The basis of the composition "War and Peace" - narration About events and heroes. According to the classification proposed by A. A. Saburov, it has several varieties.This is a historical and documentary narration; narration based on artistic fiction; narration, recreating processes of mental life of heroes, in particular epistolar (for example, Correspondence Marya Bolkonskoe with Julia Karagina) and diary (Diary of Pierre Zuhova, the diary of Mary's Growth Countess). An important place in the "war and the world" occupy the author descriptions and reasoning.

The main element of the composition "War and Peace" is a stage episode,consisting of scenic dialogue and copyright remarks. Scenic episodes in their sequences and form narrative flow.

In "War and the World" many plot lines.

The title novel determines two main storylines. The first part of the first volume is devoted to the main theme of the world. It serves as an exposition of the main plot lines of the work. Here draw pictures of the life of social circles to which the most important heroes belong. Tolstoy depicts the salon Anna Pavlovna Sherler, introduces the reader with Andrei Bolkonsky and Pierre Bezuhov, shows the life of Moscow, the family of growth, dying Count of Nukhov, then transfers the reader to the bald mountains. The first transition from the world to war is marked by the Grand between the first and second parts of the first volume of Roman. In the second part of the first volume, the heroic theme of the people, which will be developed in the third and fourth volumes.

The second volume is almost entirely dedicated to the world, the third volume is predominantly the war. Starting from the third volume of the theme of war and the world are constantly intertwined. Personal life of heroes is included in the flow of events of 1812. In the fourth volume, the topic of war is declining, the theme of the world again begins to prevail.

Within two main lines - wars and the world - in the novel allocated private story-thematic lines. Name some of them. This is the topic petersburg norIn particular, Anna Pavlovna Sherler, the Circle of Prince Vasily Kuragin and Helen, the circle of Anatoly Kuragin and Dologov. In addition, plot lines associated with fate are tied here. Andrei Bolkonskyand Pierre ZuhovaWith life family Rostov.

Separate storylines reflect fate Natasha Rostova and Nikolai Rostov. We also call the storyline associated with life in the Bald Mountains, the story of Old Prince Bolkonsky, the fate of the Princess Marya. In addition, we note lines of Kutuzov and Bagration, Napoleon and French, as well as theme of Freemasonry.

Transitionfrom one storyline to another is carried out, as a rule, by the principle of antithesis. Antithesis – the most important composite reception In "War and the World".

Important in the novel of Tolstoy acquires scenery. Landscape at Tolstoy is always an element of a large and solid picture of life.

An important place in the composition "War and Peace" occupy author's retreats - historical, journalistic, philosophical.So, at the beginning of the third Tom Tolstoy considers the question of the role of personality in history. An important role is played by the reflection of the author before the description of the Borodino battle. At the beginning of the third part of the fourth volume, the retreat of the originality of the partisan war is of particular interest. A significant part of the epiloga is occupied by the philosophical retreat of the author. Author's retreats enhance the epic beginning "Wars and the world."

"Dialectics of the Soul" (principles and means of psychological analysis)

The term "dialectic of the soul" introduced into the Russian criticism of N. G. Chernyshevsky. In the reviews on the early works of Tolstoy Chernyshevsky noted that the writer takes everything more "the mental process itself, his form, his laws, dialectics of soulTo express my definition term. "

"Dialectics of the Soul", according to Chernyshevsky, is direct image of the "mental process". In addition, there is also wider understanding of "Dialectics of the Soul":many researchers are called so general principles and specific techniques of psychological analysisin the works of Tolstoy.

Consider some general principles "Dialectics of the Soul" in "War and the World".

Tolstoy depicts the inner world of man in constant motion, in contradictory development. "People are the essence of the river, a person - a fluid substance," he wrote. This thesis can be illustrated by the example of the spiritual quest Andrei Bolkonsky and Pierre Lamb. Heroes are constantly looking for the meaning of life, their inner world is constantly changing. The image of the mental state of Andrei and Pierre is an important aspect of the "soul dialectics".

Pay attention also on tolstoy interest to the turning point, crisis moments in the spiritual life of a person. The inner world of his heroes is often revealed at such moments (Pierre in Torzhok, Andrei Bolkonsky under the sky of Austerlitz).

The most important feature of the psychology of Tolstoy - close connection of external events with the inner life of characters. We indicate, for example, the value of events such as the birth of a child and the death of his wife for Andrei Bolkonsky. Recall the role of the Patriotic War of 1812 in the spiritual life of heroes.

We also note some specific techniques Psychological analysis at Tolstoy.

The main means of the image of the inner state of the hero in the novel of Tolstoy is internal monologue. We give examples.

After breaking with his wife and duel with Doolohov, being in a serious mental state, Pierre leaves Moscow and goes to St. Petersburg. Having stopped at the postal station in Torzhok, the hero with sadness reflects on his life: "What is bad? What well? What should I love to hate? Why live, and what is me? What is life that death? What power manages everything? "

Having carried away by Anatola Kuragin, Natasha is in a state of mental confusion. "Oh my God! I died! She told she. - How could I admit before it? "

Being seriously wounded, Andrei Bolkonsky reflects on his new look at the world. "Yes, I have opened a new happiness, an integral person," he thought, lying in a half-walled quiet hollow and looking forward with feverishly opened, stopped her eyes. - Happiness, located outside the material forces, outside the material external influences per person, the happiness of one soul, the happiness of love! "

Sometimes the inner monologue of the hero goes into "mindflow", i.e chain memories, impressions, logically connected with each other. For example, Tolstoy transfers the inner state of Nikolai Rostov during its first battle on the Ens River: "In me, one and this sun is so much happiness, and here ... moans, suffering, fear and this ambiguity, this hasty ... here again screaming something, and again everyone ran somedoes back, and I run with them, and now she's she, death, it is necessary, around me ... I will never see this sun, I will never see this sun, , this gorge. "<...> "And the fear of death and stretcher, and the love of the Sun and Life - everything merged into one painful-anxiety impression." Another example is the dormant state of Nikolai Rostov in the flaneker chain on the eve of Austerlitz: "Yes, mean, what did I think? - not forget. How will I speak with the state truck? No, not that is tomorrow. Yes Yes! On Tashka to come ... to fade us - who? Gusarov. And hussars and mustache ... In Tverskaya, this hussar was driving with a mustache, I also thought about him, against the Gurieva himself at home ... Old man Guryev ... Eh, nice little Denisov! Yes, all these are trifles ... "

Important means of psychological analysis at Tolstoy - monologues and dialogs Heroes. Communicating with each other, the heroes of Tolstoy are often divided by their innermost thoughts. For example, the words of Andrei Bolkonsky, addressed to Pierre, sometimes acquire character confession. At the beginning of the novel, Andrei Bolkonsky explains to his friend for which he goes to war: "Why? I dont know. So it is necessary. In addition, I am going ... I'm going because this life I is here, this life is not for me! "

We give another example. In a conversation with Andrey, Pierre expresses his opinion on the meaning of life: "That's what I know, and I know that it is true that the pleasure of doing good is the only true happiness of life."

An important means of psychological analysis also become letters Heroes. Let us give a correspondence of the princess Mary Bolkonskaya with Julia Karagina. In the letter of the Princess Marya, the spiritual world of Christian is revealed, her sincere faith in God and selfless love of neighbor. And on the contrary, reasoning about the new-fashioned mystical exercises, which we find in the letter of Julie seem to be empty and filled with secular manners.

An essential means of disclosing the inner world of the hero can also be called diary. A bright example is a diary that Pierre led in the period of hobbies by Freemasonry. In the hero's diary records, we find his innermost thoughts about life and death. Here reflected his mental experiences, dreams, memories. Note also diary Countess Marya Growth, whose fragments are given at the end of the work.

Sleep - A special means of psychological analysis in the novel "War and Peace". Especially it should be noted two dreams Pierre. He saw one of them in Mozhaiskafter the Borodino battle, the other - in captivity. Dreams are symbolic.

Sleepseen by Pierre in Mozhaisk, transfers the feeling of the involvement of "shared life", the consciousness of the need to subordinate their freedom of the Divine Will. Pierre seizes the idea of \u200b\u200bconjugation of everything in the moral of human being.

An important point in the spiritual life of Pierre is becoming another dream - about globe, seen hero in captivity. In this dream, Pierre comes to feeling that life is God. The meaning of human existence is to love life, love God.

Note also son Nicolenka Bolkonsky At the end of the novel.

An important means of psychological analysis in the novel "War and World" - image inconsistencies between the internal state of the hero and the external manifestation of this state.

For example, Nikolai Rostov, losing to the map of Dolohov a huge amount of money, announced the father about it, although in the soul he feels the last scoundrel and then asks for forgiveness.

We give another example. After a break with Natasha Andrei Bolkonsky speaks with Pierre about politics, but in the shower continues to worry this gap. Pierre at the same time feels that his friend's thoughts are completely about each other.

Tolstoy in its work, as a rule, does not give expanded psychological portraits of heroes. From here - special meaning psychological detail. Usually, this is a repetitive detail(Rocky eyes Princess Marya, a cold view of Dolochow, naked shoulders of Helen).

Often the inner state of the hero is transmitted through description of nature.For example, sky Austerlitsa - A symbol of eternity, against the background of which Andrei Bolkonsky becomes clear the vanity of his dreams of glory. Two meetings with old oak Transfer Andrei's mental state before and after his first meeting with Natasha Rostova. IN spring night In an athupic hero, Natasha's conversation was unwittingly overheard, penetrating the joy of life, with optimism that emanated from Natasha.

Make conclusions.

Tolstoy acts in the novel "War and Peace" as a psychologist writer. An image of the inner world of a person in constant motion, controversial development, interest in the turning point, the crisis moments in the spiritual life of a person, the close connection of external events with the inner life of the characters is the most important principles of "Dialectics of the Soul".

Tolstoy uses in its work such means of psychological analysis as an inner monologue, a monologue confession, dialogue, letters, dreams, diary records. The writer depicts the discrepancy between the inner state of the hero and the external manifestation of this state, transfers the movement of the hero's soul through the descriptions of nature. A repeating part is played in the psychological characteristics of the characters.

In the preparation of materials for creativity L. N. Tolstoy, fragments of the monograph A. A. Saburov "" "War and Peace" L. N. Tolstoy was used. Problems and poetics. " - M, 1959. In addition, the studies of such authors are taken into account, as S. G. Bocharov, N. K. Goodziy, L. D. Epubskaya, A. P. Skafodov.

The material of this section is set out in accordance with the concept of A. P. Skaftimov.

2 The question of fatalism Tolstoy continues to be controversial. See, for example, research Ya. S. Lurie.

N. G. Chernyshevsky. Childhood and adolescence. Composition of colous graph. Military stories graph Tolstoy.

Tolstoy used the real diary of Mason J. P. Titova in his novel - almost literally. In addition, there is an autobiographical moment here: as already noted, since 1847, and until the end of his days, Tolstoy himself was conducted by the diary, which became the creative laboratory of the writer.

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Crystal Globe

Pierre Duhov from the novel "War and Peace" of Leo Tolstoy sees in a dream Crystal Globe:

"This globe was a living, a hesitating ball that does not have sizes. The whole surface of the ball consisted of droplets, tightly compressed. And these droplets all moved, moved and merged from several into one, then from one were divided into many. Each drop sought to break up, capture the greatest space, but others, striving, besides, squeezed it, sometimes they destroyed, sometimes merged with her ... in the middle of God, and each drop seeks to expand to reflect it in the greatest size. And grows, and shrinks, and destroyed on the surface, goes deep and pops up again. "

Pierre Duchevov

The desire of the droplets to the world merger, their willingness to accommodate the whole world is love, compassion for each other. Love as a complete understanding of all the lives moved from Plato Karataev to Pierre, and from Pierre should spread to all people. He became one of the countless centers of the world, that is, became the world.

That is why Pierre's laughs over a soldier guarding him with a rifle at the door of Saraj: "He wants to locate me, my endless soul ..." That's what followed the vision of a crystal globe.

Not so banal novel epigraph about the need to unity of all good people. The word "match", heard by Pierre in the second "stuff" of a dream, does not accidentally combine with the word "bargain". You need to harvest - you need to match. Everything that matches is the world; Centers - drops that do not seek to pair - this is the state of war, enmity. Enmity and alienation among people. It is enough to remember how sarcastic looked at the stars Pecherin to understand what he was a feeling opposite to the "pairing".

Pierre Duhov. Museum. K.A.Fedina, Saratov

Probably not without the influence of cosmology Tolstoy Built later Vladimir Solovyov His metaphysics, where the Newtonian attraction force received the name "Love", and the power of repulsion began to be called "hostile".

War and world, pairing and decay, attraction and repulsion - here are two strength, or rather, two states of one space force, periodically overlooking the souls of heroes Tolstoy. From the state of universal love (in love with Natasha and in the entire universe, the all-friendly and all hosting space love at the time of the death of Bolkonsky) to the same universal hostility and alienation (his gap with Natasha, hatred and call to shoot prisoners to Borodino fighting). Pierra such transitions are not peculiar, he, like Natasha, in nature, the world. Rage against Anatol or Helen, imaginary murder of Napoleon is superficial, without affecting the depths of the spirit. Walked Pierre is the natural state of his soul.

Pierre, Prince Andrei and Natasha Rostov on the ball

Pierre "saw" a crystal globe from the side, that is, it went beyond the visible, visible cosmos during life. Copernikovsky coup happened to him. Before Copernicus, people were in the center of the world, and here the universe was inside out, the center became a periphery - a lot of worlds around the "Center of the Sun". It is about such a Copernikovsky coup says Tough In the finals of the novel:

"Since the law of Copernicus is found and proven, one recognition is not the sun, but the earth, destroyed the whole cosmography of the ancients ...

As for astronomy, the difficulty of recognizing the movements of the Earth was to abandon the immediate feeling of the Earth's immobility and the same feeling of the planets of the planets, and for history, the difficulty of recognizing the individual's subordination to the laws of space, time and reasons is to abandon the immediate sense of independence Personality. "

On duel with dolokhov

The attitude of the unit to infinity is the relationship of Bolkonsky to the world at the time of death. He saw everyone and could not love one. The unity relation to one is something else. This is Pierre Duhov. For the Bolkonsky world disintegrated into an endless lot of people, each of which was ultimately Andrei uninteresting. Pierre in Natasha, in Andrei, in Plato Karataev and even in the dog, shot by a soldier, saw the whole world. Everything that happened to the world took place with him. Andrew sees countless soldiers - "meat for guns." He is full of sympathy, compassion for them, but it is not him. Pierre sees one Plato, but in it the whole world, and it is him.

The feeling of the convergence of the two sides of the diverging angle at a single point is very well transmitted to "confession" Tolstoywhere he very accurately transmits the discomfort of weightlessness in his sleepy flight, feeling somehow very uncomfortable in the infinite space of the universe, suspended on some lists, until the sense of the center appeared, where these versators come from. This center, penetrating everything, saw Pierre in a crystal globe, to, waking up from sleep, feel it in the depths of his soul, as if returning from the transcendental cast.

So Tough I explained my dream to "confession", too, after all, after waking up, and also moving this center from interstellaring to the depths of the heart. The center of the universe is reflected in each crystal drop in each soul. This crystal reflection is love.

War is someone else, the world is his own. Pierre's crystal globe precedes in the novel Tolstoy The globe, which in the portrait plays the heir to Napoleon. The world of war with thousands of accidents, really resembling the game in Bilbok. Globe - Ball and Globe - Crystal ball - two images of the world. The image of a blind and moaning, guttaperch darkness and crystal light. The world, obedient capricious will of one, and the world of unsalted, but united free.

Pierre goes to look at war

Artistic persuasiveness and integrity of such space does not require evidence. Crystal Globe lives, acts, exists like a certain live crystal, hologram, which made the structure of the novel and space Lev Tolstoy.

"Bright cobwebs - the Links of the Virgin", which people are connected in both snow Nicholes, the son of Andrei Bolkonsky, eventually connects in a single "center" of the crystal globe, somewhere there, in space. Will become a solid support for Tolstoy In his cosmic hang over the abyss (sleep from "confession"). The tension of the "cosmic imaging" is a sense of love - this is the direction of movement, and the movement itself. Tough Loved such ordinary comparisons as an experienced rider, a riding amateur and as a peasant, walking behind a plow. All of you wrote correctly, he will say Repinos about his picture "Tolstoy on arable land," just to the entrance to give in hand forgotten.

On the Borodino battle of the Russian army with Napoleon

In the crystal globe Pierre Drops and the center are exactly the way in Tyutchevski: "Everything is in me, and I have everything."

In the late period, the unit-unit was sacrificed to the "one" world. It is possible to doubt the rightness of such a careplace of the world. Pierre's globe as it were, stopped, stopped glowing. Why do you need drops, if the whole thing is in the center? And where to reflect the center, if not those crystal drops?

With Natasha Rostova

Space of the novel "War and Peace" - the same unique and majestic structure as Cosmos of "Divine Comedy" Dante and "Faust" Goette. "Without the cosmology of a crystal globe there is no novel," says TO. Cedar Chelinishchev. This is something like a Crystal Lartz, in which the death of Koschery is hidden. Here everything is in everything - the great principle of synergistic double helix, diverted from the center and at the same time converging to it.

Pierre reader

If a Tough I portrayed dreams as a transformation of external impressions (for example, the dream of Pierre Lesukov, who the words of Breaking his servant "Damage Right" perceives in a dream as a solution to the philosophical problem - "match"), Dostoevsky It believed that in a dream, the forgotten experiences of people pop up in spheres, controlled by consciousness, and therefore, through their dreams, a person knows himself better. The dreams of heroes reveal their inner essence - the one that does not want to notice their wakeful mind.

Lev Tolstoy

Modern crystal globe in context

Remember this at the right moment.

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The episode of Sleep Prince Bolkonsky begins again with the description of the internal state of the character, which is simultaneously the author's installation on the fact that further it is necessary to form "prove".

"Prince Andrei not only knew that he would die, but he felt that he was dying that he had already died half. He experienced a consciousness of alienation from the whole earthly and joyful and strange lightness of being. He, not in a hurry and disturbing, expected that that he had to come. That terrible, eternal, unknown and distant, the presence of which he did not cease to feel in the continuation of his whole life, now it was close for him and for the strange ease of being, which he experienced, almost understandable and experienced "(7, with . 66).

"Know" is confirmed by the feeling, in this case the "mental" becomes the property of the inner world of man. Knowing in the full sense of this word means sensory knowledge. And for the artist, the need to transfer it to the reader to "know" and "feel" a convincing figured pattern, transfer the change of the character of the character, his "alienation from the whole earthly" and at the same time "lightness of being", transfer the last state of a person when he understood death And no longer afraid of her.

"Before he was afraid of the end. He twice experienced this terrible painful feeling of fear of death, end, and now I did not understand him.

The first time he experienced this feeling when the pomegranate wolf was driving in front of him, and he looked at the stuffier, on the bushes, on the sky and knew that he had death before him. When he woke up after the wound and in his soul, instantly, as if liberated from his opposing life, this flower of love, eternal, free, independent of this life, was no longer afraid of death and did not think about her "(7, p. 67).

Sleep event is preceded by the conversation of the prince and Natasha (the narrative frame), i.e. the description of what is the most expensive in the life of the prince love for a woman.

"No one, as you, does not give me that soft silence ... of that light" (7, p. 69). "Natasha, I love you too much. Most of all in the world" (7, p. 69).

The depth, the extraordinary power of love, exacerbated by the feeling of death, the whole scene is built on the transfer of this gamut of feelings.

Here and memories of the most touching moments of the recent past in the relationship between Prince Andrei and Natasha.

"In the Trinity Lavra, they talked about the past, and he told her that, if he would be alive, he would thank the forever God for his wound, who brought him again with her; but since then they never talked about the future" ( 7, p. 68).

Here and the description of the aggravated feeling of each other: the approach of his beloved man excites the "feeling of happiness."

"He is tricken. Suddenly the feeling of happiness embraced it.

"Ah, it entered!" He thought.

Indeed, on the site of Sony sat only with the silent steps of Natasha.

Since she began to go after him, he always experienced this physical feeling of her intimacy "(7, p. 68).

"He looked at her, not stirring, and saw that she had to breathe in all his breasts after his movement, but she did not decide to do it and carefully translated the breath" (7, p. 68).

Here and the bitter domestic reflection of the prince about the adulted love and the need to die.

"Is it just then so strangely reduced me with her fate to die? .." (7, p. 69).

"The face shone her enthusiastic joy," Natasha was happy and excited, "his eyes glowed towards her."

With this, with the fact that the "most in the world", the prince and will now break up, understand and accept the love of a stronger, omnipotent, secret.

How hard it is to part with life, with all that he loves, what he is used to, that he keeps him in life. This portrays Tolstoy with all the power of his artistic skills, and the more fully and convincing the content of the episode of sleep-vision.

1. "War and Peace" as a work of the 60s of the XIX century

The 60s of the XIX century in Russia became the period of the highest activity of the peasant masses, lifting the social movement. The central theme of the literature of the 60s was the theme of the people. This topic, as well as modern tool, is considered a writer through the prism of history. The researchers of Tolstoy creativity disagree in the matter that, in fact, Tolstoy meant under the word "people" - peasants, nation in general, merchants, burghers, patriotic patriarchal nobility. Of course, all these layers are included in the Tolstsky understanding of the words "people", but only when they are carriers of morality. All that immoral is eliminated by the thick of the concept of "people."

2. Philosophy of History, Images of Kutuzov and Napoleon

Tolstoy approves the decisive role of the masses in history. In his opinion, the actions of the so-called "great people" do not have a decisive influence on the course of historical events. The question of the role of a person in history rises at the beginning of the third volume (the first part, the first chapter):

1. In relation to the history of the personality to a greater extent acts unconsciously than consciously;
2. Man is more free of personal life than public;
3. The higher the person on the steps of the public staircase, the more obvious the predestination and inevitability in his fate;

Tolstoy comes to the conclusion that "the king is a slave of history." The contemporary of Tolstoy historian Bogdanovich primarily pointed to the defining role of Alexander the first in victory over Napoleon, and the role of the people and Kutuzov dumped at all from the account. Thickly put his task to debunk the role of the kings and to show the role of the popular masses of the national commander of Kutuzov. The writer is reflected in the novel moments of the inactivity of Kutuzov. This is explained by the fact that both Kutuzov cannot manage historical events by their will. But it is given to him to realize the actual course of events, in the implementation of which he participates. Kutuzov cannot understand the world-historical meaning of war of 1812, but he is aware of the meaning of this event for his people, that is, it can be a conscious conductor of the stroke of history. Kutuzov himself is close to the people, he feels the spirit of troops and can control this great force (the main task of Kutuzov during the Borodino battle is to raise the spirit of the army). Napoleon is deprived of understanding of the events, he is a pawn in the hands of history. The image of Napoleon personifies extreme individualism and egoism. Soveroom, Napoleon acts as a blind man. He is not a great man, he cannot determine the moral meaning of the event due to its own limb. The innovation of Tolstoy was that he was introduced into the history of the moral criterion (controversy with Hegel).

3. "The Thought of People's" and the form of its incarnation

The path of ideological and moral growth leads positive heroes to rapprochement with the people (not a rupture of sa a class, and moral unity with the people). Heroes are tested by the Patriotic War. Independence of privacy from the political game of the tops emphasizes the indiscriminate relationship of the heroes with the life of the people. The viability of each of the heroes is verified by the "People's Thought". She helps Pierre Bezuhov to detect and show their best qualities; Andrei Bolkonsky called "our prince"; Natasha Rostov pulls out a submission for the wounded; Marya Bolkonskaya rejects the proposal of Mademoiselle Bhuli to remain in the power of Napoleon. Along with the true nationality of Tolstoy shows the pseudo-confidence, fake to it. This is reflected in the images of Rostopina and Speransky (specific historical persons), which, although they are trying to take on the right to speak from the name of the people, do not have anything to do with it. Tolstoma did not need a large number of images from the mortality (nation and sophistication should not be confused). Patriotism is the property of the soul of any Russian person, and in this respect there is no difference between Andrey Bolkonsky and any soldier of his regiment. Close to the people and captain Tushin, in which the "small and great", "modest and heroic" are combined. Often, the participants of the campaign at all are generally named by name (for example, "drummer-fought"). The theme of the People's War finds its vivid expression in the form of Tikhon Shcherbat. The image is ambiguous (the murder of the "language", "Reinstall" beginning). The image of Plato Karataeva is ambiguous, in the conditions of the captivity again turned to their origins (all the "applied, soldier" falls, peasant). Watching him, Pierre Duhov understands that the live life of the world is above all kinds of melting and that happiness in it itself. However, in contrast to Tikhon Shcherbat, Karataev is unlikely to be able to decisive, its positiveness leads to passivity.

In scenes with Napoleon Tolstoy enjoys reception of satirical grotesque: Napoleon is overflowing with a self-adequacy, his thoughts are criminal, his patriotism fake (episodes with a laurel, rewarding a soldier Lazarev with the Order of the Honorary Legion, a scene with a portrait of a son, morning toilet in front of Borodin, Waiting for Moskovskoy Boyar's deputation) . An undisguised irony is imbued with the image of the life of other people, also distant from the people - regardless of their national affiliation (Alexander First, Anna Pavlovna Shersher, the family of the Kuragi, Bergs, Drubetsky, and so on.).

The path of heroes belonging to the aristocracy, to spiritual unity with the people is depicted in thick in its contradictions and ambiguity. The writer with irony describes the delusions and self-deception of heroes (Pierre's trip to the southern estates, idealistic fruitless attempts of innovations; Riot peasants in Boguchars, attempt to princess Marya to distribute the Lord's bread and so on.).

4. Historical and philosophical retreats

In the work, the actual artistic narration is interrupted by historical and philosophical retreats, in style of close journalism. Paphos philosophical retreats of Tolstoy is directed against liberal-bourgeois military historians and writers. In Tolstoy, "the world denies the war" (eg, the description of the dam, which the Russian soldiers see during the retreat after the Austerlitz - the ruined and ugly, and comparing it in peacetime - drowning in greenery, neat and rebuilt). Tolstoy raises the issue of the recovery of the personality and society, the head and mass (Pierre's sleep after Borodin: he dreams of the deceased Basdaev (the Mason, who introduced him to the lie), who says: "War - there is a hurt suggestion of human freedom by the laws of God ... nothing It may own a person while he is afraid of death, and who is not afraid of her, it belongs to all ... The most difficult thing is to be able to combine everything in the soul of all. "Pierre also starches simple soldiers, whom he saw on the battery and which I prayed on the icon. Piear appears that there is no better share than to be a simple soldier and do the case, and not to reason how his old acquaintances, whom he also sees in a dream. Another dream - on the eve of the liberation of captivity, after the death of Karataev. Old teacher Geography shows Pierre Globe, which is a huge, hear ball. "The whole surface of the ball consisted of droplets, tightly compressed. And all these droplets moved, moved and merged from several in One, then from one was divided into many. Each drop sought ... to capture the greatest space ... "Here's life," said the old man. Teacher ... - In the middle of God, and every drop seeks to expand to reflect it in the greatest size ... *). Tolstoy is not a historian-fatalist. In his work, it is especially acute the question of the moral responsibility of a person - a historical figure and every person - before history. The thoughts of Tolstoy, the man is less free, the closer it is put to power, but also a private person is incubated. Tolstoy emphasizes that it is necessary to be able to ruin for the defense of the Fatherland, as Rostov is received, to be ready to give everything, donate to everyone, as Pierre Duchevov knows, but they do not know hown the famous nobility and noble nobility.

The buzz of the steps ... The buzz of blood driving in whiskey ... He walked along the top floor, moving from the room to the room ... He arrived in Yekaterinburg the day before yesterday and was able to penetrate the house of Ipatiev. Here was transported from Tobolsk the royal family. On the wall of one of the rooms, at the window, he saw the empress sign drawn by a pencil - she put it everywhere - for happiness. Downstairs stood the date: 17 (30) of April. This is the day when they entered into the house of Ipatiev. In the room where Cesarevich Alexey was located, the same sign drawn on the wallpaper. The sign was both above the Cesarevich bed. Everywhere reigned a terrible mess. Near the ovens ominously dark a bunch of ashes. He squatted in front of one of them and saw half-burned hairpins for hair, toothbrushes, buttons ... What happened? Where to take them? Most likely, it happened at night. They were incurred in what was caught, not allowing to collect and capture the most necessary.

During the conclusion in Yekaterinburg, the only allowed place for walking Nikolai II and his family was the roof of the house of Ipatyev. Photo Pierre Gilira

He descended into the lower floor, in the blend, and froze on the threshold from horror. The low born window has almost missed daylight. Walls and gender, as if black wounds, covered the traces of bullets and bayonets. Hope no longer remained. Do they raised their hands on the sovereign? But if so, then it was impossible for the thoughts to assume that the Empress survived him. So they both became victims. But children? Great Princess? Tsearevich Alexey? Everything proved that the victims were numerous ...

He sank into the stone floor of this ominous, like a prison room of the room, grabbed his head with his hands and saw a sovereign with his daughters going to meet him. Snow-sowed fir surround the Tsarsko Selo Lake. Great Princess Olga goes with his father at hand, tightly clung to his shoulder. The Great Princess Tatyana on the other hand squeezes the hand of the sovereign and something quickly speaks. The younger princes will run forward, then go behind. Anastasia comes up with another prank, scoring the snow for the discharge of his velvet fur coat. The sovereign looks at the daughters with tenderness, he admires the shining brummy. Blue good eyes as if they say: "Look, what is my glorious daughters!" ... he wanted to worship the sovereign, but he could not stand up from the floor. "But why winter?" He thought. And here it was discussed that the house of Ipatiev, and the Tsarskoye Park - just a dream ... He woke up ...

In a small cozy apartment Pierre Gilira stood a peaceful morning silence

E. Lipgart. "Portrait of Emperor Nicholas II"

I. Galkin. "Empress Alexander Fedorovna"

Great Princess Anastasia

This dream dreamed of him, of course, not by chance. Yesterday, Pierre received a letter from the Great Princess Olga Aleksandrovna, the sisters of Emperor Nicholas II, living in Denmark. She wrote that a young woman appeared in Berlin, who calls himself the younger daughter of Emperor Nicholas II Anastasia. "Please go to this unfortunate immediately. What if she turns out to be our baby ... And, if it really is she, please let me know the telegram, and I will come to Berlin too. "

Pierre Zhilir, together with his wife Alexandra, the former maid of the great princes, the next day went to Berlin, to the Hospital of St. Mary. A woman who announced Anastasia, has been unconscious for several days. The scrambled body was like a skeleton, covered with skin. Who could know in her princess Anastasia, even if it was really she?

At the insistence of the jigs, the patient was transferred to a good clinic.

"The most important thing is that it remains alive," he told his wife who did not resist the patient from bed. "We will return as soon as she becomes better."

Three months later, Pierre Gillar and Alexander visited the patient. Pierre, crossed near her, said:

Please tell me what you remember from your past?

That in anger threw:

I do not know what "remember"! If you wanted to kill how me, would you remember much of what was before?

Jilling had to leave.

On the threshold, he ran into a woman in a lilac rainco. The housing learned her: it was the princess Olga, the favorite aunt of the great princes.

Going to the bed of Anastasia, she smiled at her and stretched her hand.

Princess Olga adored his niece. Every Saturday, the princesses who lived in the royal village were looking forward to her. They went to the house of Olga Aleksandrovna, where they had fun, played and danced with other children ...

Do you remember how you enjoyed every minute? She asked Anastasia with a smile. - I still hear how your laughter rises.

With these words, the impostor, nodding, burned bitterly. Olga Alexandrovna kissed her in both cheeks:

You will definitely recover.

Again and again, she carefully peered into the face of a woman, almost uniformly reminding her face of her little Anastasia. Only eyes were the same huge, bright, blue.

"But she survived so much! The heart prompts me that it is her! How I want it to be! "

In October 1928, the widowed Empress Maria Fedorovna died. The next day, a document was published, called the "Romanov Declaration". She was signed by twelve representatives of the Russian imperial surname, which unanimously confirmed that Frau Unbeckant is not the daughter of Tsar Nicholas II. This document, in which the statements of the Great Princess Olga, Pierre Gilira and Buroneles Buksgevden, Freillans Alexandra Fedorovna, convinced the public that representatives of the Romanov's house rejected the impostor.

But the impostor continued to give himself for Princess Anastasia, and there were always people who wanted to settle the "royal daughter." She lived in America, then in England, then in Germany.

In 1968, Anastasia again moved to America, where he married Dr. Menahan. They lived together for fifteen years. In recent years, the impostor often fell into a psychiatric clinic. On February 12, 1984, Anastasia Menahan died from pneumonia.

Royal martyrs. Icon