Every serious literary work has as its purpose to convey to the reader the point of view of the author. In some work it will be just one idea, but in the novel "War and Peace" Lev Nikolaevich Tolstoy tried to present and develop his own philosophy. He wrote: "Historians describe incorrectly and externally, but it is necessary in order to understand, guess the internal structure of life." And since the philosophical concept he developed was new and original, the author created a genre called an epic novel.

Initially, Tolstoy wanted to write a work about the Decembrist who had returned from exile, and the title had already been invented: "All is well that ends well." But the author realized that it is impossible to describe the phenomenon without indicating the reasons that caused it. This led Tolstoy to a more global concept of describing historical events in Russia. early XIX century. Following the change in concept, the title of the novel also changes, acquiring a more global character: "War and Peace". This title not only illustrates the alternation and combination of military and peaceful episodes in the novel, as it might seem at first glance, but also includes various meanings of the word "peace". "Peace" is both a state "without war", and the peasant community, and the universe (that is, everything that surrounds us; the physical and spiritual environment). This novel tells about the fact that there is a war in the life of an entire people and in the life of every person, what role wars play in world history, this is a novel about the origins of war and its outcome.

While creating the novel, the author studied the causes of historical events: the senseless and shameful campaign of 1805-1807 for the Russians, during which even the real military man Nikolai Rostov, who was accustomed not to reason, was tormented by terrible doubts: "What are the severed hands, feet, and killed people for?" Here Tolstoy draws all our attention to the fact that war "is a phenomenon contrary to human reason." Then Tolstoy goes on to describe the events of the Patriotic War of 1812, which crippled the lives of millions, who killed Petya Rostov, Platon Karataev and Prince Andrei, who brought mourning to every family. After all, with every person who died on the battlefield, his entire unique spiritual world, thousands of threads are torn, dozens of fates of loved ones are mutilated ... But all these deaths had a righteous goal - the liberation of the Fatherland. And therefore, in 1812, "the club of the people's war rose with all its formidable and majestic strength ...". And this movement could only be led by a person who knew how to renounce all his own desires in order to express the will of the people, to be close to him, and for this he did not need to be a genius, but he just needed to be able to "not interfere with anything good, not allow anything bad." Such was Kutuzov, such could not have been Napoleon, who waged a war of conquest.

Tolstoy sets out his historical concept using these examples. He believes that least of all the cause of any historical phenomenon is the will of one or several people in power, that the outcome of an event determines the behavior of each individual, seemingly insignificant, person and the nation as a whole.

Tolstoy paints Napoleon and Kutuzov as opposed in everything, constantly, for example, points to Napoleon's vigor and self-confidence and Kutuzov's lethargy. This technique of antithesis is applied throughout the novel, starting with the very title "War and Peace".

The genre of the work also determines the composition of the novel. The composition "War and Peace" is also based on the method of antithesis. The novel "War and Peace" is a large-scale work. It covers 16 years (from 1805 to 1821) of the life of Russia and more than five hundred different heroes, among which there are real characters of the historical events described, characters invented by the author himself, and many people to whom Tolstoy does not even give names, such as "the general who ordered", "the officer who did not get there." By this, the author confirms his point of view that the movement of history does not occur under the influence of any specific personalities, but thanks to all participants in the events.

To combine such a huge amount of material into one work, a new genre was needed - the genre of the epic. For this, the antithesis technique is also used. Thus, all the heroes can be divided into those gravitating towards Napoleon's pole and into heroes gravitating towards the Kutuzov pole; and the former, such as the Kuragin family, and the entire secular society headed by Anna Pavlovna Scherer, Berg, Vera and others receive some of the features of Napoleon, although not so strongly expressed: this is Helene's cold indifference, and narcissism and narrowness Berg's views, and the egoism of Anatol, and the hypocritical righteousness of Vera, and the cynicism of Vasil Kuragin. The heroes who are closer to the pole of Kutuzov, just like him, are natural and close to the people, they also react sensitively to global historical events, taking them as personal misfortunes and joys (such are Pierre, Andrei, Natasha). Tolstoy endows all his positive characters with the ability for self-improvement, their spiritual world develops throughout the novel, only Kutuzov and Platon Karataev are not looking for anything, they do not change, since they are "static in their positiveness."

Tolstoy also compares the heroes with each other: Prince Andrei and Anatole are different in their attitude to love, to Natasha; opposite Dolokhov, seeking to avenge "his ignoble origin", stern, cruel, cold, and Pierre, kind, sensitive, trying to understand the people around him and help them; cold, artificial, dead spiritually beautiful Helene and alive, natural Natasha Rostova with a big mouth and big eyes, which becomes even more ugly when she cries (but this is a manifestation of her naturalness, for which Natasha Tolstoy loves most of all).

In the novel "War and Peace" plays an important role portrait characteristic heroes. The writer singles out some separate feature in the portrait of the hero and constantly draws our attention to it: this is Natasha's big mouth, and Marya's radiant eyes, and the dryness of Prince Andrei, and the massiveness of Pierre, and the old age and decrepitude of Kutuzov, and the roundness of Platon Karataev, and even Napoleon's fat thighs. But the rest of the characters 'traits change, and Tolstoy describes these changes in such a way that one can understand everything that happens in the heroes' souls. Tolstoy often uses the technique of contrast, emphasizing the discrepancy between the external appearance and the inner world, the behavior of the characters and their inner state. For example, when Nikolai Rostov, upon returning home from the front, when meeting with Sonya dryly greeted her and addressed her as "you", in their hearts they "called each other on" you "and kissed tenderly."

Being an innovator in the creation of a new genre of the novel, Tolstoy also invented a new way of studying and portraying the feelings, experiences, and movements of the heroes' souls. This new method of psychologism, called by Chernyshevsky "dialectic of the soul", consists in close attention to the development, changes in the inner spiritual state of the heroes, in the study of the smallest details of their feelings, while the plot itself fades into the background. Only positive characters are endowed in the novel with the ability to internal change, self-improvement. And Tolstoy values ​​this ability most of all in people (in combination with naturalness, kindness and closeness to the people). Each positive hero the novel seeks to "be quite good." But in the novel there are heroes who improve themselves by thinking about their actions. These heroes live by reason. These heroes include Prince Andrew, Pierre before the meeting with Platon Karataev and Princess Marya. And there are heroes who live by an inner instinct that prompts them to certain actions. Such are Natasha, Nikolai, Petya and the old Count Rostov. Platon Karataev and Kutuzov belong to the same type.

In order to reveal the inner world of his heroes as best as possible, Tolstoy subjects them to the same tests: secular society, wealth, death, love.

Since the novel "War and Peace" is an epic novel, it describes real historical events: the Austerlitz, Shengraben, Borodino battles, the conclusion of the Tilsit peace, the capture of Smolensk, the surrender of Moscow, partisan war and others, in which, as already mentioned above, manifest themselves as real historical figures... Historical events also play a compositional role in the novel. For example, since battle of Borodino largely determined the outcome of the war of 1812, its description is devoted to 20 chapters of the novel, and in fact it is the culmination center.

In addition to historical events, the author pays great attention to the development of relationships between the characters - this is where the plot lines of the novel are formed. The novel features a large number of storylines. The novel is like a chronicle of the life of several families: the Rostov family, the Kuragin family, the Bolkonsky family.

The novel is not narrated in the first person, but the presence of the author in each scene is palpable: he always tries to assess the situation, to show his attitude to the hero's actions through their very description, through the hero's inner monologue, or through the author's digression-reasoning. Sometimes the writer gives the reader the right to understand what is happening himself, showing the same event from different points of view. An example of such an image is the description of the Borodino battle: first, the author gives a detailed historical information about the alignment of forces, about the readiness for battle on both sides, talks about the point of view of historians; then he shows us the battle through the eyes of a non-professional in military affairs - Pierre Bezukhov (that is, he shows a sensual, not logical perception of the event), reveals the thoughts of Prince Andrei and Kutuzov's behavior during the battle. In the scene of the council in Fili, the author first gives the floor to six-year-old Malasha (again, a sensory perception of the event), and then gradually moves on to an objective presentation of events in his own name. And the entire second part of the epilogue is more like a philosophical treatise on the theme "The Driving Forces of History."

In his novel, L. N. Tolstoy strove to express his point of view on historical events, to show his attitude to many life problems, to answer the main question: "What is the meaning of life?" And Tolstoy's credo in this matter sounds so that one cannot but agree with him: "We must live, we must love, we must believe."

So, in the novel "War and Peace" Leo Tolstoy strove to present his philosophical concept of life, and for this he had to "invent" a new genre literary work- an epic novel, as well as a special type of psychologism - "the dialectic of the soul." His work took the form of a philosophical and psychological historical novel, in which he examines and guesses the "internal structure of life."

Artistic features... The grandiose artistic canvas of the epic novel incorporates a wide variety of artistic techniques and means. In this case, the principle of contrast becomes one of the all-encompassing ones: it permeates all levels of the work, starting with the title, the arrangement of chapters and ending with individual episodes and scenes. So the anti-popular life of the St. Petersburg aristocracy, with its hypocrisy and falsehood, Tolstoy opposes people's Russia with its simplicity and naturalness. The system of images is also built on the principle of contrast (Natasha Rostova - Helen Bezukhova, Princess Marya - Julie Karagina, Andrei Bolkonsky - Anatol Kuragin, etc.). Contrasted are the images of historical figures who are in the center of the author's attention - Kutuzov and Napoleon, how contrasting are the human qualities that are associated with each of them and determine characteristics a whole group of images ("predatory" and "meek" type of person). Whole scenes and episodes are built on the principle of contrast: this is how the scene of the Battle of Austerlitz is opposed to the Battle of Borodino, the reception in the Scherer salon is opposed to the name day in the Rostovs' house, etc.

The principle of contrast also correlates with the peculiarities of the narrative in the novel. It is based on the notion of the author's initial knowledge of the truth, the highest truth, which leads to a clash of the author's knowledge and the painful search for his favorite characters. This allows the author to plan and explain the depicted events and characters of the heroes from the position of higher knowledge. On the other hand, the principle of the continuity of plot development leads to the fact that often the presentation on behalf of the author fades into the background, giving way to a stage episode. The artistic fabric of the novel also includes the author's polemic reasoning, historical references, historical and philosophical digressions, etc., which have the hero's thought as a starting point. Finally, at times the author's "I" is dispersed in the heroes - first of all, "beloved" by the writer Pierre Bezukhov and Andrei Bolkonsky, for example, when, before the Battle of Borodino, Prince Andrei expresses his thoughts about the war, the author's voice is clearly intertwined in them.

But, of course, the most important principle of characterizing is a special method of psychological analysis named by N.G. Chernyshevsky's "dialectic of the soul." It consists in the fact that the writer is not limited to portraying the results of psychological analysis, he is interested in the very process of the origin and subsequent formation of thoughts, feelings, moods, human sensations, their interaction, the development of one from the other, which becomes the object of detailed, detailed reproduction. Tolstoy needs "dialectics of the soul" in order to reveal the spiritual and moral capabilities of a person in their development, as well as to give an opportunity to see firsthand the interconnection of internal, mental processes and a higher spiritual source that is outside of a person and exists independently of him. This "dialectic of the soul" can be traced in the depiction of all of Tolstoy's "favorite" heroes - Andrei Bolkonsky, Pierre Bezukhov, Natasha Rostova, Princess Marya. That is why an internal monologue is often heard on the pages of the novel, in which the struggle of opposing principles in the hero's soul is felt: his speech becomes confused, incorrect, phrases are often abrupt, the emotional tone is heightened, tense. Such is, for example, the inner monologue of Prince Andrey when he lies wounded in the field of Austerlitz: the duality of his consciousness, in which former ambitious aspirations and a new idea of ​​a higher power that gives peace and tranquility collide, arises even at the lexico-syntactic level (“we fled , shouted, fought "-" high, endless sky "," quietly, solemnly "). Such a large role of the internal monologue in revealing the "dialectic of the soul" is explained by the fact that here, to a greater extent than in actions and dialogues, hidden intentions and secrets of the soul are manifested.

But, perhaps, a psychological portrait plays an equally important role in the novel. In Tolstoy, it is dynamic, since it should reveal the connections as much as possible. inner peace a person and his external manifestations. That is why so often the writer focuses his attention on the eyes - after all, this is the "mirror of the soul." Researchers estimate that in War and Peace, Tolstoy uses 85 different shades of eye expression. In terms of number, this can only be compared with the variety of shades of a smile, which helps to reveal the emotional state of the hero. It should also be noted that Tolstoy does not provide a complete portrait of the hero in the exhibition, as was customary in the Russian classic novel. His portrait is scattered over various temporal and spatial layers, since it is inseparable from the development of character.

There are two main types of portrait in the novel, corresponding to the two main types of heroes. Painting portraits of his favorite characters, the writer uses repetitive details: Natasha's sparkling eyes and large mouth, the heavy gait and radiant eyes of Princess Marya. Repeating, such details are designed to highlight the variability of the character of the hero, who is in constant motion and development. Portraits-masks are another matter: they are static and always unchanged, as are the heroes they portray (Helene, Anatole, Berg, Scherer, etc.). They also contain repetitive details, for example, Helen's luxurious shoulders and her frozen "monotonous beautiful" smile, but such details are designed to demonstrate the immobility of the mask, hiding spiritual emptiness and moral ugliness behind the visual appeal. It is not for nothing that Tolstoy does not paint Helen's eyes at all, although, apparently, they are also beautiful, but they do not shine with thought and feeling, like Natasha's eyes, infinitely diverse, in which all the wealth of her spiritual world is expressed.

According to Tolstoy, his attitude to nature is also combined with the spiritual beauty of man. That is why the landscape in the novel also becomes psychological: it is addressed to a person, revealing to him the beauty of the world and shading the deep meaning of the events taking place. It is no coincidence that Helene, Julie or Anna Pavlovna Scherer never appear in the bosom of nature - they are alien to natural life and cannot perceive it in all its beauty and diversity. On the other hand, Natasha is an organic part of nature, and it is not without reason that the thought of flying may come to her mind - something that so amazed Andrei in the night conversation between Natasha and Sonya in Otradnoye, which he accidentally heard.

But often Tolstoy's pictures of nature become symbolic, expressing a certain higher truth that is revealed to man precisely through the natural principle. Such is the picture of the high sky over the Austerlitz field, the same symbol is the oak, which Prince Andrey sees on the way to Otradnoye. Nature in Tolstoy's novel not only empathizes with the heroes, but also brings an eternal, pacifying beginning to the general course of life. The picture of the Borodino field, washed after a bloody battle with a cleansing rain, appears as an expression of the highest moral truth. In the pictures of Russian nature, painted in a hunting scene with a frantic leap across an autumn field or in a scene of conversation between Andrey and Pierre on a ferry to the measured sound of flowing water, as in many others, what the writer defines as a primordially Russian beginning is most fully expressed, “ popular thought ”, which unites the grandiose canvas of the epic novel“ War and Peace ”into a single artistic whole. As Turgenev accurately said about him, this is "a great work of a great writer - and this is true Russia."

Artistic features of "War and Peace"

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- Pictures of Russian history (the Shengraben and Austerlitz battles, the Peace of Tilsit, the war of 1812, the fire of Moscow, the partisan movement). - Events of public and political life (Freemasonry, Speransky's legislative activity, the first organizations of the Decembrists). - Relations between landowners and peasants (the transformations of Pierre, Andrei; the revolt of the Bogucharov peasants, the indignation of Moscow artisans).

Show of various strata 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, theater visits, etc.)

Great amount human characters.

Long time span (15 years).

Wide coverage of space (Petersburg, Moscow, estates Lysye Gory and Otradnoe, Austria, Smolensk, Borodino

In this way, Tolstoy's plan required the creation of a new genre, and only an epic novel could embody all the author's conditions.

The main technique of the composition of the novel is antithesis. Its poles are Napoleon and Kutuzov, embodying diametrically opposite philosophical and moral principles. All the main characters are distributed between these poles.

Antithesis- (from Greek, antitesis - contradiction, opposition) - opposition.

A distinctive feature of the composition of War and Peace is that the writer transfers actions from one place to another, moves from events associated with one plot line to events associated with another line; from private destinies to historical events.

To sharply highlight the features of certain character events, the writer often resorts to the method of contrasts (antithesis). This is expressed in the very title of the novel: war is peace, and in the life material that formed the basis of the work. The contrast determines the images of individual heroes (Natasha Rostova and Helen Bezukhova, Princess Marya and Julie Karagina), and historical phenomena (the Battle of Austerlitz - the Battle of Borodino), historical figures (Kutuzov - Napoleon).

On the principle, antitheses are also introduced into the general structure of the work and the images of two cities - Moscow and St. Petersburg. It is in Moscow that the main significant events of the novel take place. In this city, the beloved and most dear heroes of Tolstoy live: Rostovs, Bezukhov. Moscow is presented in the work as a spiritual city, close, dear. In the current heroic situation, Moscow is, as it were, on the brink between war and peace: if Napoleon captures it, then selfish arbitrariness will win, and if Kutuzov is upheld, then the principle of unity, the generic principle.

Petersburg, on the other hand, acts as an unnatural, alien city, it can be taken out of the "swarm" unity formed by the inhabitants of Moscow and the city itself. The war does not affect St. Petersburg, but even when they learn the terrible news from Moscow, the residents of the city on the Neva do not make any attempts to help people in trouble and are out of a heroic situation.

Also, one of the existing myths about its foundation contributes to the separation of St. Petersburg from the tribal whole - that it was built at the whim of the tsar, and not according to the needs of people, and stands on bones. Tolstoy does not sympathize with this city, and, accordingly, those heroes who, at the request of the author, turn out to be its inhabitants - regular visitors to the salons of Anna Scherer and Helen

The types of human natures, emotional and ideological, are also contrasted in the novel. So, the Bolkonsky family embodies an intellectual and rational principle, the Rostov family - an emotional and intuitive one.

The very movement of the plot in the novel is due to the principle of "couplings" (LN Tolstoy), which leaves the impression of a mosaic of events. The work has several storylines, five hundred and fifty-nine characters, among which there are real historical figures, and 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 long period - from 1805 to 1820. From Russia the action is transferred to Prussia, Austria, Poland, from Smolensk to Moscow, from St. Petersburg to the countryside. Before us appear the palace of the emperor, the salon of Anna Pavlovna Scherer, the mansion of the dying Count Bezukhov, the Rostovs 'estate in Otradnoye, the Bolkonskys' house in Bogucharovo, the peasant hut in Fili, the fields of Austerlitsky, Shengrabensky and Borodinsky battles, the camp tents of soldiers.

In the center of the novel is the chronicle of the life of three noble families - the Rostovs, Bolkonsky and Kuragin. At the same time, each of the families has its own culminating events in life. Thus, the episodes depicting Natasha's infatuation with Anatol, her refusal to Prince Andrei Tolstoy, was assessed as "the most difficult place and knot of the whole novel." Readers felt the same way. “The main interest of the book is like a novel,” wrote V.F. Odoevsky, - begins precisely with this climax. And he added: "The denouement is curious." However, the author himself noted that in the novel “the death of one person only aroused interest in other persons and the marriage seemed mostly to be a plot, not a denouement of interest”. The death of Count Bezukhov, the marriage of Pierre to Helene, the failed matchmaking of Prince Vasily - thus, important initial, but not defining plot points of the work. At the same time, the personal life of the heroes is inextricably linked with the most important historical events era.

The flow of private life in the novel organically merges with the historical plot. “Three major historical events form the pivotal line of the plot's development. The outset - 1805, the beginning of the war with Napoleon, the period, the main events of which are the Austerlitz and Shengraben battles.<…>These events of the first military stage precede the epic of the people's war of 1812 and serve as a tie-in further development the lives of the heroes - Andrei Bolkonsky, Nikolai Rostov, Dolokhov and others. 1812, the Battle of Borodino - the culminating point of the novel "

The battle of Borodino and the abandonment of Moscow is a whole epoch in the spiritual development of the heroes, a kind of focus in which their fates converge. It is with this event that the formation of new qualities, new views on the world and society is associated. All the main characters of the novel have been passed through the test of fire, suffering, and death. Not long before the Battle of Borodino, old man Bolkonsky dies, Princess Marya is grieving over his death. The year 1812 changes a lot in the life of Pierre Bezukhov. This is a period of restoration of spiritual integrity, familiarizing him with the "common", affirming in his soul a sense of the harmony of life. An important role here was played by Pierre's visit to the Rayevsky battery during the Battle of Borodino and his stay in French captivity. Being on the Borodino field, among the endless roar of cannons, smoke of shells, squealing of bullets, the hero experiences a sense of horror, mortal fear. The soldiers seem to him to be strong and courageous, they have no fear, 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 person”, from everything artificial and superficial. For the first time faced with the folk environment, he acutely feels the falsity and insignificance of the secular-conventional world, feels the erroneousness of his previous views and 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 closeness of death, and a turning point occurs in his worldview. After the suffering he has endured, he feels "bliss that he has not experienced for a long time." His heart is filled with a feeling of Christian love that he has never experienced before, he finally overcomes his vanity, egoism, aristocratic prejudices. He feels pity and compassion upon seeing the wounded Anatole lying next to him. "Compassion, love for brothers, for those who love, hating us, love for enemies - yes, the love that God preached on earth ..." - all this suddenly opens up to Prince Andrey. 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 historical theme, symbolizing the victory of Russia.

The denouement of the novel is the victory over Napoleon, the defeat of the French and the birth 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 are shown by Tolstoy through the prism of various destinies and characters.

An important role in the novel is played by the author's digressions, which reveal the philosophical and religious-ethical views of Tolstoy, his thoughts on the historical process. The philosophical problems of the author's deviations 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 a person, true and false values ​​in life. In the novel, Tolstoy reveals his views on the war of 1812, on 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 most valued “people's thought” in War and Peace).

The compositional role of copyright deviations is different. So, in the third part, the author talks about the war of 1812 as a people's war of liberation, and this retreat plays the role of a kind of generalization of the artistic chapters. The introduction of the author's journalistic and philosophical reasoning “expands the boundaries of the narrative and at the same time unites the historical, philosophical novel and a psychological "outline of morals".

It should be noted that the author's voice “reigns supreme in 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" (as opposed to the "polyphonic" or "polyphonic" novel of Dostoevsky) "

Thus, once again we note artistic identity"War and Peace". Tolstoy created a work that organically combines the features of an epic, a historical novel, a chronicle, an outline of morals, generously nourishing it philosophical issues and psychological analysis. The novel does not have a single intrigue, we see several plot lines, 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 have made the novel a masterpiece of world literature.

T.'s creativity marked new stage in the development of Russian and world realism, threw a bridge between the traditions of the classical novel of the 19th century. and literature of the 20th century. T. realism is characterized by a special frankness of tone, directness and, as a result, will crush, strength and harshness in exposing social contradictions. Immediate emotional contagion, the ability to recreate the very "flesh of life" are combined in Tolstoy's work with flexible and sharp thought, deep, extremely sincere psychological analysis. T.'s healthy, full-blooded realism strives to combine analysis and synthesis, tends towards a holistic understanding of the world, an awareness of the laws by which human life moves. Not trusting the prevailing opinions and prejudices, T. wants to look at everything anew and in his own way; discarding different types literary clichés, he builds his art only on what he himself saw, understood and guessed. T. captures the spiritual being of the individual, the tension of the seeking thought, the anxieties of conscience. But his realism is also characterized by the plastic sculpting of characters, vivid verbal painting in everyday life, historical and genre scenes.

The realism of T., closely associated with the national Russian tradition, which developed and consolidated it, carries in itself a huge human content... The traditions of realism T. were perceived and assimilated by the young Soviet literature... They still remain for Soviet writers one of the most important and viable traditions of the classical heritage.

T. had a tremendous impact on the evolution of European humanism, on the development of realistic traditions in world literature. In France Romain Rolland, F. Mauriac and R. Martin du Gard, in the USA E. Hemingway and T. Wolfe, in England J. Galsworthy and B. Shaw, in Germany T. Mann and A. Segers, in Sweden A. Strindberg and A. Lundqvist, in Austria R. M. Rilke, in Poland E. Ozheshko, B. Prus, J. Ivashkevich, in Czechoslovakia M. Puimanova, in China Lao She, in Japan Tokutomi Roka - each in his own way experienced influence of creativity T. Great was the influence of T. on the culture of India and on the activities of M. Gandhi. The works of T. were filmed and staged countless times in the USSR and abroad. T.'s plays have been staged on stages all over the world.

The study of T.'s work in domestic and world literary criticism began during the writer's lifetime. Articles about it by G.V. Plekhanov, V.G. Korolenko, and M. Gorky's essay Leo Tolstoy (1919) were of essential importance for the study of T. After October revolution 1917 interest in the heritage of T. increased markedly.

Question: Which of the heroines of his novel did Tolstoy love?

Answer: Natasha, Pierre is Tolstoy himself, Rostov is his ideal, just as in Anna Karenina, Levin is the prototype of the author.

Question: What traditions were observed in the Rostov family?

Answer: The old Count Ilya Rostov was large sizes»Hunting for dogs (Vol. 2, part 4, chapter 3). Another tradition is that they always have someone visiting for lunch or dinner.

Question: Why does Count Rostov accept Pierre, despite the decision made not to accept him into decent houses? And why not accept?

Answer: Pierre, four of them with Kuragin, Dolokhov and the bear in St. Petersburg, had a booze and they were carried away by the women. Therefore, they did not accept it. And with the Rostovs, he restored his reputation, in my opinion, because the friend of Countess Drubetskaya Anna Mikhailovna, Boris's mother, was in her youth the mistress of Pierre's father, forgot his name. And Natalya Rostova herself, Natasha's mother (nee Shinshina), was also, it seems, not indifferent to him. So they somehow influenced the old count. Well, and of course - the likelihood of inheritance, how can we go without it?

Question: Which chapter contains the scene of the duel between Pierre and Dolokhov.

Answer: Volume 2, part 1, ch. 4-5

Question: Tell all of Natasha Rostova's lovers and those whom she sympathized with as a man?

Answer: When she was 13 years old, she was in love with Boris Drubetskoy. At the age of 15, she was first offered an offer: V. Denisov. At the age of 16 or 17, at a ball, she fell in love with Andrei. Six months later - to Anatoly Kuragin. And three years later - to Pierre. She, in my opinion, was loved by everyone. Here, everywhere, of course, we are talking only about falling in love.

Question: Remind me of the name of Boris's wife?

Answer: Julie Karagina.

Question: Who remembers Why Countess Rostova felt ashamed in front of her husband and daughter?

Answer: - Mon cher, you give orders as it is necessary ... I do not know this, - she said, lowering her eyes guiltily. Vol. 3, part 3, chap. 16. When the Rostovs were evacuated from Moscow, the countess, according to Natasha, did not dare to release her transport for the evacuation of the wounded for too long.

Question: What problem does Tolstoy raise in the episode "Review in Braunau" (volume 1, part 2, chapters 2 and 3)?

Answer: In Braunau, Tolstoy has a picture of the Russian army after a long campaign and, above all, every soldier has very bad shoes. You can also pay attention to the general commander of the regiment. He is too equal in front of Kutuzov, trying too hard to be a good officer in the face of a high rank.

Q: What's your favorite moment in War and Peace? And in what moment were you sad?

Answer: My favorite moment is when Natasha plopped down into a chair and threw off her shoes, and at that moment Andrei was in the room and saw everything. The saddest moment is when Liza died, when Andrei died ...

Question: In what volume and in which section does Natasha Rostova tell the prince about how she once got lost?

Answer: Vol. 3, part 2, chapter 25, the very end.

Question: Pierre found out about his wife's betrayal and after talking with her, a week later he gave her a power of attorney stating that he was giving her most of the property. How do you assess this act of Pierre, the fact that he gave a BIG half of the state?

Answer: For Pierre, his fortune is not very important, he gave most of the fortune, but he did not lose anything. For Pierre, the state of mind is much more important, and he calmed his soul, giving most of the state to Helene, that is, he acted nobly, in this act all the innocence and all the kindness of Pierre is expressed!

Question: Please help me write any 10 questions on volume 2.

1. How the life of Prince Andrew changed after Austrerlitz.
2. How did Prince Andrei's idea of ​​life and love change after he heard Natasha's exclamations at the window at night?
3. How did Natasha get ready for her first ball?
4. How did the fate of Natasha and Andrei change after the ball?

5. How long has passed since the ball when Bolkonsky proposed to Natasha?
6. What condition did the old prince put to his son about marriage? How did Natasha react to this?
7. How was the fate of Marya Bolkonskaya? How was the matchmaking for her?
8. How did it happen. that Natasha betrayed Prince Andrew?

9. Why and why does Prince Andrew leave again for the war?
10. Moving Rostovs and Natasha's meeting with Bolkonsky.

Question: Tell me which chapter in volume 3 is devoted to the death of the old prince Bolkonsky?

Answer: Part 2, Ch. eight.

Question: Tell me which chapter ends Patriotic War in the novel War and Peace?

Answer: Volume 4, Part 4, Chapter 11

Question: Tell me please, where is the Battle of Schengraben and Austerlitz?

Answer: T1 ch2 ch16 - Schengraben, t1 ch3 ch16 - Austerlitz.

Question: Problems in the novel War and Peace. Minimum 5.

Answer: Problems: heroism, courage in war; false and true patriotism; the influence of nature on humans; inconsistencies between the internal and external appearance of a person; choice life path; true friendship; the problem of self-interest, hypocrisy, dishonor for the sake of wealth; the problem of false and unnatural human behavior in society.

Question: How does Kutuzov lead the army?

Answer: Read the Battle of Borodino (volume 3), they describe Kutuzov sitting on a bench, surrounded by his retinue during the battle, his gentle manner of leader is described in great detail. His gentle manner lies in the fact that, like no one else, he was able to grasp the thoughts of every soldier, he understood how important it is for time to do its own thing, so he did not give major battles (excluding Borodino), let the death of the French go by chance and thus kept the remnants Russian troops.

Question: What are Bald Mountains?

Answer: Tolstoy copied Yasnaya Polyana, introduced into War and Peace and named the Bald Mountains. The description of the Bald Mountains is similar to that of Yasnaya Polyana.

Question: What is the fate of Marya Bolkonskaya and Nikolai Rostov?

Answer: They got married and are happy.

Question: What does Pierre accuse Helene of?

Answer: In treason, and then challenges Dolokhov to a duel.

Question: Where is the episode "Sky over Austerlitz"?

Answer: 1 volume 2 part

Question: Why is Pierre embarrassed in front of Dolokhov?

Answer: Because Dolokhov sleeps with his wife.

Question: Which chapter describes the Shengrabin battle?

Answer: Volume 1 Part 2 Chapter 16.

Question: Which chapter shows Natasha's opinion about Pierre?

Answer: Volume 4 part 4 chapter 20.

Question: How is the Rostov family different from others?

Answer: The Rostov family is friendly and polite. For example, this is shown on the birthday of Natasha and her mother, the father (Count Rostov) treats all guests equally politely, when, like in the Scherer salon, everyone treats each other depending on their position in society, for example, in Pierre. The moment when the Countess (Natasha Rostova's mother) gives money to Anna Mikhailovna Drubetskoy shows her kindness and sincerity.

Question: The attitude of Prince Andrew to Napoleon?

Answer: First, Napoleon, Andrey's favorite, then he changes his point of view (after being wounded). He looked into the "high sky of Austerlitz", realizing that "... nothing, nothing until now". There he also rethought his attitude towards Napoleon. Hearing voices next to him, Prince Andrei realized that among them was the voice of his hero, who pronounced his famous one in his address: "Here is a beautiful death." But for the hero, these were no longer the words of the great emperor, but just the "buzzing of a fly": over it with clouds. " Prince Andrew is completely disappointed in Napoleon with "an indifferent, limited and happy look from the misfortune of others."

Question: How did Kutuzov behave at the military council?

Answer: He understood that the battle would end badly for our troops. The sovereign approved the plan of the commander of the Austrian troops Weyrother, and at the council he explained this plan while Kutuzov was sleeping.

Question: What technique does Leo Tolstoy use when creating the images of Kutuzov and Napoleon?

Answer: Opposition or antithesis is different.

Question: The first meeting with Andrey in the Scherer salon: independence and dryness of behavior contrasts with the behavior of the rest of Scherer's guests. Explain Andrey's behavior.

Answer: Bolkonsky does not like this secular society. As he himself said: "All this is not for me."

Question: Where is the Battle of Borodino described? Urgently!

Answer: Volume 3 Part 2 Chapter 27.

Question: What does Tolstoy mean when he speaks of "Makovism"?

Answer: Karl Mac von Leiberich, in 1805 his army was surrounded by Napoleon near Ulm.

Question: What human qualities does Tushin have?

Answer: Fearlessness, courage, generosity, love for the homeland.

Question: How does Tolstoy feel about the war of 1805 and 1812?

Answer: Leo Tolstoy shows the despotism of war, its meaninglessness, inhumanity. Such heroes as Kutuzov, Andrei Bolkonsky deny the war.

Question: From what event does acquaintance with the Rostov family begin?

Answer: Volume 1. Chapter 7. Natasha Rostova's birthday.

Question: What brought Pierre to the Masonic society?

Answer: Bad luck in personal life and meeting the old man's freemason.

Question: What brings Natasha back to life after Andrei's death?

Answer: After the death of Prince Andrei, Natasha grieves for a long time. Rostova does not want to talk to anyone and to be engaged in any business whatsoever. But then the news of the death of Petya comes to the Rostov family. For the countess, this is a terrible blow, and Natasha is caring for her mother. The terrible grief and state of the countess brings Natasha out of apathy. Love lives in the girl, which brings her back to life.