War and peace first 4 chapters

197. All Moscow only talks about the war. One of my two brothers is already abroad, the other is with the guards, who are marching to the border. Our dear sovereign is leaving Petersburg and, as is supposed, he intends to expose his precious existence to the accidents of war. May God grant that the Corsican monster, which disturbs the peace of Europe, be overthrown by an angel, whom the almighty in his goodness has placed as ruler over us. Not to mention my brothers, this war has robbed me of one of the relationships closest to my heart. I'm talking about the young Nikolai Rostov, who, with his enthusiasm, could not stand inactivity and left the university to join the army. I confess to you, dear Marie, that in spite of his extraordinary youth, his departure for the army was a great sorrow for me. In the young man of whom I spoke to you last summer, there is so much nobility, true youth, which is so rare in our age between our twenty-year-old old men! He especially has so much frankness and heart. He is so pure and full of poetry that my relationship with him, for all its transience, was one of the sweetest joys of my poor heart, which had already suffered so much. Someday I will tell you our parting and everything that was said at parting. All this is still too fresh ... Ah! dear friend, you are happy that you do not know these burning pleasures, these burning sorrows. You are happy because the latter are usually stronger than the former. I know very well that Count Nicholas is too young to be anything but a friend to me. But this sweet friendship, this relationship so poetic and so pure was the need of my heart. But enough about that. The main news that occupies all of Moscow is the death of the old Count Bezukhov and his inheritance. Imagine, the three princesses received some little, Prince Vasily nothing, and Pierre is the heir to everything and, moreover, is recognized as a legitimate son and therefore Count Bezukhov and the owner of the largest fortune in Russia. They say that Prince Vasily played a very nasty role in this whole story and that he left for Petersburg very embarrassed. I confess to you that I understand very little all these matters of spiritual wills; I only know that since the young man, whom we all knew simply as Pierre, became Count Bezukhov and the owner of one of the best fortunes in Russia, I am amused by observations of the change in tone of mothers who have bride-daughters, and the young ladies themselves in relation to this gentleman, who (in parentheses, say) always seemed to me very insignificant. Since for two years now everyone has been amused by looking for suitors for me, whom I mostly do not know, the marriage chronicle of Moscow makes me Countess Bezukhova. But you understand that I do not want this at all. Speaking of marriages. Do you know that recently the universal aunt Anna Mikhailovna entrusted me, under the greatest secrecy, with the plan to arrange your marriage. This is nothing more, nothing less than the son of Prince Vasily, Anatole, whom they want to attach by marrying him to a rich and noble girl, and the choice of your parents fell on you. I don't know how you look at this case, but I felt it my duty to warn you. He is said to be very good and a big rake. That's all I could find out about him.

In the booth, which Pierre entered and in which he stayed for four weeks, there were 23 captured soldiers, three officers and two officials.

All of them then appeared to Pierre as if in a fog, but Platon Karataev remained forever in Pierre's soul the strongest and dearest memory and the personification of everything Russian kind and round. When the next day, at dawn, Pierre saw his neighbor, the first impression of something round was completely confirmed: the whole figure of Plato in his French overcoat belted with a rope, in a cap and bast shoes, was round, his head was completely round, back, chest, shoulders , even the arms that he wore as if always about to hug something were round; a pleasant smile and large brown, tender eyes were round.

Platon Karataev must have been over 50 years old, judging by his stories about the campaigns in which he participated as a longtime soldier. He himself did not know and could not in any way determine how old he was; but his teeth, bright white and strong, which all showed their two semicircles when he laughed (which he often did), were all good and intact; not a single gray hair was in his beard and hair, and his whole body had the appearance of flexibility and especially hardness and endurance.

His face, despite the small round wrinkles, had an expression of innocence and youth; his voice was pleasant and melodious. But the main feature of his speech was immediacy and argumentativeness. He apparently never thought about what he said and what he would say; and from this there was a special irresistible persuasiveness in the speed and fidelity of his intonations.

His physical strength and agility were such during the first time of captivity that it seemed that he did not understand what fatigue and illness were. Every day, in the morning and in the evening, when he lay down, he said: “Lord, put it down with a pebble, raise it up like a ball”; in the morning, getting up, always shrugging his shoulders in the same way, he said: “lay down, curled up, got up, shook himself.” And indeed, as soon as he lay down to immediately fall asleep like a stone, and as soon as he shook himself, in order to immediately, without a second of delay, take up some business, the children, having risen, take up toys. He could do everything not very well, but not badly either. He baked, cooked, sewed, planed, sharpened boots. He was always busy and only at night allowed himself to talk, which he loved, and songs. He sang songs, not like songwriters sing, knowing that they are being listened to, but he sang like birds sing, obviously because it was just as necessary for him to make these sounds, as it is necessary to stretch or disperse; and these sounds were always subtle, tender, almost feminine, mournful, and his face was very serious at the same time.

Having been taken prisoner and overgrown with a beard, he apparently threw off everything alien, soldierly, put on him, and involuntarily returned to the former peasant, people's warehouse.

“A soldier on leave is a shirt made of trousers,” he used to say.

He was reluctant to talk about his soldier time, although he did not complain, and often repeated that he had never been beaten all his service. When he told, he mainly told from his old and apparently dear memories of the "Christian", as he pronounced, peasant life. The proverbs that filled his speech were not those, for the most part, indecent and glib sayings that the soldiers say, but these were those popular sayings that seem so insignificant taken separately, and which suddenly acquire the meaning of deep wisdom when they are said by the way.

Often he said the exact opposite of what he had said before, but both were true. He loved to talk and spoke well, embellishing his speech with endearing and proverbs, which, it seemed to Pierre, he himself invented; but the main charm of his stories was that in his the speeches of the simplest events, sometimes the very ones that, without noticing them, Pierre saw, received the character of solemn goodness. He liked to listen to the tales that one soldier told in the evenings (all the same), but most of all he liked to listen to stories about real life. He smiled joyfully as he listened to such stories, inserting words and asking questions that tended to clarify to himself the beauty of what he was told. Attachments, friendship, love, as Pierre understood, Karataev did not have any; but he loved and lived lovingly with everything with which life brought him, and especially with a person - not with some famous person, but with those people who were before his eyes. He loved his mutt, loved his comrades, the French, loved Pierre, who was his neighbor; but Pierre felt that Karataev, in spite of all his affectionate tenderness for him (which he involuntarily paid tribute to Pierre's spiritual life), would not have been upset for a minute by parting from him. And Pierre began to experience the same feeling for Karataev.

Platon Karataev was for all the other prisoners the most ordinary soldier; his name was falcon or Platosha, they good-naturedly mocked him, sent him for parcels. But for Pierre, as he presented himself on the first night, an incomprehensible, round and eternal personification of the spirit of simplicity and truth, he remained so forever.

Platon Karataev knew nothing by heart except for his prayer. When he spoke his speeches, he, starting them, seemed not to know how he would end them.

When Pierre, sometimes struck by the meaning of his speech, asked to repeat what was said, Plato could not remember what he had said a minute ago, just as he could not in any way tell Pierre his favorite song with words. There it was: “dear, birch and I feel sick,” but the words did not make any sense. He did not understand and could not understand the meaning of words taken separately from the speech. Every word of his and every action was a manifestation of an activity unknown to him, which was his life. But his life, as he himself looked at it, had no meaning as a separate life. It only made sense as a part of the whole, which he constantly felt. His words and actions poured out of him as evenly, as necessary and immediately, as a scent separates from a flower. He could not understand either the price or the meaning of a single action or word.

Description of the presentation by L. Tolstoy "War and Peace" 4 slides

Contents 1. Guerrilla warfare. 2. Analysis of the episode: "Petya Rostov in the partisan detachment". 3. Kutuzov. 4. "People's Thought" in the novel. 5. Platon Karataev. 6. Mastery of psychologism in Tolstoy's novel. 7. Pierre Bezukhov after the Battle of Borodino. 8. Why is Andrei Bolkonsky a tragic hero? 9. What did Pierre Bezukhov find the meaning of life in?

Guerrilla war. Volume 4 1. When did the guerrilla war start? What is its feature? How were partisan detachments created and operated? How does Tolstoy feel about this war? (Volume 4, part 2, chapters 1-3; part 3, chapters 1-2, 17, 19). 2. Actions of the detachment of V. Denisov. Analysis of the episode “The Death of Petya Rostov” (volume 4, part 3, chapters 3-11 - exchange of greetings between Nikolai and the German at the cowshed; Petya’s concern for the French drummer boy; his love for everyone and everything; attitude towards Denisov and Dolokhov; scene in reconnaissance with Dolokhov; Petya's dream, the meaning of music in it; the symbolic image of the sky that lives in his soul; the scene of death). 3. The historical role and significance of Kutuzov in the people's war (Volume 4, Part 4, Chapters 4-5). 4. Why was the Battle of Tarutino given and what is its significance? (Volume 4, part 2, chapters 1-7). French flight. 5. Battle under Red. Kutuzov's speech to the soldiers. (Volume 4, part 4, chapters 6-9). The resignation and death of Kutuzov (Volume 4, Part 4, Chapters 10-11).

“And it’s good for the people who, in a moment of trial ... with simplicity and lay down, pick up the first club that comes across and nail it until the feeling of insult and revenge in their soul is replaced by contempt and pity”

Tolstoy sings of "the cudgel of the people's war, guerrilla war an expression of just people's hatred of the enemy. The partisans destroyed great army piecemeal" . They are "split apart, because the spirit is raised so that individuals strike without the order of the French and do not need orders in order to expose themselves to labor and danger." Tolstoy shows the Cossack, peasant, landlord detachments, lone partisans, the detachment of Vasily Denisov. People's War highlighted the best sides Russian national character: the ability to courageously defend their homeland, to unite at the moment of danger, not to become hardened in the war.

Analysis of the episode: “Petya Rostov in the partisan detachment” The episode “Petya Rostov in the partisan detachment” (vol. 4, part 3, ch. 7, 11) is connected by many causal and causal relationships with the previous and subsequent episodes of the novel L N. Tolstoy "War and Peace". previous episodes. The reasons why young Petya Rostov ended up in the army. Petya's request to let him go to the active army (vol. 4, part 1, ch. 20). Petya's Delight on Red Square during the stay of Alexander I in Moscow (vol. 4, part 1, ch. 21). The arrival of Petya in Denisov's detachment. The episode is also connected with those fragments of the novel that follow it: with "Petya's Music" (vol. 4, part 3, ch. 10), the scene of Petya's death (vol. 4, part 3, ch. 11). The episode has several meaningful functions, and above all characterological, that is, revealing certain aspects of Petya's character. He is very similar to his sister Natasha, giving carts to the wounded, to Nikolai Rostov, to his father.

The episode also performs a psychological function, as it gives an idea of ​​the extraordinary state of mind Petit - a state of happiness and delight. The episode also characterizes other characters acting in it: Vasily Denisov, a captive French drummer. This episode can tell a lot: about the sympathetic soul of Petya and about the Rostovs in general, about the peculiarities of the Russian national character, the folk character of the war, the attitude of Russian soldiers towards the French prisoners.

He "was in a constantly happily-excited state of joy at being big, and in a constantly enthusiastic haste not to miss any case of real heroism." It is understandable that Petya wants to remain in Denisov's detachment (despite the prohibition of the general who sent him with the report), it is understandable that he wants to hurry to where a case of "real heroism" may present itself. But Petya is Rostov; like Nikolai once, he is able to experience “an enthusiastic childish state of tender love for all people and, as a result, confidence in the same love of other people for himself” (recall the exchange of greetings between Nikolai and the German at the barn - vol. I, part II, ch. . 4). And his concern for the French drummer boy is, of course, not accidental - like Denisov, he is able to see people in enemies; in this he decisively differs from Dolokhov, who argued with Denisov about prisoners (ch. 8): Dolokhov is not inclined to take prisoners; like Tikhon Shcherbaty, he is convinced that the French must be killed (cf. the words of Prince Andrei to Pierre before the battle of Borodino).

“He was ashamed to leave them at a difficult moment.” Why does he stay with Denisov? Because "he was ashamed to leave them at a difficult moment." And he sincerely strives for “real heroism”, he has no desire to stand out, to excel (“I don’t need awards”). He needs to be in the most important and interesting place. He loves everyone, and this feeling is given to him by nature. He has everything "beautiful" and "wonderful". This feeling of love for people extends to the captive French boy Vincent. Not everyone is given to be a man in the war, but Petya is given, as well as Denisov, who pities the captive drummer. And at the same time, he imitates Dolokhov, brave and cold-blooded, so he goes with him to reconnaissance. He is not afraid of anything. He is the bearer of life and love, not death and hate.

It is no coincidence that in his dream he hears music calling people to unity, music in which individual sounds merge into one, common. The exclamation of the German: "Long live the whole world!" , a replica of a French soldier: “We are all people, we must be human”, Prince Andrei’s dying thoughts about love for people and Petya’s music are milestones in the development of the main idea of ​​​​the novel - the idea of ​​\u200b\u200bthe unity of people and their love for each other. This idea is closely related to the theme of the sky.

Petya looked at the sky. And the sky was as magical as the earth ... and clouds quickly ran over the tops of the trees, as if revealing the stars ... Sometimes it seemed that the sky was high, high rising overhead; sometimes the sky dropped completely, so that you could reach it with your hand.

And the sky was as magical as the earth ... ”In Petya, as in Natasha, the sky lives. They want to get it by hand. Natasha wants to fly into the sky, and through a dream it seems to Petya that he “is not sitting on a wagon, but on a terribly high tower, from which if you fall, you would fly to the ground all day, a whole month - you’ll fly all the time and you’ll never fly” .

“I was late again, it flashed through Petya’s head” Petya dies, not having time to perform the heroic deed he dreamed of. He gallops to the place of battle and ... does not have time. "I was late again, flashed through Petya's head." He dies senselessly. Dolokhov orders to wait for the infantry. "Wait? . . Hurray!” Petya shouted and, without a single moment’s delay, he galloped to the place where the shots were heard and where the powder smoke was thicker.” With Petya, his world of love and happiness perished. The scene of Petya's death is a curse on the war, its senselessness and cruelty.

Our writings. Petya Rostov You know, when you see some detail, a moment, an event that “hurts to the core”, you involuntarily begin to think: why is everything bright, kind, good and pure often turned out to be killed, destroyed, trampled down? Yes, perhaps these words are too grandiloquent, but they have some truth in them, don't they? In our life, so real and cruel, injustice takes place more often than its antonym. Take, for example, Petya Rostov - the hero of Tolstoy's novel War and Peace. Just take a look at him! Petya has collected all the best qualities of his family members. He is honest and a patriot, like Nikolai; musical, kind and cheerful, like Natasha; generous, like the old Count Rostov. Petya is still just a boy, but in the future he could turn out to be a wonderful person and a real man. But no! Reading the episode of Petya's death, I involuntarily thought: why did L. Tolstoy prepare such a fate for him, and not, for example, for Zherkov? And then she found the answer.

Firstly, Petya, with his “stupid” death, shows the horror and blackness of war, and secondly, this boy, who is still completely inexperienced in military affairs, really, really wants to be a real, brave soldier defending his homeland. I would not say that Petya is one of the main characters of the novel, but along with Natasha, we always see him when the author talks about the Rostovs. On Natasha's name day, we see him as a funny, "fat boy". When Natasha, Nikolai and Petya come to visit their uncle, the boy falls asleep in the armchair after a tiring hunt. L. Tolstoy says that, growing up, Petya looked more and more like Natasha. The same black-eyed and lively Petya and mutual language finds best with his sister. He, a vulnerable and sensitive person, cries when he is not allowed to go to war. The boy, with sincere delight, is in love with the tsar, as Nikolai once was, and with the fatherland. On the square in Moscow, Petya even takes away the biscuit thrown by the sovereign from the old woman, and, despite the fact that he was almost crushed in the crowd, the boy is absolutely happy.

There, in the detachment of Denisov, much later than the events described above, sitting on a wagon, Petya will be delighted, as if in a dream, he will hear a strange and beautiful fugue. After all, I was only able to get a good look at Petya here, in the partisan detachment. Sincere heroism, generosity, compassion and mercy, courage - all these qualities Petya reveals to us, showing that all this was already in him, had long been formed. With a pure, open soul, he strives for every person. He is humane, and therefore the French boy for Petya is not only an enemy, but also a person. When, after the death of the boy, Denisov recalls the raisins that Petya loved, he becomes unbearably sad because the kind, bright boy died, stupid and insulting, being late ...

Kutuzov Tolstoy, following his philosophical convictions, proves that the events of this war developed spontaneously, therefore, he sees the significance of Kutuzov in that he did not violate the natural course of events: “He alone used all his strength to keep the Russian army from useless battles”, believing that "the beast shot down near Borodino must die." move historical events confirmed the correctness of Kutuzov's decision. And the first cry of the "wounded beast" was Napoleon's offer of peace. “The beast shot down near Borodino must die”

Did Kutuzov manage to keep the army from fighting? Tolstoy believes that no person can prevent what should happen by the will of circumstances. So the Battle of Tarutino was given. “The obscure, but arising in the soul of every soldier, the consciousness that the ratio of forces has now changed and the advantage is on our side,” became the cause of this battle.

And Kutuzov was obliged to give a battle in which “with the smallest tension, with the greatest confusion and with the most insignificant loss, the greatest results were obtained in the whole company, a transition was made from retreat to offensive, the weakness of the French was exposed and that impetus was given, which the Napoleonic army was just waiting for to start the flight.

“The goal of the people was the same: to clear the land of invasion” After the Battle of Tarutino, the goal of Kutuzov, like every Russian person, was to drive the French from Russian land: “All Kutuzov’s activity ... was directed only to that, as far as it was in his power, - not to stop this disastrous movement for the French (as the Russian generals wanted, but to assist him and facilitate the movement of his troops. Kutuzov knew ... with his whole Russian being he knew and felt what the Russian soldier felt, that the French were defeated, that the enemies were fleeing and had to be escorted out them "... Tolstoy emphasizes in Kutuzov the same invariable features of a man and a commander: wisdom, unity with the people, careful attitude towards soldiers.

The sovereign and the generals demanded otherwise. They needed victorious battles. So once again the theme of false heroism sounds in the novel. The result was a battle near Krasnoe: “For three days at Krasnoe, finishing off the defeated gatherings of the French (16 thousand led by Napoleon) by the exhausted people of the Russian army continued.” Kutuzov's refusal from such battles turned into his resignation.

“While they were strong, we did not feel sorry for them, but now you can feel sorry for them. They are also people "This scene is preceded by a meeting of Kutuzov with French prisoners:" Most of the faces of the French soldiers were disfigured by frostbitten noses and cheeks, and almost all had red, swollen and festering eyes. The sight of these people makes Kutuzov feel pity, and he makes a speech to his soldiers: “It’s hard for you, but still you are at home; and they - see what they have come to. - Worse than the last beggars. While they were strong, we did not feel sorry for them, but now you can feel sorry for them. They are also people. So guys? "And then:" Serves them right ". Thus, pity for the frostbitten, hungry French and anger for all the evil of the French invasion were combined in the "innocent old man's speech".

How did the soldiers take Kutuzov's speech? “The heartfelt meaning of this speech was not only understood, but the very feeling of majestic triumph, combined with pity for the enemies and the consciousness of being right ... this very feeling lay in the soul of every soldier. Compassion for the enemy Tolstoy considered a distinctive feature of the Russian people. In the soul of Russian soldiers, as well as in the soul of Kutuzov, there is no feeling of hatred, no desire for revenge on those who were responsible for their suffering. Kutuzov and the soldiers are united in their attitude towards the enemies.

How was Kutuzov treated at the top, at court? "Dissatisfaction with him, contempt for him and teasing him were expressed more and more strongly." The entire award to Kutuzov from the government of George of the first degree, and even he was given "out of propriety." Emphasizing the historical role of Kutuzov, Tolstoy writes: “To the representative of the Russian people, after the enemy was destroyed, Russia was liberated ... there was nothing left but death. And he died."

"People's Thought" in the novel 1) Tikhon Shcherbaty, his role in the detachment (volume 4, part 3, chapters 3-6). How did you get into the squad? How do the partisans and the author feel about him? To whom does Tolstoy compare him? What is the name of the partisans? What was entrusted to Tikhon? How does Tolstoy portray his appearance? How does his speech differ from that of Platon Karataev? How does Tolstoy the artist and Tolstoy the philosopher feel about Tikhon? Why does Tolstoy draw a parallel between Tikhon and Dolokhov? 2) The meaning of the image of Platon Karataev (Volume 4, Part 1, 12-13; Part 2, Chapters 11-14). Features of the portrait, manner of speech. What is the meaning of Karataev's story about how he got into the soldiers? How does Karataev treat people? What philosophy of life does he preach? How does it die? What are the best folk qualities he has? How is the author's idea of ​​simplification and forgiveness connected with his image? 3) Compare Tikhon Shcherbatov and Platon Karataev. What Tolstoyan idea do they embody? How does Tolstoy show the dual psychology of the peasantry by the example of these two typical representatives of it? Which of the characters is closer to Tolstoy the artist? How does the Kutuzov principle manifest itself in Karataev?

"People's Thought" in the novel "People's Thought", which Tolstoy loved, is revealed in the novel in two aspects. In historical and philosophical terms, in the assertion that the people are the leading force in history. In moral and psychological terms - in the assertion that the people are the bearer of the best human qualities. Both of these plans, intertwined, form the criterion for assessing life by Tolstoy: the writer judges his heroes by proximity to the people, to their fate and their spirit.

"Tikhon was the most useful and brave man in the party" Of the entire mass of soldiers, Tolstoy highlights two - Tikhon Shcherbatov and Platon Karataev. Tikhon personifies the "club of the people's war". He himself, voluntarily, went to the detachment of Vasily Denisov. He has “long dangling arms”, “small narrow eyes”, his face is “pitted with smallpox and wrinkles, “lack of a tooth in his mouth”, “his whole face stretched into a radiant stupid smile”, “flat, twisted legs in bast shoes”, “suddenly and lay flexibly on his belly” — these are the details of his portrait. What is the author's attitude behind these artistic details? With whom are its author and the Cossacks compared?

His remarkable brute strength was appreciated by the Cossacks: “hefty gelding”. Tolstoy compares him with a wolf, emphasizing the predatory beginning in him. Tikhon killed a man, as if a wolf killed a sheep. And he owns an ax, "like a wolf owns his teeth, equally easily tearing out fleas from his wool and biting thick bones" . What was entrusted to Tikhon in the detachment?

He was instructed to "do something especially difficult and nasty - turn a wagon out of the mud with your shoulder, pull a horse out of the swamp by the tail, skin it, climb into the very middle of the French, walk 50 miles a day" . Everything that is beyond the power of a person or disgusting, disgusting, is entrusted to Tikhon. Tolstoy the artist does not show the greatness of Tikhon, nevertheless recognizing his usefulness and even necessity in the war. How is the author's attitude towards Tikhon expressed through the assessment of his actions by Petya Rostov?

When he listened to Tikhon, who had just killed a man, he "became embarrassed." Tikhon's cruelty is also emphasized through his attitude towards prisoners ("after a wound, he rarely brought prisoners"). The taste for violence is also distinguished by Dolokhov. To Denisov’s demand to send prisoners under escort to the rear, he answers: “You will send a hundred of them, and thirty will come. They will die of hunger or be beaten. So why not take them anyway? » The image of Tikhon embodies the idea of ​​protection from marauders by their execution and destruction. Tolstoy shows his dexterity, strength, adaptability to any conditions of life, diligence, demand in the war.

L. N. Tolstoy introduced the image of Tikhon Shcherbaty into "War and Peace" in order to once again, in a new way, illuminate his idea - "clubs of the people's war" properties that no one knew before, including himself. War is a distortion, a violation of the usual course of things. So in the peasant - those qualities that were necessary in peacetime to carry out peasant affairs are now used for the cause of war. A man in everyday life is unpretentious, hardy, dexterous, quick-witted, sometimes cunning. During the people's war, these qualities were useful for military affairs. Protecting your home from “world leaders” is no less urgent than sowing, reaping and other peasant labor. Here the peasant is fighting - just as businesslike as he used to work in the field and around the house.

Tikhon Shcherbaty (unlike Dolokhov) is not a player, but a predator. He is forced to become a predator in order to save his home. The transformation of the Russian peasant into a predator, into a murderer - such is the punishment for the French for having come to Russia as predators and murderers. Just as it used to be natural for him, say, to slaughter a pig, so, with the same judgment and with the same habitual cold-bloodedness, he will slaughter the French. And at the same time, the author's sympathies are on the side of another representative of the people - Platon Karataev.

Platon Karataev. He was ... "a round and eternal personification of the spirit of simplicity and truth" Karataev, unlike Tikhon, is endowed with fate by the author. What do we learn about his life before meeting Pierre in captivity?

He is no longer a young soldier, even in the times of Suvorov he participated in campaigns. The war of 1812 found him in a Moscow hospital, from where he was taken prisoner. How does a portrait, manner of speech reveal the features of his personality?

Plato has a "singing voice", in which one can hear "an expression of affection and simplicity". He is all round: “The whole figure of Plato ... was round, his head was completely round, his back, chest, shoulders, even the arms that he wore, as if always about to hug something, were round; a pleasant smile and big brown tender eyes were round. “Round” is a leitmotif in Karataev’s characterization. His psychological portrait is complemented by a “thoughtful smile”, a state of “sadness”, “quiet delight”, “an expression of quiet solemnity” and “joyful tenderness”, which indicates his rich inner life. His speech is different. folk wisdom, as evidenced by the use of proverbs, a variety of topics. He talks about the family and peasant life, reflects on Moscow, the gentlemen and the people, about the court ("Where the court is, there is untruth").

What rules does he follow in life? What is his relationship with people? How do the soldiers treat him? What two stories does he tell Pierre and how do they reveal his philosophy of life? What are the best qualities inherent in the Russian people that the author appreciates in him? How does Tolstoy's doctrine of simplification and non-resistance to evil by force fit in with the image of Karataev? What role did Karataev play in Pierre's life?

The image of Platon Karataev evoked the most diverse opinions among researchers of Tolstoy's work. For Pierre Bezukhov, Platon Karataev is the personification of everything "Russian, kind and round." His movements are soothing and gentle. He knows how to do everything "not very well, but not bad either." Lives without thinking about anything, like a bird. Every evening he says: “Lay down, Lord, with a pebble, raise it up like a ball,” and in the morning, waking up, he says: “Lie down - curled up, get up - shook himself.” He rejoices in everything, in everything he knows how to find the bright side. Platon Karataev teaches Pierre gentleness, forgiveness, patience and self-denial.

The author's sermon of humility and non-resistance to evil His life philosophy is revealed in two stories about his life, which he told to Pierre. The first is about how he was sent to the soldiers instead of his brother with many children. He not only put up with it, but believes that "it worked out well." The second is about an old merchant who was falsely accused of murder and robbery. Sent to hard labor. But, innocently punished, he does not consider himself offended. This resignation to fate had such an effect on the real criminal that he confessed to everything. But while the release papers were being sent, the merchant died. Both of these stories are about humility, about how a person got used to cruelty and injustice. This is how the author's sermon of humility and non-resistance to evil sounds.

Plato is always active: he bakes, cooks, sews, sews boots, whittles his wand. And at night, when the working day is over, he allows himself to talk, sing songs. His peasant character, endless jokes became for Pierre the embodiment of the "spirit of simplicity of truth." But at the same time, Pierre understands that Platon Karataev has no attachments, he does not know the feelings of friendship, love. “He loved and lived lovingly with everything that life brought him, and especially with a person - not with some famous person, but with those people who were before his eyes. He loved his mongrel, loved his comrades, the French, loved Pierre. . . ; but Pierre felt that Karataev, despite all his affectionate tenderness for him. . . I would not be upset for a moment by parting with him.

The image of Karataev is contradictory. Kindness becomes in him forgiveness (and to enemies too), unpretentiousness - the absence of all sorts of requirements for life (everywhere he feels good), faith in the reasonableness of the natural course of life events - humility before fate, intuitive behavior - the absence of mental life.

“What did the author say to his Karataevs? » Critics about the meaning of this image Ball, globe - symbols of consent, harmony, peace in Tolstoy's epic. It is clear that Karataev (like Kutuzov) is beyond the search for truth - it was given to him from the very beginning. The problem is different: what did the author say to his Karataevs? “Kutuzov and Karataev equally express Tolstoy’s idea that the truth is in the rejection of one’s “I” and in complete submission to its “common”, ultimately fate,” writes G. N. Fein (Researcher brings thoughts Prince Andrei before his death with the philosophy of Karataev and writes: “Tolstoy wants to prove this (the need to give up the idea of ​​changing anything in the world), but life refutes this philosophy, and Tolstoy himself cannot remain consistently true to his theory” On Pierre’s return to “ S. G. Bocharov also writes “pre-Karataev” state (“The contradiction between simple and complex, patriarchy and personality development, direct life and conscious life”, according to Bocharov, “will never be closed”.

Much harder given Karataev at Kamyanov's. First of all, the researcher does not accept the idea that Karataev is the embodiment of Tolstoy's ideal. In the meantime, Karataev does not express the author's position at all - it is no coincidence that he is “not a tenant”, he is doomed to die, and his death in the final version of the book (Kamyanov compares it with draft ones) will leave Pierre almost indifferent. “One of the main missions of Karataev, who lives inside and according to the laws of the artistic whole, is to be the personification of consent, a kind of emblem of truth for the seeking hero, or “a measure of simplicity and truth”. (V. Kamyanov). It seems that Kamyanov is more convincing in his interpretation of Karataev's place in Tolstoy's book. Try to compare Karataev with Shcherbaty - another hero from the common people - and you will see that the author shows the reader, as it were, two sides of the folk, national character. In Tikhon - hatred for the enemy and cruelty necessary in a situation of danger; in Karataev - love for everyone and hope in God's providence, which cannot be mistaken. Which point of view do you prefer and why?

Platon Karataev and Tikhon Shcherbaty If in Platon Karataev Tolstoy all the time emphasizes the beginning of the soul, his kindness, humility, sense of dignity, then in Tikhon Shcherbat, along with his positive traits the negative ones are clearly visible. It costs him nothing, looking into the eyes of the commander, to lie, but his lie is so dodgy that it is difficult to convict him of it. Tikhon Shcherbaty is devoid of human attractiveness. Tolstoy makes the reader feel that there are no moral criteria for him, that he is unpoetic. “No one else opened cases of attack more than him, no one else took him and beat the French; and as a result, he was the jester of all Cossacks, hussars, and he himself willingly succumbed to this rank, ”writes Tolstoy. And those around him, paying tribute to his military exploits, do not take Tikhon seriously, as a person in the high sense of the word, and do not treat him with reverence. Two contradictory sides of the national character are revealed by Tolstoy through the images of these heroes.

The antithesis “Platon Karataev - Tikhon Shcherbaty” is connected with the concept of national character; here it is impossible to see the author's unequivocal sympathies and antipathies - it is important that both hatred for the enemy and pity for him were expressed in the war - let's recall significant episodes: the rescue of Rambal - first by Pierre, and then by Russian soldiers; drummer Vincent, who took root in Denisov’s detachment, Kutuzov’s speech to the troops (“While they were strong, we did not feel sorry for ourselves, but now you can feel sorry for them. They are also people” - vol. IV, part IV, ch.

Mastery of psychologism in Tolstoy's novel. Individual tasks: Find examples of using the "dialectics of the soul" technique in the novel. Perform an episode analysis of your choice.

(speech development) C-1 (USE) What type of psychologism do we meet in L. Tolstoy's novel "War and Peace"? Using the proposed plan, prepare an oral detailed answer on the topic: "The mastery of psychologism in Tolstoy's novel." Supplement one of the points with an analysis of the episode “Impressions of Pierre Bezukhov from the execution of prisoners” (Volume 4, Part 1 10-12 chapters).

"The mastery of psychologism in Tolstoy's novel". Plan 1. Introduction. A) Psychologism is a detailed and deep reproduction in a literary work of the inner world of a person. Traditionally, two types of psychologism are distinguished in Russian literature: hidden - when the reader can only observe the results of the characters' experiences; expanded - when the reader is shown the entire mental process (the emergence and development of emotional experiences). Describing complex, sometimes contradictory psychological processes, the writer conveys the "dialectics of the soul" of a person, its variability, "fluidity". The second type of psychologism is most often used by Tolstoy. B) Tolstoy is one of the greatest writers-psychologists not only in Russian, but also in world literature. C) With the help of psychologism, Tolstoy reveals the moral quest of his heroes, the process of comprehending the meaning of life by them. Therefore, the most psychological images of the main characters: Pierre Bezukhov, Andrei Bolkonsky, Natasha and Nikolai Rostov and others.

2. Main part. To depict the inner world of characters, Tolstoy uses various methods of psychologism, which allow him to penetrate into the soul of a person with amazing depth: 1) Psychological analysis. Complex feelings and experiences are “decomposed” into components. Often Tolstoy reveals the psychological world of his characters as if from the outside; he sees in their experiences what the characters themselves cannot see. The author analyzes and explains to the reader the reasons for this or that psychological state (the feelings and experiences of Andrei Bolkonsky on the Field of Austerlitz after being wounded, Natasha's perception of the opera, Pierre Bezukhov's impressions of the execution of prisoners). 2) Inner monologue. Tolstoy conveys the flow of thoughts and experiences of the character, imitating a natural, not literary processed flow psychological processes(Pierre after the duel with Dolokhov, Natasha's prayer, Nikolai Rostov's thoughts after the attack on the French).

3) "Dialectics of the soul" (term N. G. Chernyshevsky). Tolstoy was one of the first to portray inner world a person in motion, in dynamics, revealing indirect and often illogical connections between thoughts, ideas, memories. This contributed to increased credibility in revealing the psychological world of the individual, increased the emotional impact on the reader (Bezukhov's psychological state in Torzhok before meeting with Bazdeev, Natasha's thoughts after meeting Anatole at the opera). 4) Psychological details. Tolstoy mainly uses a psychological portrait in order to reveal certain internal states of a person’s soul (a portrait of Pierre before a duel with Dolokhov, portraits of the “little princess” and Princess Marya).

5) Special forms of psychological depiction: dreams (Andrei Bolkonsky before his death, borderline states of consciousness (Nicholas Rostov's delirium after being wounded). 3. Conclusion. The use of various forms of psychologism allowed Tolstoy to reveal the inner world of his characters with exceptional depth and liveliness. This intensified the emotional impact on the reader: we empathize with the heroes of Tolstoy, take an ardent part in their fate, closely monitor their moral development (A. B. Esin. “How to write an essay yourself”).

Pierre Bezukhov after the Battle of Borodino 1. How is the image of Pierre revealed in the scenes of his adventures in Moscow? Why does his decision to kill Napoleon cause the irony of the author? How does Tolstoy show his true purpose - to save and protect people? (3 volume, 3 part, 27-29; 33-34 chapters). 2. What conclusions did Pierre come to after interrogations and the scene of the execution of Moscow's arsonists? (Volume 4, part 1, chapters 9-13; part 2, 11-13, part 312-15; part 4, chapters 12-13). Analysis of the episode "Impressions of Pierre Bezukhov from the execution of prisoners". 3. What impact did the meeting with Platon Karataev have on him? The role of Pierre's dream (a ball of drops). How has Pierre changed externally and internally? 4. How do we see Pierre in the scene of liberation from captivity?

Pierre, having freed himself from the burden of "an external person," having discarded the "mental telescope", "in which he has looked through the heads until now", cognizes the joy of rapprochement with a wide range of people. Pierre begins to realize that his true path is to merge his "I" with the people, with the "common life".

Pierre in Moscow After the Battle of Borodino, Pierre makes a decision: “To be a soldier, simple soldier!" He breaks off relations with his class, secretly flees, leaving behind two houses and wealth. Deciding to become a commoner, he dresses in a merchant's caftan and, under the guise of a common man, takes part in the defense of Moscow.

“We think that as soon as we are thrown out of the usual path, everything is gone: and here a new, good one is just beginning” Pierre decides to kill Napoleon - to contribute to the nationwide cause. Life teaches Pierre, offering him - in return for the murder of Napoleon - the rescue of the French officer Rambal, a girl, a beautiful young Armenian woman. He acts instinctively: his job is to save, not to increase evil and multiply murders in the world. As an arsonist of Moscow, Pierre is captured.

Having witnessed the execution of participants in the arson of Moscow, Pierre completely loses faith in the expediency of life, both "in the human and in his soul." This is his last moral crisis in the novel. Doubts about the rationality of life had crept into his mind before, but he thought that the blame should be sought only in himself. “But now he felt that it was not his fault that the world had collapsed before his eyes, and only meaningless ruins remained. He felt that it was not in his power to return to faith in life.

What role did Karataev play in Pierre's life? What did he teach him? It is no coincidence that Platon Karataev appears in the novel precisely at the moment when Pierre needs to rely on something in order to regain his faith in goodness and truth, which he lost after the execution by the French of Russians accused of setting fire to Moscow. Thanks to Karataev, writes Tolstoy, "the previously destroyed world now with new beauty, on some new and unshakable foundations, was erected in his soul." In captivity, Pierre learned to live one day, to be content with what fate sent him. This makes it easier to endure suffering.

". . . Platon Karataev remained forever in Pierre's soul the strongest and dearest memory and personification of everything Russian, kind and round.

Tolstoy's idea of ​​simplification As a result of his acquaintance with Platon Karataev, Pierre comes to the conclusion that people's misfortune always occurs (and his misfortune until now) "not from lack, but from excess"; the surplus here is not only the material advantages that separate the "masters" from the people, but also the surplus of the spiritual, inner life, searches, development, "the dialectics of the soul." All this is not characteristic of ordinary people, soldiers, peasants, it is as if given to them directly, directly, spontaneously that knowledge of the meaning of existence, to which the searching and reflecting heroes of "War and Peace" make their way long and hard.

External and internal changes in the appearance of Pierre Pierre’s appearance is changing: “He no longer seemed fat, although he still had the same kind of size and strength ... Pierre looked at his bare feet, which he gladly rearranged into different positions, moved Dirty, thick , thumbs." All this is an expression of extreme simplification, a consequence of the plight of the prisoner. But the simplification of the external appearance causes a change in the internal content of the character, which, in turn, changes the external appearance: “The expression of the eyes was firm, calm and lively-ready, such as Pierre's gaze had never had. His former licentiousness, expressed in his eyes, was replaced by ... selection.

Psychological portrait Tolstoy's portrait is psychological and social. The “roundness” of Karataev is both something peasant, as Pierre thinks, and at the same time an expression of worldview completeness. The simplification of Pierre, tearing him away from his class, also changes his psyche. Now he has found the truth, and therefore - "the expression of the eyes ... firm, calm."

What did Pierre strive for all his life? To calmness and contentment with oneself, "agreement with oneself." Where did he seek this peace? "He looked for this in philanthropy, in Freemasonry, in the dispersion of secular life, in wine, in the heroic feat of self-sacrifice." On what path did he think he would find agreement with himself?

“I am being held captive. Who me? Me? Me, my immortal soul." "He sought this by way of thought, and all searches and attempts deceived him." And it was necessary to open the path of the heart. In what did Pierre find happiness now? “Here, now, only Pierre appreciated the pleasure of eating when you wanted to eat, drinking when you were thirsty, sleeping when you wanted to sleep, warmth when it was cold, talking with a person, when you wanted to speak and listen to a human voice. Satisfaction of needs - good food, cleanliness, freedom - now that he was deprived of all this, it seemed to Pierre perfect happiness. . . He found inner freedom: “They keep me in captivity. Who me? Me, my immortal soul." He realized that the meaning of life is in itself.

“Before, the terrible question that destroyed all his mental structures was: why? - now did not exist for him. So, are these searches necessary, are they justified? Acquaintance with Karataev tells Pierre that no, they are not needed; the primitive, but clear, “round”, charming for Pierre Karataev’s good looks seem to cancel the entire path Pierre has traveled, all his searches. It turns out that if these searches were needed, it was only to finally understand that there was no need to look for anything, because the main thing had already been found and known; and it is not sought at all, not worked out, not created, but simply exists; you just need to get rid of everything that prevents you from accepting it, you need to be like them. Pierre, after captivity, feels the joy of freedom from the search for the goal and meaning of life, searches that only prevented him from feeling in himself a direct knowledge of this goal and meaning: “The terrible question that had previously destroyed all his mental structures: why? - now did not exist for him.

“When I am occupied with thought, then everything else is fun” Pierre of the fourth part of the fourth volume of the novel seems to have finally reached harmony. This harmonious Pierre, however, abandoned his favorite and most important occupation in life for him - from restless reflection, from analysis. And can we believe that forever abandoned? Will it return from "fun" to "thought"?

Why is Andrei Bolkonsky a tragic hero? Why does Tolstoy show his hero in reserve, inactive, and not in the forefront of the attackers, as in the Battle of Austerlitz? Why does Prince Andrei not make the slightest attempt to escape when a grenade falls in front of him? What is the meaning of the scenes at the dressing station (Bolkonsky's forgiveness of Anatole, the doctor's kiss)? Natasha's date with the wounded Prince Andrei (Volume 3, Part 3, Chapters 30-32). The mystery of the dying thoughts of Prince Andrei. Death of Prince Andrei (Volume 4, Part 1, Chapters 14-16). Nikolenka Bolkonsky (Epilogue, Part 1, Chapter 14).

Why did Tolstoy need to describe such a long, painful death of Bolkonsky? Why did “this happen” with Prince Andrei (according to Natasha)? Were there physical reasons for this or some other? How to explain Natasha's words: “Ah, Marie, he is too good, he cannot, cannot live…”? Did Natasha really think that Prince Andrei did not die from a wound? And if not from a wound, then from ... what? Why didn’t Prince Andrei explain his condition to Natasha, or his sister, or his son, when “this was done”? And is he really not sorry to leave them? What, in fact, is the meaning of describing this change in Prince Andrei and his dying state?

Why does Prince Andrei not make the slightest attempt to escape when a grenade falls in front of him?

Opinion of critics In literary criticism, there are different points of view on this matter. Someone reproaches Bolkonsky for excessive pride, someone sees this as a manifestation of fortitude. Recall that for the first time a feeling of anxiety, incomprehension of what was happening, finally, horror before the steadfastness and self-sacrifice of the Russians seized Napoleon precisely after he saw that the Russians did not retreat a single step, despite the frenzied fire of the French artillery? From the height of Semyonovsky, where Napoleon went, he could see that "the Russians stood in dense rows behind Semyonovsky and the mound."

Tolstoy emphasizes that the regiment of Prince Andrei was among those reserves that stood "behind Semyonovsky." This standing terrified Napoleon more than the attacks of the Russians. It was at this moment that the hand of the strongest enemy in spirit was laid on the French invasion. Note, according to Tolstoy, it was not the Russian attack that overthrew the French, it was not the loss of killed and prisoners that decided the matter, but the superiority of “incredible spiritual strength” put an end to the Napoleonic army. Probably, everything was decided at the moment when Prince Andrei stood in front of a grenade.

If Prince Andrei had been possessed by pride, Tolstoy would have shown him approximately the same as he was in the battle of Austerlitz. But the fact of the matter is that the incredible spiritual strength of Prince Andrei was expressed in the fact that he humbled his pride, showing an example of self-sacrifice and Christian non-resistance on the battlefield. Only in this way, by moral superiority, the enemy could be defeated, or rather, morally destroyed. Do you agree with the proposed point of view? How faithfully does it correlate with the original dogma created by Tolstoy?

“I can't, I don't want to die. . . At the moment of a mortal wound, when a smoking grenade, ready to explode immediately, spins like a top next to him, a passionate outburst of love for life captures Prince Andrei. With a completely new, envious look, he looks at the grass, at the wormwood, and at the puff of grenade smoke - at these images of life, from which he is parting. “I can't, I don't want to die. . . "Later, when he is being carried on a stretcher, he recalls this momentary passionate state and tries to explain it to himself:" Why did I feel so sorry for parting with my life? There was something in this life that I did not understand and do not understand. The answer to this is the envious look of Andrei, lying in front of the grenade, at the grass and sagebrush.

What thought pierced the mind of Prince Andrei when he saw Anatole on a nearby operating table? “Compassion, love for brothers, for those who love, love for those who hate us, love for enemies, yes, that love that Princess Mary taught me and which I did not understand; that's why I felt sorry for life, that's what was left to me if I were alive. But now it's too late. I know it!"

He was always looking for one thing with all the strength of his soul: to be quite good, that he could not be afraid of death ”In the “fatal minutes” of history, against the backdrop of the glow of the abandoned burning Moscow, Natasha Rostova and the wounded on the Borodino field, the dying Prince Andrei, met again. Why do we always get so excited about this scene when we read War and Peace? A new meeting should happen not in order to fix something - to fix, nothing can be returned - but to make up for, clarify the relationship between these two people and to be rewarded, before it ends, Bolkonsky's tragically high life. “What a blessing that he saw you before his death,” Pierre will later say to Natasha.

Natasha in her carriage, on the way from Moscow, always sees ahead of her the closed top of Prince Andrei's carriage. “She did not know who was in it, and every time, thinking about the area of ​​\u200b\u200bits convoy, she looked for this carriage with her eyes.” When she finds out in Mytishchi, it is clear to her that she must see him, and without telling anyone, she prepares inwardly for the meeting. Bolkonsky, recognizing Natasha, "was not surprised, but quietly delighted." "He smiled and held out his hand to her," as if waiting for her. The date takes place like a miracle, which seems to be arranged for them by someone; but they did it themselves.

"She did not know what it was for, but she knew that the date would be painful, and even more so she was convinced that it was necessary."

“... an unresolved, hanging question of life or death ...” “Although it occurred to Tolstoy that in the event of recovery, the relationship between the bride and groom could be resumed, “no one, even less Natasha and Prince Andrei, spoke about this: an unresolved, hanging question life or death, not only over Bolkonsky, but over Russia, obscured all other assumptions.

There cannot and should not be a renewal of the former between him and Natasha; this date for Prince Andrei is a dying one. “Is it really only then that fate brought me together so strangely with her that I should die? » The answer is already included in this question. It is difficult for us to imagine Natasha with Bolkonsky's wife and mother (what she is with Pierre Bezukhov in the epilogue), she remains his bride. They did not, as before, but in a new way become bride and groom, and a special heroic generalization distinguishes these new relationships between them.

Why is Andrei Bolkonsky dying? Of the modern works on "War and Peace", B. Berman's book stands out for its depth and unusualness. (Berman B. Secret Tolstoy. M., 1992). It gives an interpretation of the image of Prince Andrei as the image of the Heavenly Bird. The bird as a metaphor for the soul has been known to mankind since ancient times, but Tolstoy in War and Peace creates the concept of the Heavenly Bird, the “immortal spiritual Self”), connected by spiritual gravity with the “common and eternal source ”, that is, the universal center of love. This is the “nutrition” that Prince Andrei is thinking about. Tolstoy, I think, is closest to Pushkin here, to the dialogue between Pugachev and Grinev about what the human soul “feeds on”. (It is clear that it is the bookish word “to eat”, unexpected in the mouth of Pugachev, and even in a supposedly folklore fairy tale, that refers the reader to the New Testament, in the light of which the fabulous images of a raven and an eagle should be perceived. By the way, both the raven and the eagle are mentioned in Gospels.)

The Metaphorical Image of the Bird of Heaven The bird is one of the favorite images in Tolstoy's work and diaries. In one of the entries (notebook of 1879, October 28), Tolstoy contrasts the “Napoleons”, whom he calls “people of the world, heavy, without wings”, light people, “inflated”, “idealists”. He calls himself a man "with big, strong wings," falling and breaking wings, but able to "fly high" when they heal. This is the conscience, the “inner voice”, the ability of some people to find solutions that save humanity, this is the indestructible, cleansed of everything dark, immortal essence of the soul.

“Birds of Heaven” is the conscience, the “inner voice”, the ability of some people to find solutions that save humanity, it is the indestructible, cleansed of everything dark, immortal essence of the soul.

Nikolenkin's dream In the religious ideas of mankind, birds carry out a connection between heaven and earth, God and people. IN Ancient Egypt the image of a believer with a feather on his head symbolized “the transmission of instructions from above” (ibid., p. 401), the transmission of information about the future. This is what happens in Nikolenkin's dream, in accordance with Christian tradition, which prescribes to little Bolkonsky the fulfillment of the will of the Father in the future. One can agree with the opinion of B. Berman, who believes that Tolstoy's Nikolenka symbolizes the author himself and the fate of his, that is, Tolstoy, soul.

Thinking about the Bird of Heaven as the immortal essence of the soul, “the best part of the human soul”, Prince Andrei realizes that he does not leave Nikolenka. After all, these thoughts about the Bird came to Prince Andrei when he saw that Princess Mary was crying about Nikolenka, who was destined to remain an orphan. In the religious ideas of mankind, birds carry out a connection between heaven and earth, God and people.

Such is the logic of sleep, and then prayer and three times, as in the Gospel, Nikolenka's appeal to the Father. The italics of the word “he” and the evidence that “the father had no image and form” leave no doubt that Nikolenka was sent by the heavenly Father to bring love into the world, “prescribed” as a divine law.

“The embodiment of the “spiritual sun” of Tolstoy himself” Prince Andrei himself, “in the image and fate of which Tolstoy had long solved the personal problem of the true greatness of man, little by little in the process of creativity rises above people and at the end of the novel, revealing the image of heavenly and earthly greatness, finally becomes a "personal God", the center of the nearest spiritual gravity, the embodiment of the "spiritual sun" of Tolstoy himself. ”(B. Bergman).

According to Berman, thinking about the Bird of Heaven as the immortal essence of the soul, “the best part of the human soul”, Prince Andrei realizes that he does not leave Nikolenka. After all, these thoughts about the Bird came to Prince Andrei when he saw that Princess Mary was crying about Nikolenka, who was destined to remain an orphan. But “only a son according to the flesh needs a father in the flesh, but for a son according to the spirit, the eternal Bird of Heaven, which does not sow and does not reap, the “father” is always directly, according to the existing connection of spiritual gravity between the “father” and the “son” - always feeds, guides, lives it.” Let us add that Christ did not feel like an orphan either, on the contrary, he kept saying that he abides in God, and God in him. Berman B. Secret Tolstoy. M., 1992.

“Everything is, everything exists only because I love,” Bolkonsky understands. Everything is connected by one. Love is God ... ”Before his death, Prince Andrei comes to forgiveness. So at the end of the hero's life, his position coincides with the author's, that is, with the spirit of folk simplicity, goodness and truth. This is the meaning of Andrei Bolkonsky's quest. From the image and fate of Andrei Bolkonsky, the following conclusions can be drawn. First, one should not neglect the simple, because everything great grows out of the ordinary. Secondly, in order to understand the character of a person, one must be able to see and understand the interconnection of distant phenomena, the similarity in the different, that is, to match the seemingly incompatible.

Demonstrating this ability to match distant scenes and events (his attitude to Napoleon, to Tushin, to his wife, to Natasha, to bathing soldiers, to a fallen grenade) using the example of Prince Andrei, Tolstoy teaches us a dialectical vision of life.

What did Pierre Bezukhov find the meaning of life? After being released from captivity, Pierre thinks about how to "enter this common life with his whole being." This is the main question for Tolstoy as well. How does the author decide? How did Pierre change after captivity? 1. Prepare a retelling-analysis of the chapters that tell about the love of Pierre and Natasha Rostova (volume 4, part 4, chapters 15-20). 2. Epilogue. What is the goal of Pierre, becoming the leader of a secret society? 3. 3. How are Pierre and Nikolai Rostov opposed? (Epilogue).

Pierre after captivity feels the joy of freedom from the search for purpose and meaning in life. In this state, Pierre also recalls Natasha in the long past tense, for "he felt not only free from everyday conditions, but also from this feeling, which he, as it seemed to him, deliberately let on himself." This feeling was part of the mental complexity from which Pierre now feels free.

However, here he meets Natasha again: “Pierre's embarrassment has now almost disappeared; but at the same time, he felt that all his former freedom had disappeared, ”- such freedom as is possible only in the absence of personal attachments, with too equal relations with all other people. Natasha bound Pierre with a renewed feeling for her, just as, we remember, she tied the wounded Prince Andrei, appearing to him and violating his indifferent "divine" love.

The awakening of the former feeling in Pierre, depriving him of freedom, similar to indifference, is the beginning of the restoration of the former Pierre, “pre-Karataevsky”. When meeting with Natasha and Marya Bolkonskaya after a long separation, Pierre recalls Petya Rostov: “Why did such a glorious one die, full of life boy? The question does not sound as probing, analytical, as it sounded to Pierre before, but more conciliatory, melancholy - but this is the same question: why? - addressed to life, the order of things, the course of events, directing life and events, is ineradicable, and Pierre's new acquired goodness, although it softens, cannot cancel it. This is the key to how Pierre will appear in the epilogue of War and Peace.

Epilogue. All is well that ends well? It seems that this is how it is in the epilogue: the struggle of life is harmoniously completed, the relations of people are fairly resolved, the contradictions are rounded off. The heroes of the novel live as one large, newly formed family, which includes the former Rostovs, Bolkonskys, Pierre Bezukhov; moreover, within this "world" the independence of its constituent groups and individuals is preserved. Every event that happened in the house was equally, joyfully or sadly, important for all these worlds; but each world had completely its own, independent of the others, reasons to rejoice or grieve at some event.

And what is Pierre in the epilogue? Pierre returned in many respects to his "pre-Karataev" state, to himself, to his restless questions, doubts, hobbies. “Yes, Pierre has always been and will remain a dreamer,” says Nikolai after a collision with him. It was said about Pierre in captivity that through the horror of death, deprivation, through a simple, direct sensation of life, he came to agreement, "peace" with himself, which he always sought - in philanthropy, Freemasonry, philosophy, he sought "by thought", but couldn't get it. Pierre in the epilogue again, as is his nature, is looking for the meaning of life "by way of thought".

The good looks, perceived from Karataev, were retained in his family life; “He would have approved, this is our family life,” he says with Natasha about Karataev.

“It seemed to him at that moment, “that he was called to give a new direction to the whole of Russian society and the whole world.” But this he already says after more general question Natasha: “would I approve of you now” Karataev? - he answered, thinking: no, he would not approve. Karataev would not approve of Pierre's new activities, and the author himself accompanies his “smug reasoning”, plans, dreams with an ironic commentary: “It seemed to him at that moment,“ that he was called to give a new direction to the whole Russian society and the whole world ". There is no longer that balance that was in Pierre, released from captivity. This acquired balance was described in this way in the fourth part of the fourth volume, as if it were final, and the influence of the "round" Karataev-rounding was also Pierre's evolution, the result. But this result is already behind for Pierre in 1820, in the epilogue; the "path of thought" to which he returned broke the harmony again. According to Tolstoy, Decembrism is another delusion of Pierre.

Nikolai Rostov and Pierre Recalling the conflict between Pierre and Nikolai, Natasha says that “Nikolenka has this weakness, that if something is not accepted by everyone, he will never agree.” To this, Pierre says that for Nikolai, thoughts and reasoning are fun, almost a pastime, but for him, Pierre, everything else is fun. Here are named the permanent qualities of Nikolai and Pierre, which were always inherent in them, led them through life, constituted a special truth of both, - and for Tolstoy, both truths are related to the general idea of ​​\u200b\u200bthe world.

The power of analysis leads Pierre in 1820 to a secret society. Rostov, not accustomed to talk about life, will follow the order, as he did in the army: “And tell me now Arakcheev to go at you with a squadron and chop - I won’t think for a second and go. And then judge as you wish. What is the goal pursued by Pierre, becoming the head of a secret society? Pierre - the bearer of Tolstov's views - is an opponent of violent reforms and coups. He is against the insurrectionary peasant movement 6 "We are only so that tomorrow Pugachev does not come to slaughter both my and your children."

“It is necessary as closely as possible and as many people as possible to take hand in hand in order to resist the general catastrophe”

“Everyone sees that things are going badly, that it cannot be left like this and that it is the duty of all honest people to counteract as best they can” His goal is the moral education of society: “Let us take hand in hand, those who love goodness.” Number good people, Pierre believes, should increase at the expense of honest and independent. Through the company of such people, he wanted to create a counterbalance to the vicious circles of the nobility. This was also characteristic of the Decembrist trend in the 1820s, which became more revolutionary by 1825.

The dream of Nikolenka Bolkonsky Nikolenka Bolkonsky, the son of Prince Andrei, reveres the memory of his father, he adores Pierre, and Nikolai Rostov does not like him, no matter how hard he tries to be fair to him. He, unnoticed, is present at the dispute between Pierre and Nikolai, and after that, in his dream, with which Tolstoy's story ends, Uncle Nikolai Ilyich approaches menacingly at him and Pierre, walking in helmets ahead of a huge army. Pierre turns into Prince Andrei, his father, and the father has no image and form, although he is, the boy feels this. In general, he never imagined his father in a human form, although there were two similar portraits in the house: a high spirit, free from the earthly shell, the memory of Prince Andrei - a participant in the brewing conflict.

In Nikolenka’s dream, the helmets on him and on Pierre are the same as those drawn in Plutarch’s edition, and the boy thinks about Plutarch’s people, Roman heroes: “But why won’t I have the same thing in my life? And ahead, where his army and Pierre are moving, - “there was glory ahead. . . » . On the last page of the narrative, those motives are revived that seem to have long been left behind and even debunked. But here they are charming again, excite again the person whose path begins. In "War and Peace" life sums up something, as, for example, Prince Andrey's striving for glory - And by the epilogue it seems that the general Summary of everything has already been summed up; but what was filmed and summed up is resumed, made again relevant, LIVE.

The relativity of the outcome itself in the process of life and the idea of ​​the outcome as a relationship to life, a point of view on it. The epilogue rounds off and immediately refutes any kind of rounding off of life - of an individual person or, even more so, of universal life. The action continues after the result has already been reached, the original contradiction rises again, knots are tied in place of the previously untied ones. The contradiction is not resolved by a logical conclusion, after which, as in elementary logic, there is no longer a contradiction. It remains in Tolstoy's book not closed - the contradiction of the spiritual and the simple, of conscious and immediate life, between the principles and people, which the author himself would like, perhaps, to see in harmony, non-contradictory unity - but this is not in his power.

With his ending "War and Peace" - open book: the last words of the story are the dreams of a child, plans for a life that is all ahead. The fate of the heroes of the novel, these Bolkonsky, Pierre, Natasha and Nikolai, is only a link in the endless experience of mankind, all people, both past and future.

Natasha Rostov. The author's ideal in the novel Two precious human traits are combined in her character: firstly, the gift of intuitive penetration into the souls of Russian people (an episode in her uncle's house); secondly, the ability to complete, reckless self-denial for the sake of another or other people (for the sake of wounded soldiers, for the sake of the family, for the sake of the wounded Prince Andrei, later for the sake of Pierre and children). Such reckless devotion connects Natasha with the Russian folk principle.

Defending the Fatherland, the people abandon their property - and Natasha demands to give carts with property for the wounded; the people during the war are experiencing the tragedy of loss, destruction and death of loved ones - And Natasha, like thousands of ordinary Russian women, loses her brother Petya in the war, takes care of the dying Prince Andrei; but Moscow is reborn from the ashes - Natasha is reborn to life. Through this parallel - Natasha the people - Tolstoy to a large extent expressed main idea of the whole novel - "the thought of the people."

Natasha's reckless ability and readiness for immediate self-sacrifice is also manifested in her attitude towards love. Her constant responsiveness to the loving attention to her from various people is a kind of help, a passionate desire to make life easier for a person, to alleviate his suffering. Therefore, Natasha falls in love recklessly several times: with Boris Drubetsky, with Andrei Bolkonsky, with Anatole Kuragin, with Pierre. Such loving responsiveness for Natasha is the only way to realize herself as a woman and as a person. Without the possibility of such dedication, Natasha perishes. That is why she is very hard going through the year of probation, which is assigned to her by Prince Andrei. In this constant thirst not to take, like Helen Kuragina, but to selflessly give one's love lies the meaning of Tolstoy's words: "The essence of her life is love."

The image of Natasha belongs important role in revealing the pathos of the book - thoughts about the free and voluntary unity of people. And Natasha really attracts those around her. Serf servants, yard uncles, as well as all the central characters treat her with love. People are drawn to it because it gives them a sense of the true value of life. Natasha revives people, creates an atmosphere of freedom. An example of such a revival is helping Nikolai after his gambling loss to Dolokhov. It requires open, sincere human relations; does not accept relationships based on artificial prejudices and prohibitions. An example is Natasha's conversation with her mother about Boris Drubetskoy. Mother asks Natasha to refuse Boris's visit to their house if Natasha is not going to marry him.

Natasha is surprised: “Why is it necessary to get married? It’s good for me and it’s good for him, so let him walk just like that. Why can't it just be? But the episode with Anatole Kuragin, Natasha's passion for him shows that unlimited freedom has its downside, that is, it must be corrected by a moral law - conscience. Otherwise, unlimited freedom turns into the principle "everything is permitted".

Natasha's evolution in the novel Natasha's evolution in the novel is significant. In the 1st volume (1805) she is shown as a girl, in the second volume (1807) as a girl, in the third volume (1809-18012) as a bride, in the 4th volume (1812) as a wife, in the Epilogue (1819) as a mother. Unlike the internally immobile Sonya, Natasha, who goes through such a long life and changes so much in time, is the spokeswoman for Tolstoy's idea of ​​movement, who believes that "truth is in movement."

If earlier, before breaking up with Prince Andrei, Natasha lived carefreely according to the principles “everything is possible” and “what if I want? ”, then after the break with Bolkonsky, Natasha has a consciousness of her guilt and a passionate thirst for self-sacrifice. In this overcoming of her half-childish self-will by Natasha, the growth in her of spiritual maturity and responsibility of a person who knows how to obey the demands of life is manifested.

The image of Natasha in the Epilogue The image of Natasha in the Epilogue is sharply polemical. Natasha is so immersed in caring for children that she stops taking care of herself and even loses her former charm. For this, Tolstoy was reproached for the fact that, having reduced Natasha to the level of “only” a mother, he humiliates a woman. But it is precisely this Natasha Tolstoy especially loves and poeticizes. Here he argues with the sixties on the "women's issue", in which they went as far as denying the family and motherhood. Critics forgot that Natasha is not a woman of the 60s, but of the early 19th century. So, having plunged Natasha into family concerns, Tolstoy did not deviate from the truth of history, from artistic realism. The family was the only field for a woman from the noble circle.

References 1. Berman. B. Secret Tolstoy. M. , . . 1992. 2. Bocharov S. "L. N. Tolstoy's novel" War and Peace "", M., 1963. 3. Brazhe T. G. Ways of comprehending the moral and aesthetic position of L. Tolstoy in the novel "War and Peace": In help to the teacher // Vech. medium school - 1988. - No. 4. - S. 43 -46. 5. S. Bocharov "L. N. Tolstoy's novel" War and Peace "" (M., 1963 6. Ermilov, Tolstoy-artist in the novel "War and Peace" Goslitizdat, M. 1961. 7. Ilyin E. N. Leo Tolstoy in the Mirror of "War and Peace": A Handbook for Teachers and Learners. - M .: Shkola-Press, 2000. 8. Kozlova G. N. Education of aesthetic taste: Studying the landscape in L. Tolstoy's novel "War and Peace " // Lit. in school - 1988. - No. 2. - S. 33-40. 10. Mann Yu. Why do you love Natasha Rostova? // Lit. newspaper. - 1980. - 2 April 11. Nedzvetsky. V. Russian social-universal novel of the 19th century M., 1997. P. 236. 12. Opulskaya L. D. The epic novel by L. N. Tolstoy "War and Peace": Book for students. - M .: Education, 1987. - 174 pp. 13. Potapova T. V. The family in the novel by L. N. Tolstoy "War and Peace" // Literature in school - 1997. - No. 1. - P. 117 -120. 14 6 Rudnev, V. Away from reality, Moscow, 2000, p. 200. 15. Suvorova, E. Materials for an essay on "War and Peace" // Literature (Appendix to the newspaper "First of September"), 1998 - No. 29. 16. Frank, I. The Third Eye, Dialectics of Art, Moscow, 1993. S. 156.

1. About volume 4
2. Summary in parts and chapters
3. Results of 4 volumes

About Volume 4 War and Peace

The final volume of the novel includes all the significant events for the country that took place in 1812. Described by Tolstoy and the battle of Borodino, and the surrender of Moscow to the enemy and the flight of the French. The author thinks a lot about the current events, about the attitude of the people towards them. Not infrequently, he enters into disputes with scientists, expressing his point of view, giving his assessment of what was happening.

Military events are described up to the expulsion of the French army. The Tarutinsky maneuver, successfully carried out by Kutuzov, is also described. It is very well presented to the reader how the field marshal worried about the outcome of the war, directed actions in the right direction, trying with all his might to prevent the senseless attacks of the Russian troops. Much partisan scenes are contained in this volume.

Along with military operations, the story of the fate of the heroes continues. It is shown on which of them and how the situation in the country affected. Some of them she changed a lot, others she brought death. And who continued to live his life, only gossiping about what was happening.

In the fourth volume, Andrei Bolkonsky and Pierre's wife, Helen, die. Petya Rostov dies. Pierre's worldview completely changes after his stay in French captivity.

In addition to sad events and the suffering of heroes due to the loss of loved ones, there are also joyful events that change the course of their lives. Pierre meets Natasha. A relationship develops between them. Love also breaks out between Princess Marya Bolkonskaya and Nikolai Rostov.

There is a war and, along with it, the peaceful course of life continues. Heroes, as always, love, are disappointed and inspired. Both war and peace take place both around them and in their souls. Both the first and the second carry their meaning for them, their changes in their life and views on it.

Summary of Tolstoy War and Peace 4 volume in parts and chapters

Part 1

Chapter 1

Petersburgers continue to live their normal lives. Everything that happens in the country is reflected in a secular society in which discussions are held at the evenings.

On the day of the Battle of Borodino, an evening takes place in the Scherrer salon. At the center of the discussion is a letter from the high priest to the emperor. Prince Vasily was supposed to read it. The purpose of this was to shame individuals and call them to patriotism. While these people are not yet there, the hostess entertains the guests with social chatter. Talk about the outcome of the battle. Anna Pavlovna assumes that good news about him should come the next day. The next day is Alexander's birthday.

does not go unnoticed and everyday life. They discuss the sudden illness of Helen Bezukhova. She is sick with a terrible sore throat. The Countess does not receive anyone. She does not turn to famous doctors in the world, but entrusted herself to an unknown Italian to treat herself.

Chapter 2

Petersburg society becomes aware of the receipt of Kutuzov's report on the results of the battle. This is interpreted as a victory. The city is in a festive mood. There are even rumors that Napoleon was taken prisoner and now there are elections for a new ruler of France.

However, there is no more news. And in the court society they are dissatisfied with Kutuzov.

Meanwhile, Countess Helen dies. There are those who blame Pierre for her death, who never informed her of his decision regarding their divorce. And she, meanwhile, rushed about in the choice of the chosen one, not knowing which of the two applicants to still give her hand and heart. Officially, she died of an attack of sore throat. But, they say that the countess was poisoned.

Here the news reaches the Petersburgers that Moscow has been given to the French. The sovereign demands an explanation from the commander-in-chief. They begin to talk about Kutuzov's betrayal of the country.

Chapter 3

Michaud arrives in Petersburg. This is a Frenchman sent by Kutuzov with news. Reports that the French set fire to Moscow. He also speaks of the fears of the Russians that the sovereign might make peace with Napoleon. To which Alexander replies that he will wage the war to the end and the enemy will be defeated. He does not intend to endure the reign of Napoleon any longer and intends to completely defeat him.

Chapter 4

Tolstoy discusses the attitude of society to the military situation. He notices that the majority continues to live their usual daily reality, without delving into the details of events, without attaching importance to the general course of affairs. People are guided only by their own interests.

So, coming to Voronezh, Nikolai Rostov does not think about anything at all. Having acquired horses for the regiment, he goes to the governor's evening. Everyone was warned that there would be no fun. However, the people still expected the dances with hope. Nikolai is very pleased with his success among secular ladies.

Chapter 5

Rostov begins to court the charming blonde. And she turns out to be the wife of a local official. Here he meets the aunt of Princess Marya Bolkonskaya - Malvintseva. A woman has significance and weight in the local society. She invites Nikolai to her place and he promises to be there without fail.

Then he talks with the governor's wife. She invites him to marry Princess Mary. Nikolai agrees and indulges in revelations in front of a woman almost unfamiliar to him. He says that he has always been against his mother's wishes for his benefit in marriage. That he would never make his choice, guided by the desire to get rich, because of money. However, Mary is something completely different. Nikolai says that when he saved her, he felt that this was a fateful meeting and that they just had to be together.

Chapter 6

Meanwhile, Marya Bolkonskaya lives with Malvintseva. She devoted herself entirely to caring for her nephew, Andrei's son. The princess is pleased that she has found the strength not to think about Rostov.

And the governor and Malvintseva decide to bring young people together. At the mention of Nicholas, confusion awakens again in the soul of the princess. Their meeting takes place, after which she is transformed right before our eyes. Again, reflections of spiritual qualities are again found on it. And Nikolai realizes that she is better than all those whom he has met so far. Princess Marya is the personification of spiritual purity and virtue. The young man understands that she is much better and higher than even himself.

Mutual sympathy and interest in each other appeared between the princess and Rostov. Nikolai catches himself thinking about the princess very often. However, he does not represent his family life with her. Looking at all other women before, he assessed them precisely as wives. But Mary is different.

Chapter 7

News of the battle of Borodino, the surrender of Moscow to the French, reaches Voronezh. Marya learns from the newspapers about her brother's injury. Not knowing where he is, she is going to look for him. When meeting her in the cathedral, Nikolai tries to calm her down. For the first time in recent years, he feels ashamed that he is enjoying the social life, instead of being in the army now. Also, his soul is burdened by memories of Sonya, of his promise to marry her. He compares both girls, prays for a denouement with Sonya.

And, as if in answer to his prayers, he receives a letter from his mother. She writes to him about Moscow, that they had to leave there and that they are now ruined. He also writes about Andrew. He is seriously ill after being wounded and travels with them. Sonya and Natasha look after him.

Received and another letter - from Sonya. She asks Rostov to renounce his promise to marry her. Nikolai goes with these news to Marya.

Chapter 8

The circumstances that forced Sonya to write such a letter to Nikolai are revealed. Countess Rostova saw in the girl the only obstacle in the profitable marriage of her son. And now, after the ruin of their fortune, it was necessary to rectify the situation. She influences Sonya, asking her to break off relations with Nikolai. The girl, confident that everything will be fine, writes to Nikolai.

Sonya is confident in the successful resolution of this situation, because in Andrei's illness and the rapprochement at that time with Natasha, she saw the fulfillment of her divination for Christmas time. If they get married, then Nikolai and Marya will not be able to do this.

Chapter 9

Pierre is captured. The rest of the prisoners of war were of low rank and treated him with alienation.

Pierre is interrogated by the French, asking questions, the meaning of which he did not understand, considering them to be irrelevant to the case.

After the captives are led to the Crimean ford. There, in the carriage house, they will await the verdict. Their way there lay through blazing Moscow. Pierre looks at this picture with bewilderment and horror.

Chapter 10

Procession of prisoners on the Maiden's field. The scenery of the conflagration reappears. Bezukhov is interrogated again. The interrogation is conducted by Marshal Davout. Suspicions of espionage fall on him.

Chapter 11

Shooting of prisoners. The execution was carried out selectively. After shooting a few, the rest are placed by the French in the barracks. This execution was indicative.

Chapter 12

Describes the internal state of Pierre after the execution. Faith in humanity, in God, in the correct order of the world and the course of events finally fades away in him. Pierre is disappointed in absolutely everything. He is depressed.

Here he meets one of the prisoners - Platon Karataev. This man will completely change Pierre's worldview with his attitude to everything. He will become his spiritual healer.

Chapter 13

The character and views on the world and on the life of Plato are described. He lives in peace with everything and everyone. He takes this reality for granted. Plato preaches these views and reveals to Pierre new laws and foundations of the world.

Plato is a jack of all trades. He knows absolutely everything: he is a tailor, and a carpenter, and a cook, and a singer. His special gift is the power of words. He knows how to say it like no one else. And can pay attention to those things that, for the most part, go unnoticed.

Chapter 14

The arrival of Princess Mary in Yaroslavl to her brother. She becomes close to Natasha, who used to dislike her.

Chapter 15

Meeting of the princess with Andrey. Her heavy impression of this. The prince is distant from reality and life. But, he tries to keep the conversation going. He meets with his son. Women foresee the imminent death of the prince. Marya prays for the salvation of Andrey's soul.

Chapter 16

Andrew has a dream about death. And, suddenly, he realizes that she is freedom, deliverance, relief of suffering, and love prevents him from dying.

The prince is already ready for death and is waiting for it. Understand the inevitability of his departure and those around him. Andrei confessed, communed, everyone said goodbye to him.

Andrew is dying.

Part 2

Chapter 1

Chapter 2

Flank march of Russian troops. Tolstoy talks about him and about the significance of Kutuzov. Only he considered the outcome of the Battle of Borodino a victory. And he tried with all his might to restrain the troops from the useless battles at the moment. And the movement of Russian troops from the Ryazan to the Kaluga road to Taurin, Kutuzov did not consider a maneuver. He understood the already plight of the French. And the purpose of this was to persecute them, to cleanse their native land from the enemy.

Kutuzov receives a letter from Napoleon. It is a request for peace. The answer to it is negative.

Chapter 3 and 4

The complex intra-staff intrigues of the parties are shown. Kutuzov from everywhere only interference in his plans. He receives a letter from the sovereign about the need for an offensive.

Chapter 5, 6, 7

The attack on the French begins. Disorder in the infantry movement. The attack itself was delayed for a day. All this is happening as a result of the confusion in the military headquarters, which Kutuzov foresaw. Yes, and they took action against his will. As a result of a skirmish between Generals Bagovut and Tol, one of them turns the wrong way and dies along with most of his subordinates.

Kutuzov takes command of the military movement. His strategy of attacking the enemy army under the leadership of Murat is described.

Chapter 8 - 10

Evaluation of Napoleon's actions in captured Moscow. The disorder within his army is shown. Soldiers plunder the city.

Napoleon tries to restore order, but in vain. In the same way, he addresses the Muscovites, urging them not to be afraid of his soldiers. Calling him to peace with the population and imposing fines on soldiers for robbery lead to nothing. But, meanwhile, he is making plans for his further actions, administrative structure and so on. Theaters were even opened in Moscow.

The flight of the French from Moscow with the goods buried there.

Chapters 11,12

The position of captured Russian soldiers is described. Experiences and internal changes of Pierre. He earned a good attitude from both his comrades in misfortune and from the French soldiers. And those traits that hindered him in secular society helped him in this.

Chapters 13 - 14

The French leave Moscow, taking their captives with them.

Chapter 15 - 19

Napoleon again asks for peace from Kutuzov, sending truce envoys to him. Again he receives a negative answer. The ambassadors sent by him to the Russian Tsar were not even accepted.

Kutuzov's reasoning. His thoughts about the futility of the offensive right now. The enemy, meanwhile, is turning in the other direction - onto the new Smolensk road. Kutuzov decides not to touch them yet. Their position is so bad.

Part 3

Chapters 1 - 3

Partisan detachments begin to form. They destroyed in parts the fleeing army of the enemy.

Chapter 4

Petya Rostov arrives at Denisov's partisan detachment. He brings news of the German proposal to join forces against the French. Petya remains in the squad.

Chapters 5 - 11

Numerous scenes of partisan activity and conversations are described. Dolokhov arrives at Denisov's detachment.

Petya is looking everywhere for an opportunity to show himself. He takes part in reconnaissance along with Dolokhov. Dressed in French uniforms, they find out the necessary information from the enemy and safely return to their squad.

The guerrillas attack the enemy convoy. There are also prisoners along with Pierre. They are released. Petya is dying.

Chapters 12 - 15

The movement of prisoners is shown up to their liberation by partisans. During this time, Karataev falls ill. And, as he weakened and began to lag behind, the French kill him.

Chapter 16

Chapter 17

Tolstoy's assessment of the latest military enterprises.

Chapter 18

Chapter 19

Part 4

Chapter 1

After Andrei's death, Princess Marya and Natasha Rostova become even closer. Together, it is much easier for them to bear the grief of loss. Marya is saved by worries about Nikolenka. Natasha is alienated from everything and acutely feels her loneliness.

Chapters 2 - 3

News comes and about the death of Petya. The Countess is heartbroken. As a result, she is in a painful state. Natasha takes care of her. This helped her get closer to her mother and begin to awaken to life. All recent events have exhausted Natasha. And, together with the princess, she leaves for Moscow doctors.

Chapter 4

Describes the battles along the path of pursuit of the French army. Krasnensky battles. The Russians are losing. But the harm done to the French is undeniable.

Chapter 5

The role of Kutuzov and his actions are assessed.

Chapter 6

Appeal under Krasny Kutuzov to the army.

Chapters 7 - 9

Description of military scenes, conversations.

Chapter 10

Berezinsky crossing.

The turning point comes in the course of the war after the Battle of Tarutino. Murat's army retreats.

Intrigues begin against Kutuzov. Coming to the army Grand Duke Konstantin. Kutuzov is sent to Vilna. The sovereign is dissatisfied with his actions.

He visits Kutuzov. Hiding his dissatisfaction with him, he awards him George of the first degree. And his dissatisfaction lies in the fact that Kutuzov refuses to continue military operations against the French outside Russia. He doesn't see the point in it.

Chapter 11

The field marshal is having lunch with Alexander.

The role of Kutuzov has already been played, he has been removed from business. And he dies with the feeling that his duty is done and he is no longer needed.

Chapter 12 - 13

Pierre Bezukhov stays in Orel. He is sick. He learns about the death of his wife and Prince Bolkonsky. Now he has a new outlook on life and everything around him. Faith in the Lord is strengthened in Pierre.

Chapter 14

The revival of Moscow from the ashes is shown. Work scenes to restore it from ruins. The residents are returning.

Chapter 15

Pierre arrives in Moscow. He decides to visit Princess Mary. There he meets Natasha. Instead of a cheerful girl, he sees a woman in front of him, all in black. Natasha has not yet experienced the bitterness of the loss of Andrei.

Chapters 16 - 17

Between them there are conversations about Andrei, his illness and death. Pierre talks about his captivity.

Pierre feels the emerging sympathy for Natasha. And tells Mary about them. The princess promotes their rapprochement.

Chapter 18

Pierre firmly decided to marry Rostova. Before his departure, he comes to say goodbye to the women. Natasha promises to wait for him.

Chapters 19 - 20

Pierre is inspired after this meeting and his decision. Natasha also begins to revive. It wakes up the desire for life and there is hope for a happy future. She is frank about this with the princess.

Results of Volume 4 War and Peace

The Russian land is liberated from the invaders and the country begins to live anew. Especially, it affected the Muscovites. Many have lost their fortune. And the city had to be rebuilt.

Life began anew for the main characters. War and peace was expressed not only in the invasion of the French. This happened in their lives, closely intertwined in military operations.

Pierre looks at everything completely differently after the war. For him, the war passed both in his mind and in reality. Going to the active army, he did not suspect that having survived these events, he would finally find peace of mind. And, as a result of his life searches, he, already completely changed, meets Natasha. And now he knows exactly what he wants.

Having not found a meaning in this life, Prince Andrei leaves her. For him, the approach of death in the last days was even desirable. He was waiting for her as a release.

Kutuzov's death occurs after a turning point occurs in the course of the war. He fulfilled his duty - freed the country from the invader. And now he has no choice but to die. Its role in liberation is very great. He alone understood the true state of affairs.

For several years, Tolstoy's novel has been covered. Until the liberation of the country. During this period of both war and peace, the whole country and the heroes of the novel are changing. But nothing can deprive people of everyday life. Even being under the threat of enslavement, the majority still continued to care only about their daily needs, watching the course of the war from the sidelines. The lives of those who did not take part in the hostilities flowed on their own.

Obadiah - was the son of a priest, was also among the hunters. Obadiah pursued the goal of convincing the messengers for marijuana to leave this bad deed. So he infiltrates the group and goes with them for marijuana

Summary The story of the serf boy Alekseev

A story about a little ten-year-old boy Mitya, who lived in the village of Zakopanka. And then the lady decided to sell his entire family. Since then, he has been living alone with the lady, the poor landowner and widowed Mavra Ermolaevna.

Summary of Bulgakov Theatrical novel (Notes of a dead man)

PART 1

Unlike Moscow, St. Petersburg lived in the old way. All the same evenings, balls, intrigues, etc. At one of Anna Pavlovna's evenings, they talked about Helen's illness. She allegedly had a sore throat. But everyone knew that the disease was connected with the dilemma of two men, whom to marry. And, of course, they talked about the state of the fatherland.

After some time, Helen died of a sore throat, although it was said that she drank a lot of medicine.

Nikolai Rostov took a long and devoted part in the war. He was sent on a business trip to Voronezh. There he meets Anna Ignatievna Malvintseva, Marya Bolkonskaya's aunt. In a conversation with Anna Ignatievna about Marya, Nikolai experiences very unusual feelings. And he confessed to Anna Ignatievna that he likes Marya, he thinks about her and understands that this is his fate, but he promised to marry Sonya. Anna Ignatievna promises to arrange everything. When Marya, along with her nephew, came to Aunt Malvintseva, Rostov arrived a couple of days later. Marya was all glowing when she met Nikolai. All her inner beauty came out. And Rostov realized that she was the best thing he had ever seen. And after meeting with Marya, all the pleasures that Nikolai had in life lost their meaning.

After a short period of time, Marya tries to find any news about her brother, who is not on the lists of those killed. And Nikolay receives a letter from Sonya, in which the girl returns his freedom to him. He also receives a letter from his mother, in which he learns about the complete ruin of the count's family. And my mother writes that Nikolai Bolkonsky is traveling with them. Nikolay tells about Andrey Marya, and she goes to Yaroslavl. And Nikolai returns to the regiment. It turned out that Sonya was forced to write a letter by the countess. Since, due to ruin, it was the only way to marry a son to a rich girl. And Sonya, in the hope that Natasha and Andrei would get married, and because of their relationship, Nikolai would not be able to marry Marya, sent this letter.

Meanwhile, Pierre is captured by the French. He is taken to Marshal Davout, who believes that Pierre is a spy. Davout orders Pierre to be shot. At the treasury, 2 people are shot. They shot two couples and lead the fifth, then he realized that he was brought to be present at the treasury. Later he was told that he was forgiven and sent to the POW barracks. There he met Platon Karataev - the most vivid memory of Pierre in captivity. During the 4-week stay of Per in captivity, Plato told Bezukhov a lot different stories, decorated with sayings and beautiful words.

Marya went to look for her brother. When she arrived, she hugged Natasha and realized from her face that there was no chance for Andrey to recover. And when Marya went to her brother, she tried to find for herself the answer to the question “what is she guilty of?”. And Andrei himself looked at her coldly and hostilely. Andrei felt that he was slowly dying. He felt the fear of death 2 times, the first time when the grenade was spinning like a top, next to Bolkonsky, and the second time, when he saw, being wounded, Natasha and he wanted to be with her. But death still conquered life. It seemed to Bolkonsky that death had come to him. He was in a feverish state. All thoughts were about Natasha, about love, about eternity. Under Prince Andrei there were Natasha and Marya. He was confessed, communed and blessed.

PART 2

One of the important events of 1812 was the movement of Russians from the Ryazan road to the Kaluga road and to the Tarutinsky camp. At the council in Fili, it was decided to retreat back to the Nizhny Novgorod road. And some factors influenced the fact that the army deviated to the south and moved from the Tula to the Kaluga road, to Tarutino. Then Napoleon offered peace to Kutuzov, but then in Tarutino the Russian troops became stronger and larger in number. And the offensive became necessary.

Despite the hostility of Kutuzov and his chief of staff, Benigsen, on October 4, Kutuzov signed the disposition. She was sent to General Yermolov, but he went on a spree. In the morning, Kutuzov arrived at the place where the column was supposed to advance. But they said that they had not received any orders to attack, and then the operation was postponed for a day.

The Cossacks attacked the French, as a result - 1500 prisoners, 38 guns, banners and much more. Another column advancing from the front, led by Kutuzov, should attack the French. But Kutuzov did not move, and when they advanced, the unit stopped. As a result, Kutuzov received a diamond sign, and Bennigsen received diamonds and 100,000 rubles.

Napoleon, in turn, acted very stupidly and disastrously for his troops. He left the army until October in Moscow, giving the troops the opportunity to plunder the city. Then, hesitating whether or not to leave the garrison or not, leave Moscow, approach Kutuzov, do not start the battle, go to the right, again not trying to break through, go not along the road along which Kutuzov approached, but go back to Mozhaisk and along the ruined road to Smolensk. And the consequences of these mistakes were equally disastrous.

Napoleon offered peace to Alexander, but his ambassadors were not accepted. After the execution of the imaginary burners of Moscow, the second half burned down. Napoleon called for discipline and order, but the robberies did not stop. He promised to resume worship, but despite his attempts, nothing happened. Churches were looted. Napoleon invites industrious artisans to the city, but they did not come. People fled from Moscow, realizing that the longer they stay there, the more dangerous. They tried to grab what they had acquired, just like Napoleon did. The position of the entire French army was like that of a wounded animal.

Pierre was still in captivity. And that's where he found peace. He dreamed of freedom, learned to appreciate such things as water, drink, sleep, warmth, conversation with a person. And only then, having been in captivity for 4 weeks, did he agree with the earlier words of Andrei Bolkonsky "happiness can only be negative."

Napoleon again offered peace to Kutuzov, but he was again refused. The Russians learn about the flight of the French. And they send an army led by Dokhturov to attack the French. At this time, the captured Frenchman says that the French have left Moscow for the 5th day. And when this news reached Kutuzov, he wept with happiness. Until the very end of the company, Kutuzov showed cunning and tactics with all his abilities. As a result, all the French wanted to surrender themselves so that all the horrors and misfortunes would end.

PART 3

It is impossible not to mention the guerrilla war. Since the partisans destroyed the army in parts. The partisans, among whom were Denisov and Dolokhov, became aware of the French transport. Denisov decides to take him. Here appears Peter Rostov. At dinner, the situation of the French troops becomes known, and Dolokhov is going to go check. Petya begs to go with him. A shootout ensued, as a result of which Petya was shot in the head. And Denisov and Dolokhov were able to recapture some Russian prisoners, among whom was Pierre. Pierre understood a lot during the campaign of the prisoners, and discovered a lot for himself, for example, that there is nothing terrible in life.

Since October 28, when frosts began, the flight of the French only acquired the more tragic character of people freezing and roasting to death at the fires. And continuing to ride in fur coats and carriages with the looted goods of the emperor, kings, dukes.

The goal of the Russian army was not to cut off and catch Napoleon with his marshals and army. The goal of the people was one - to clear their land from invasion.

PART 4

The death of Andrei Bolkonsky brought Marya and Natasha very close, but they still spoke little. Natasha suffered from Andrei's death, but the sudden news of Petya's death gave her the boost of energy she needed to support her deeply depressed mother. And Marya, meanwhile, is caring for Natasha herself and they become friends, and very close. Marya left for Moscow at the end of January, and Natasha is going with her at the insistence of her father to be examined by a doctor.

Meanwhile, the Russian army pursued the French. And I was very tired from a hard and long hike.

On November 5, Kutuzov traveled around the troops and addressed them with gratitude for their faithful service. The sovereign told Kutuzov to continue the war abroad, but Kutuzov did not consider this expedient. And this was very dissatisfied with Alexander the first. And gradually the power of Kutuzov passed to Alexander. And Kutuzov died in April 1813 in Sila-Zim, in the small town of Bunzlau.

Pierre returned from captivity, he has changed a lot. He already has a different look and ability to listen. Also, he is no longer short-tempered. Upon learning of Bolkonsky's death, seeing Petya's corpse and accepting the news of Helen's death, he took everything as another will of God.

Moscow, meanwhile, begins to live. People are coming, and in 1813 there were already more residents than were leaving. Trade is being restored, burnt things are being repaired, services are being carried out in churches. Pierre then goes to Moscow, where feelings for Natasha gain strength. She is glad of this, as Marya is glad of this. Pierre and Natasha explained to each other. But Pierre left for St. Petersburg, having asked Marya before that to help in the matchmaking.

EPILOGUE

In the yard in 1819. That terrible time left 7 years ago.

Alexander was the first to give his power to miserable people, without bringing good to his people.

Natasha married Pierre in 1813. In the same year, her father died, who before his death asked for forgiveness for not being able to avoid ruin.

Nikolai was able to change the financial situation of the family. He resigned and came to Moscow. He had an inheritance in the form of debts, which were more than the value of his father's estate. But he accepted it, because he respected and loved his dad.

In 1814, Nikolai married Marya Bolkonskaya and moved with his mother, Sonya and his beloved wife to the Bald Mountains. And in 3 years he was able to earn money on his own, without the participation of his wife's wealth, money to pay off debts. After another 3 years, he bought an estate near the Bald Mountains. And in 1820 he bought his father's estate. And his income grew from the support of the peasants.

By 1820, Natasha and Pierre had three daughters and a son. This family was quite happy. Natasha subjugated her husband. He did everything she wanted, touching public life and she, in return, did whatever her husband wanted at home. And from this Pierre was happy. Pierre, on the other hand, expressed his position regarding the administration of the state. Indeed, with the current, at that time, government, it was only an approximation to a catastrophe. And he wanted honest people to unite and fight against lawlessness. Apparently, this is how the “Decembrists” movement appeared.

According to the author, “It is not individuals who move and make history, but the masses, led by common interests. And this or that leader will do better if he can capture those interests.”