, is a movement of huge human masses (Tolstoy considered the Russian people to be the main character of the novel, noting that he valued “people's thought” most of all in “War and Peace”). Compositional role copyright disclaimers vary. Thus, in the third part, the author discusses the war of 1812 as a people’s war of liberation, and this digression plays the role of a kind of generalization of the artistic chapters. Introduction of journalistic and philosophical reasoning the author “expands the boundaries of the narrative and at the same time combines a historical, philosophical novel and a psychological “essay on morals” into one organic whole.
It is worth noting that the author’s voice “undividedly dominates the novel. The author is omniscient, he rises above the heroes and events to an unattainable height. According to M. Bakhtin’s definition, Tolstoy’s novel is “monological” (in contrast to Dostoevsky’s “polyphonic” or “polyphonic” novel).
Thus, let us note once again artistic originality"War and Peace". Tolstoy created a work that organically combines the features of an epic, a historical novel, a chronicle, and an essay on morals, generously nourishing it philosophical issues and psychological analysis. The novel does not have a single intrigue; we see several storylines, each of which is correlated with the most important historical events of the era. Tolstoy's life is presented in all its diversity. All these artistic properties made the novel a masterpiece of world literature.

1. See: Fortunatov N.M., Krasnov G.V. Roman L.N. Tolstoy's "War and Peace": Commentary. Electronic version. www.rvb.ru

2. Bychkov S.P. Decree. cit., p. 199.

3. Lyon P.E., Lokhova N.M. Decree. cit., p. 342.

4. Bychkov S.P. Decree. cit., p. 201.

5. Ibid., p. 342.

Antithesis (contrast) is one of the most frequently used techniques used to reveal images in work of art. The essence of antithesis as a trope is the comparison of opposites, concepts or images that are antagonistic to each other. One of the most striking works built on the technique of opposition is L. N. Tolstoy’s novel “War and Peace.” In it, antithesis is the main technique, laid in the foundation of constructing a system of images.

All the characters in the epic novel can be quite clearly divided into two camps, or two worlds - “living” and “dead”. The action in the novel takes place in two parallel planes - the plane of “peace” and the plane of “war”. For each of the planes, the author selects certain differentiations of the heroes, and their belonging to the “dead” or “living” principle is determined.

When describing the world, the dominant criterion on the basis of which the characters are contrasted is the attitude towards the family and children. In a “dead” world, where everything is subordinated to a single goal, which is to increase one’s own fortune by any means, marriage acts only as one of the possible means. It is not difficult for anyone belonging to this camp to step over the family, as well as through other moral principles. In this regard, the most striking is the image of Helen. The only purpose for which she married Pierre Bezukhov, the heir to the entire fortune of Count Bezukhov, was to receive part of the inheritance. Breaking up with her husband and receiving more than half of his wealth is the logical conclusion of the intrigue she has built.

As an example of the absolute insignificance of moral principles for representatives of the “dead” world, one can cite the scene of the “fight” for the mosaic briefcase of the dying Count Bezukhov. The “battle” actually unfolds before the eyes of the dying man, but this circumstance has no significance for either Prince Vasily or the princess Drubetskaya, equally striving to win the “battle” by any means necessary.

A completely opposite attitude towards moral values ​​reigns in the “living” world. For its representatives, family and children represent the highest ideal, they become true goal human life. Most significant in in this regard the Rostov family, the atmosphere in which - love and complete mutual understanding - is directly opposite to the intrigue, envy and anger in the Kuragin family. The Rostov house is open to everyone, and anyone who comes to them will be received with due kindness and cordiality. It is no coincidence that after returning from the front, Nikolai Rostov headed specifically to parents' house. The difference between the attitude towards children in the Kuragin and Rostov families is also characteristic. Prince Vasily’s only desire is to quickly get rid of the “calm fool” Ippolit and the “restless fool” Anatole, while also increasing his fortune. On the contrary, for the Rostovs, children are of important value and no child can be unloved.

But in addition to the plane of the world, in the novel there is a plane of war, where the heroes appear in a completely different form. Tolstoy chooses the main criterion in this regard, by which people are divided into “camps,” to be their attitude towards the Motherland, the manifestation of patriotism.

The “living” world is the world of true patriots, whose feelings towards the Motherland are completely sincere and genuine. Andrei Bolkonsky is not guided by any other considerations other than thoughts of defending the Fatherland when he tries to resist general panic and retreat at Austerlitz. Prince Andrei does not think about promotion or awards; he obeys only his own sense of duty. The complete opposite of Andrei Bolkonsky is Boris Drubetskoy. He sees his main task not as defending the Fatherland, but as promotion, not through merit on the battlefield, but through flattery, hypocrisy, and sycophancy towards his superiors. The fate of people means nothing to him; he is ready to sacrifice them for the sake of his own promotion and nomination for an award.

The Rostovs show patriotism in a slightly different form. Nikolai cannot kill a person, regardless of which side he is on, but when retreating from Moscow, the Rostovs sacrifice their own property to save the wounded. Berg behaves completely differently. Taking advantage of the general distress and confusion, he manages to purchase a “dressing room” for a negligible price, and this “deal” becomes a source of his pride.

True patriotism is also demonstrated by heroes who do not belong to any of the worlds and act only in the plane of war, but are also opposed to the “dead” camp. The most indicative in this regard is the feat of Captain Tushin, and especially his perception of his heroism. Tushin did not even think about the heroic essence of his act - on the contrary, he is trying to justify himself and asks for help from Andrei Bolkonsky. According to Tolstoy, a true patriot does not even notice the fact that he is performing a feat - for him it is only a duty to the Motherland, devoid of any heroic flair. The feat of both Tushin’s battery and Raevsky’s battery, accomplished by the most ordinary, unremarkable people, fits this definition.

Thus, the technique of antithesis is basic for constructing a system of images of the novel and characterizing the main characters.

In fact, the antithesis, the opposition of two worlds - “dead” and “living” - forms the basis of the work and determines its structure. And, building the novel on the principle of antithesis, L.N. Tolstoy debunks the “dead” world, shows its inconsistency and affirms the human and Christian ideals that guide the “living” world.

L.N. Tolstoy's epic novel is practically the only work of Russian literature of this scale. It reveals a whole layer of history - Patriotic War 1812, military campaigns of 1805-1807. Real ones are depicted historical figures, such as Napoleon Bonaparte, Emperor Alexander I, commander-in-chief of the Russian army Mikhail Ilarionovich Kutuzov. Using the example of the Bolkonskys, Rostovs, Bezukhovs, and Kuragins, Tolstoy shows the development of human relationships and the creation of families. The People's War becomes the central image of the War of 1812. The composition of Tolstoy's novel "War and Peace" is complex, the novel is enormous in its volume of information, and is striking in the number of characters (more than five hundred). Tolstoy showed everything in action, in life.

Family thought in Tolstoy's novel

Throughout the novel there are four storylines- four families, changing their composition depending on the circumstances. Kuragins are an image of vulgarity, self-interest and indifference to each other. The Rostovs are an image of love, harmony and friendship. The Bolkonskys are an image of prudence and activity. Bezukhov builds his family by the end of the novel, having found his ideal of life. Tolstoy describes families using the principle of comparison, and sometimes the principle of contrast. But this does not always indicate what is good and what is bad. What is present in one family may be a complement to another. So in the epilogue of the novel we see the union of three families: the Rostovs, the Bezukhovs and the Bolkonskys. This gives a new round of relationships. Tolstoy says that the main component of any family is love and respect for each other. And the family - main meaning life. There are no great stories of people, they are worth nothing without family, without loved ones and loving families. You can survive in any difficult situation if you are strong, and you are strong with your family. The importance of family in the novel is undeniable.

Popular thought in Tolstoy's novel

The War of 1812 was won thanks to the strength, resilience and faith of the Russian people. The people in their entirety. Tolstoy does not differentiate between peasants and nobles - in war everyone is equal. And everyone has the same goal - to free Russia from the enemy. “The club of the people’s war,” says Tolstoy about the Russian army. It is the people who are the main force that defeated the enemy. What can military leaders do without the people? A simple example is the French army, which Tolstoy shows in contrast to the Russian one. The French fought not for faith, not for strength, but because they needed to fight. And the Russians, following the old man Kutuzov, for the faith, for the Russian land, for the Tsar-Father. Tolstoy confirms the idea that the people make history.

Features of the novel

Many characteristics in Tolstoy's novel are presented through contrast or antithesis. The image of Napoleon is contrasted with the image of Alexander I as an emperor and the image of Kutuzov as a commander. The description of the Kuragin family is also built on the principle of contrast.

Tolstoy is a master of the episode. Almost all portraits of heroes are given through action, their actions in certain situations. The stage episode is one of the features of Tolstoy's narrative.

Landscape in the novel “War and Peace” also occupies a certain place. Description of the old oak is an integral element of the description state of mind Andrey Bolkonsky. We see the calm Borodino field before the battle, not a single leaf moves on the trees. The fog in front of Austerlitz warns us of an invisible danger. Detailed descriptions of the estate in Otradnoye, natural views that appear to Pierre when he is in captivity - all these are necessary elements of the composition of War and Peace. Nature helps to understand the state of the characters without forcing the author to resort to verbal descriptions.

Title of the novel

The title of the novel “War and Peace” contains an artistic device called an oxymoron. But the name can also be taken literally. The first and second volumes share scenes of either war or peace. The third volume is almost entirely devoted to war; in the fourth, peace prevails. This is also Tolstoy's trick. Still, peace is more important and necessary than any war. At the same time, war without life in “peace” is impossible. There are those who are there, at war, and those who are left to wait. And their wait, sometimes, is the only salvation for their return.

Novel genre

L.N. Tolstoy himself did not give the exact name of the genre to the novel “War and Peace”. In fact, the novel reflects historical events, psychological processes, social and moral problems, raises philosophical questions, and the characters experience family and everyday relationships. The novel contains all aspects of human life, reveals characters, shows destinies. An epic novel - this is precisely the genre given to Tolstoy’s work. This is the first epic novel in Russian literature. Truly L.N. Tolstoy created a great work that has stood the test of time. It will be read at all times.

Work test

L.N. Tolstoy himself called the principle of depicting the characters’ characters « dialectic of the soul."
Personal in relation to the heroes is that

• change, improve, strive for an unattainable ideal,
• Least favorite heroes are static.

As a means of revealing the characters of the heroes of the novel “War and Peace,” the writer, in addition to the expressed author’s position, also uses a number of artistic techniques.

Artistic means of revealing characters in a novel

Portraits of the novel's heroes

In the portrait of his heroes, Tolstoy emphasizes one recurring detail: the thickness of Pierre, the marbling of Helen’s shoulders, the radiant eyes of Princess Marya, the trembling of Napoleon’s thighs, the decrepitude of Kutuzov...

Tolstoy is not afraid to show the ugliness of his heroes. Natasha can

“to loosen your big mouth, becoming completely bad”,

Princess Marya's ugliness is constantly set off by her radiant eyes. In moments of great upheaval, transformation can occur to the characters. Describing the meeting of Natasha and Andrei in Mytishchi, Tolstoy writes that his face was scary for Rostova, but at the same time the most wonderful feelings unite heroes. When Princess Marya fell in love with Nikolai Rostov,

“for the first time, all that pure spiritual inner work with which she had lived until now came out”:

the heroine’s appearance becomes beautiful: chesty feminine notes appear, femininity and grace are manifested in her movements.

Characteristics

Another hero can give a characterization of a particular character. So, Pierre thinks about Helen:

“Elena Vasilievna, who has never loved anything except her body, and one of the stupidest women in the world, appears to people as the height of perfection, and they worship her.”

The author himself can highlight the dominant character.

“The essence of her life—love—is still alive in her,”

- Tolstoy says about Natasha.

Tolstoy, explaining the mistakes of his heroes (Pierre, Natasha), each time speaks about an intuitive feeling of something bad, repeats words synonyms: “disgusting”, “forbidden”, “unnatural”, “dishonest”, “something indecent”, "indecent intent."

Contrast like artistic medium in the novel "War and Peace"

One of Tolstoy’s favorite techniques for revealing the characters of his heroes is contrast.

So, at the reception of contrast, there is a description of Natasha Rostova’s first ball, when her living, pure beauty is compared with the marble beauty of Helen and contrasted with her, like true - false. The images of Kutuzov and Napoleon appear as antagonists in the novel (see:).

Nature in revealing characters

The character of the hero is also determined by his ability to feel.

This ability is possessed by:

• Prince Andrey (sky of Austerlitz, oak on the road to Otradnoye),
• Pierre (starry sky),
• Natasha (night in Otradnoye)

- all the writer’s favorite heroes. The dialogue between Natasha and Sonya at night in Otradnoye is based on contrast. The charm of a summer night is alien to Sonya.

Speeches of heroes as characteristics

The speech of the character himself can also serve as his characteristic. The order of the old Prince Bolkonsky to his son before leaving for the army speaks of high moral requirements for noble honor and service to the Motherland, of hidden love for his son, of concern for his fate:

“Remember one thing, Prince Andrei: if they kill you, it will hurt me, an old man... and if I find out that you did not behave like the son of Nikolai Bolkonsky, I will be... ashamed!”

Comparison as a tool

Often, the writer uses comparisons to characterize the hero or his condition:

“he always spoke lazily, like an actor speaking the role of an old play”

(about Prince Vasily Kuragin),

An evening at Anna Pavlovna Scherer's is compared to a spinning workshop, in which

“spindles made noise evenly and incessantly from different sides,”

about Pierre's condition:

“It was as if the main screw on which his whole life was held had turned in his head.”

Description as a technique for revealing the characters of War and Peace

Important events in the hero's life can be commented on through the episode description. About Prince Andrei:

“A new, gratifying and calming feeling came over him when, looking at these girls, he realized the existence of other, completely alien to him and just as legitimate human interests as those that occupied him.”

When describing the character of the hero and his actions, the author's irony may appear, as, for example, when describing the behavior of Prince Vasily when Kutuzov was appointed commander-in-chief.

Showing the dialectic of the soul of his heroes, Tolstoy allows us to penetrate into the aspirations, experiences, and essence of the actions of people whose lives are separated from ours by almost two hundred centuries.

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