War and Peace II Part 4

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 Helene'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 situation of the fatherland.

After a while, Helen died of sore throat, although it was rumored 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, aunt of Marya Bolkonskaya. In a conversation with Anna Ignatievna about Marya, Nikolai experiences very unusual feelings. And he confessed to Anna Ignatievna that he liked Marya, he thought about her and understood that this was his fate, but he promised to marry Sonya. Anna Ignatievna promises to arrange everything. When Marya and her nephew came to Aunt Malvintseva's, Rostov arrived a couple of days later. Marya was all glowing when she met Nikolai. All her inner beauty showed up. And Rostov realized that she was the best 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 is trying to find any news about her brother, who is not on the lists of those killed. And Nikolai receives a letter from Sonya, in which the girl returns him his freedom. He also receives a letter from his mother, in which he learns about the complete ruin of the count's family. And my mother also writes that Nikolai Bolkonsky is traveling with them. Nikolai tells about Andrei 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, this was the only way out to marry a son to a rich girl. And Sonya, in the hope that Natasha and Andrei will get married, and because of kinship, Nikolai will not be able to marry Marya, sent this letter.

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

Marya went to look for her brother. Arriving, she hugged Natasha and realized from her face that there was no chance of Andrei's recovery. And when Marya went to her brother, she tried to find for herself the answer to the question "what is she to blame?" And Andrei himself looked at her coldly and hostilely. Andrei felt that he was slowly dying. He felt 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, given communion and blessed.

PART 2

One of the important events of 1812 was the movement of the Russians from the Ryazan road to the Kaluga road and to the Tarutino 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 crossed from the Tula road to the Kaluga road, to Tarutino. Then Napoleon offered Kutuzov peace, 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 Bennigsen, on October 4, Kutuzov signed the disposition. She was sent to General Ermolov, but he went on a spree. In the morning, Kutuzov arrived at the place where the column should be advancing. But there they said that they had not received any orders for an offensive, and then the operation was postponed for a day.

The Cossacks attacked the French, resulting in 1,500 prisoners, 38 guns, banners and much more. Another column, advancing from the front, led by Kutuzov, is to attack the French. But Kutuzov did not move, and when they attacked, the unit stopped. As a result, Kutuzov received a diamond mark, while Bennigsen received diamonds and 100,000 rubles.

Napoleon, in turn, acted very stupidly and disastrously for his army. He left the army until October in Moscow, giving the troops the opportunity to plunder the city. Then, hesitating whether to leave the garrison or not, to leave Moscow, approach Kutuzov, not start a battle, go to the right, again without trying to break through, go not along the road that Kutuzov approached, but go back to Mozhaisk and along the devastated road to Smolensk. And the consequences of these mistakes were just as disastrous.

Napoleon offered peace to Alexander, but his ambassadors were not accepted. After the execution of the alleged incinerators of Moscow, the other half also burned down. Napoleon called for discipline and order, but the looting did not stop. He promised to resume the service, but in spite of attempts, nothing came of it. The churches were plundered. Napoleon invites hardworking 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, and so did Napoleon. The position of the entire French army was like that of a wounded animal.

Pierre was still in captivity. And it was here that he was able to find comfort. He dreamed of freedom, learned to appreciate things like water, drink, sleep, warmth, talking with a person. And only then, having been in captivity for 4 weeks, did he agree with the earlier said words of Andrei Bolkonsky "happiness is only 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 captive Frenchman says that the French are the 5th day since they left Moscow. And when this news reached Kutuzov, he burst into tears with happiness. Until the very end of the company, Kutuzov showed cunning and tactics by all means. As a result, all the French wanted to surrender, so that all the horrors and misfortunes would end.

Part 3

It is impossible not to mention about guerrilla warfare... 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. Then Pyotr Rostov appears. At dinner, it becomes known about the position of the French army, and Dolokhov is going to check it out. Petya begs to go with him. There a shootout ensued, as a result of which Petya was shot in the head. And Denisov and Dolokhov were able to fight off 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.

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

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

Part 4

The death of Andrei Bolkonsky brought Marya and Natasha very close, but they still spoke little too. Natasha suffered from the death of Andrei, but the sudden news of Petya's death gave her that boost of energy that was necessary to support her deeply depressed mother. And Marya, meanwhile, is caring for Natasha herself and they became 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 the hard and long hike.

On November 5, Kutuzov toured the troops and turned to them with gratitude for their faithful service. The sovereign told Kutuzov to continue the war abroad, but Kutuzov did not consider it expedient. And Alexander the first was very unhappy with this. And gradually the power of Kutuzov passed to Alexander. And Kutuzov died in April 1813 in Sile-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. He's also no longer hot-tempered. Having learned about the death of Bolkonsky, seeing the body of Petya and accepting the news of Helen's death, he perceived everything as the next will of God.

Meanwhile, Moscow begins to live. People come together, and in 1813 there were already more inhabitants than leaving. Trade is being restored, burned things are being repaired, services are being held in churches. Pierre then goes to Moscow, where feelings for Natasha gain strength. She is glad of this, as is Marya. Pierre and Natasha explained to each other. But Pierre went to Petersburg, having asked Marya beforehand to help in the matchmaking.

EPILOGUE

The year is 1819. That terrible time remained 7 years ago.

Alexander was the first to give his power to miserable people, never bringing benefits to his people.

Natasha married Pierre in 1813. In the same year, her father died, who before his death asked for forgiveness for the fact that he could not 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 his father's estate was worth. 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 Bald Hills. And in 3 years he was able to earn himself, 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 subdued her husband. He did everything as she wanted, touching on public life, and she, in return, did whatever her husband wanted at home. And this made Pierre happy. Pierre, however, expressed his position regarding the management of the state. Indeed, with the current, at that time, government, there was only an approaching catastrophe. And he wanted honest people to unite and fight against the 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 of the people, guided by common interests. And this or that leader will be more successful if he can grasp these interests. "

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

Contents 1. Guerrilla warfare. 2. Analysis of the episode: "Petya Rostov in a partisan detachment." 3. Kutuzov. 4. "People's Thought" in the novel. 5. Platon Karataev. 6. The 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?

Guerrilla warfare. 4 volume. 1. When did the guerrilla war begin? What is its feature? How were partisan detachments created and operated? How does Tolstoy feel about this war? (4 volume, 2 part, 1-3 chapters; 3 part, 1-2, 17, 19 chapters). 2. Actions of the detachment V. Denisov. Analysis of the episode "The Death of Petya Rostov" (volume 4, part 3, chapters 3-11 - the exchange of greetings between Nikolai and the German at the barn; Petya's concern for the French drummer boy; his love for everyone and everything; attitude towards Denisov and Dolokhov; scene in intelligence with Dolokhov; Petya's dream, the meaning of music in him; 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). Flight of the French. 5. Battle of Red. Kutuzov's speech to the soldiers. (Volume 4, Part 4, Chapters 6-9). Resignation and death of Kutuzov (volume 4, part 4, chapters 10-11).

"And blessing to the people who, in a moment of trial ... with simplicity and lay down, picks up the first club they come across and nails with it until in his soul the feeling of insult and revenge is replaced by contempt and pity."

Tolstoy praises “the cudgel of the people's war, he considers guerrilla warfare to be an expression of the people's just hatred of the enemy. "The partisans destroyed the great army piece by piece." They are "fragmented because the spirits are raised so that individuals beat without the order of the French and do not need orders in order to expose themselves to labor and dangers." Tolstoy shows the Cossack, peasant, landlord detachments, individual partisans, the detachment of Vasily Denisov. The People's War highlighted the best aspects of the Russian national character: the ability to courageously defend their Motherland, to unite in a moment of danger, not to become bitter in war.

Analysis of the episode: "Petya Rostov in a partisan detachment" The episode "Petya Rostov in a partisan detachment" (vol. 4, p. 3, chap. 7, 11) is connected by many causal and causal relationships with 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 active army. Petit's request to release him into the active army (vol. 4, part 1, ch. 20). Petit's delight on Red Square during Alexander I's stay in Moscow (vol. 4, part 1, ch. 21). Arrival of Petit in Denisov's detachment. The episode is also associated with those fragments of the novel that follow it: with "Petya's music" (vol. 4, part 3, chapter 10), the scene of Petya's death (vol. 4, part 3, chapter 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, who gives 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 is a state of happiness and delight. The episode also characterizes other heroes acting in it: Vasily Denisov, a captive French drummer. This episode can tell a lot: about the responsive soul of Petya and about the Rostovs in general, about the peculiarities of the Russian national character, the national character of the war, the attitude of Russian soldiers to the captured French.

He "was in a constantly happily-excited state of joy that he was big, and in a constantly ecstatic haste not to miss any occasion of real heroism." It is understandable that Petya wants to stay in Denisov's detachment (despite the ban of the general who sent the report), it is understandable that he wants to be in time where a case of “real heroism” may appear. But Petya is Rostov; as 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 cowshed - vol. I, part II, ch. . 4). And his concern for the French drummer boy, of course, is 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 need to be killed (cf. the words of Prince Andrei to Pierre before the Battle of Borodino).

“He was ashamed to leave them in difficult times.” Why does he stay with Denisov? Because "he was ashamed to leave them in difficult times." And he sincerely strives for "real heroism", he has no desire to stand out, to distinguish himself ("I do not 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. It is not given to everyone to be a man in war, but it is given to Petya, as well as to Denisov, who pity the captive drummer. And at the same time he imitates Dolokhov, brave and cold-blooded, so he goes on reconnaissance with him. He is not afraid of anything. He is the bearer of life and love, not death and hatred.

It is no coincidence that in his dreams he hears music calling people to unity, music in which separate sounds merge into one, common one. The exclamation of a German: "Long live the whole world!" , the reply of a French soldier: "We are all human, we must be human," Prince Andrey's dying thoughts about love for people and Petin's music are milestones in the development of the main idea of ​​the novel - the idea of ​​uniting 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 the clouds ran quickly over the tops of the trees, as if revealing the stars ... Sometimes it seemed that the sky was high, rising high above your head; 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 reach it with their hand. Natasha wants to fly into the sky, and it seems to Petya through a dream that he "sits not on a wagon, but on a terribly high tower, from which if he fell, he would fly to the ground all day, a whole month - all fly and never reach."

“I was late again, it flashed through Petya's head” Petya dies, not having time to commit the heroic act he dreamed of. He gallops to the battlefield and ... does not have time. "I was late again, it flashed through Petya's head." He dies senselessly. Dolokhov orders the infantry to wait. "Wait? ... ... Hurray-a "- Petya shouted and, without hesitating a single minute, 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 the curse of the war, its meaninglessness and cruelty.

Our compositions. Petya Rostov Do you know, when you see some detail, a moment, an event that “touches a living,” you involuntarily begin to wonder: why is everything light, kind, good and pure often turns out to be killed, destroyed, trampled? Yes, perhaps these words are too pompous, but there is some truth in them, isn't there? In our life, so real and cruel, injustice takes place more often than its opposite. Take, for example, Petya Rostov, the hero of Tolstoy's novel War and Peace. Just look at it! Petya has collected all the best qualities of his family members. He is honest and patriot, like Nikolai; musical, kind and cheerful, like Natasha; as generous as the old Count Rostov. Petya is still quite 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 wondered: 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 the 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. At Natasha's birthday we see him as a funny, "fat boy." When Natasha, Nikolai and Petya come to visit their uncle, the boy falls asleep in an armchair after an exhausting hunt. L. Tolstoy says that as he grew up, Petya looked more and more like Natasha. The same black-eyed and alive, Petya and mutual language best of all with his sister finds. 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 did, and with his 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 Denisov's detachment, much later than the events described above, sitting on a wagon, Petya will be delighted, in a dream, as if he will hear a strange and beautiful fugue. After all, I was able to take a good look at Petya only here, in a partisan detachment. Sincere heroism, generosity, compassion and mercy, courage - Petya reveals all these qualities to us, showing that all this has already been in him, has long been formed. He strives for every person with a pure, open soul. He is human, and therefore the French boy for Petit is not only an enemy, but also a man. When, after the death of the boy, Denisov recalls the raisins that Petya loved, it becomes unbearably sad that the kind, bright boy died, it is stupid and insulting to be late ...

Kutuzov Tolstoy, following his philosophical convictions, proves that the events of this war developed spontaneously, therefore, Kutuzov sees significance in the fact 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 knocked out at Borodino must perish." Stroke historical events confirmed the correctness of Kutuzov's decision. And the first cry of the "wounded beast" was Napoleon's proposal for peace. "The beast knocked out at Borodino must die"

Did Kutuzov manage to keep the army from fighting? Tolstoy believes that no one person can prevent what should happen by the will of circumstances. So the battle of Tarutino was given. "The vague but arising in the soul of every soldier the consciousness that the attitude of power has changed now 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 for the whole company, the transition from retreat to the offensive was made, the weakness of the French was exposed and that impetus was given, which was just waiting for the Napoleonic army to begin the flight. "

"The goal of the people was one: 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 the Russian land: 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 all his Russian being he knew and felt what the Russian soldier felt, that the French were defeated, that the enemies were fleeing and that them. ”In Kutuzov, Tolstoy emphasizes the same unchanging traits of a man and a commander: wisdom, unity with the people, and respect for the soldiers.

The sovereign and the generals demanded otherwise. They needed victorious battles. This is how the theme of false heroism sounds once again in the novel. The result was the battle at Krasnoye: "For three days at Krasnoye, 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 people too "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 evokes a feeling of pity in Kutuzov, and he addresses his soldiers with a speech: “It’s difficult for you, but you’re still at home; and they - see where they got 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 people too. So guys? "And then:" Serves them right. " So in the "simple-hearted old man's speech" pity for the frostbitten, hungry French and anger for all the evil of the French invasion were combined.

How did the soldiers perceive 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 one's righteousness ... this very feeling lay in the soul of every soldier. Tolstoy considered pity for the enemy to be 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 the culprit of their suffering. Kutuzov and the soldiers are united in their attitude to 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 was Georgy of the first degree, and even he was given "out of decency." Emphasizing the historical role of Kutuzov, Tolstoy writes: “To the representative of the Russian people, after the enemy was destroyed, Russia was liberated ... nothing was 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 squadron? How do the partisans and the author relate to him? With whom does Tolstoy compare him? What do the partisans call him? What was entrusted to Tikhon? How does Tolstoy portray his appearance? How does his speech differ from the speech of Platon Karataev? How does Tolstoy the artist and Tolstoy the philosopher relate to Tikhon? For what purpose 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 relate to people? What kind of life philosophy does he preach? How does it die? What are the best national qualities inherent in him? How is the author's idea of ​​forgiveness and forgiveness related to his image? 3) Compare Tikhon Shcherbatov and Platon Karataev. What Tolstoyan idea are they embodying? How does Tolstoy show the ambivalent psychology of the peasantry in the example of these two typical representatives? Which of the heroes is closer to Tolstoy the artist? How is the Kutuzov beginning manifested in Karataev?

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

"Tikhon was the most useful and brave man in the party" Of the entire mass of soldiers, Tolstoy singles out two - Tikhon Shcherbatov and Platon Karataev. Tikhon personifies the "cudgel of the people's war." He himself, voluntarily, swarmed into the detachment of Vasily Denisov. He has "long dangling arms", "small narrow eyes", his face "pitted with smallpox and wrinkles," lack of a tooth in his mouth "," his whole face stretched out into a shining stupid smile "," flat legs twisted in bast shoes "," unexpectedly and lay down flexibly on his belly ”- these are the details of his portrait. What kind of authorial attitude is hidden behind these artistic details? With whom do the author and the Cossacks compare it?

His remarkable brute strength was appreciated by the Cossacks: "hefty merenina." Tolstoy compares him to a wolf, emphasizing the predatory principle in him. Tikhon killed the man, like a wolf lifted a sheep. And he wields an ax, "like a wolf owns teeth, equally easily tearing fleas out of their fur with it and biting through thick bones." What was entrusted to Tikhon in the detachment?

He was instructed "to do something especially difficult and disgusting - to turn the cart out of the mud with his shoulder, pull the 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 is disgusting, disgusting, is entrusted to Tikhon. Tolstoy the artist does not show Tikhon's greatness, 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 "felt awkward." Tikhon's cruelty is also emphasized through his attitude towards the prisoners (“after the wound, he rarely brought prisoners”). Dolokhov also has a taste for violence. To Denisov's demand to send prisoners under escort to the rear, he replies: “You will send them a hundred people, and thirty will come. They will die of hunger or be beaten. So is it all the same not to take them? »The image of Tikhon embodies the idea of ​​protection from marauders by means of their execution and destruction. Tolstoy shows his dexterity, strength, adaptability to any conditions of life, diligence, demand in war.

LN Tolstoy introduced the image of Tikhon Shcherbaty into War and Peace, in order to once again, in a new way, illuminate his idea - the “cudgels of the people's war”. properties that no one previously knew, including himself. War is a distortion, a violation of the usual course of things. So in the muzhik - those qualities that in peacetime were necessary for the performance of peasant affairs are now used for the cause of war. A man in everyday life is unpretentious, hardy, dexterous, sharp-witted, sometimes cunning. During the people's war, these qualities were useful for military affairs. Protecting your home from the "peacemakers" is no less vital than sowing, harvesting and other peasant labor. So the man is fighting - as efficiently 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, must 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 coming to Russia as predators and murderers. As before, it was natural for him, for example, to slaughter a pig, so, with the same boldness and with the same familiar 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, was endowed by the author with fate. What do we learn about his life before meeting Pierre in captivity?

He is already a middle-aged soldier; even in Suvorov's times he took part in campaigns. The war of 1812 found him in a Moscow hospital from where he was captured. How does the portrait, manner of speech reveal the peculiarities of his personality?

Plato has a "melodious 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 intending to hug something, were round; a pleasant smile and large brown tender eyes were round. " "Round" is a leitmotif in the characterization of Karataev. His psychological portrait is complemented by a "pensive smile", a state of "sadness", "quiet delight", "expression of quiet solemnity" and "joyful affection", which testifies to his rich inner life... His speech is different folk wisdom, as evidenced by the use of proverbs, a variety of topics. He talks about family and peasant life, reflects on Moscow, gentlemen and people, on the court ("Where there is court, there is not true").

What rules does he follow in life? What is his relationship with people based on? How do the soldiers feel about 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 values ​​in them? How does the Tolstoyan doctrine of simplification and non-resistance to evil by violence fit into the image of Karataev? What role did Karataev play in Pierre's life?

The image of Platon Karataev evoked a wide variety of judgments 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, lift it up", and in the morning, waking up, he says: "I lay down - curled up, got up - shook myself." He rejoices in everything, knows how to find bright sides in everything. Platon Karataev teaches Pierre gentleness, forgiveness, patience and self-denial.

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

Plato is always active: he bakes, cooks, sews, makes boots, planes 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 and love. “He loved and lived lovingly with everything that life brought him down to, 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, in spite of all his affectionate affection for him. ... ... I would not be upset for a minute to be separated from him. "

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

“What did the author say to his Karataevs? »Critics about the meaning of this image The ball, the globe are symbols of accord, harmony, peace in Tolstoy's epic. It is clear that Karataev (like Kutuzov) is outside 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 the Tolstoyan idea that the truth lies in the rejection of one's“ I ”and in complete submission to it“ to the general, ”ultimately to fate," writes G. N. Fein (Researcher brings thoughts Prince Andrey before his death with the philosophy of Karataev and writes: “Tolstoy wants to prove this (the need to abandon 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 “ SG Bocharov also writes to the pre-Karataev "state" ("The contradiction between the simple and the complex, patriarchy and the development of personality, immediate 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 at all express the author's position - 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 him to the draft ones) will leave Pierre almost indifferent. “One of the main missions of Karataev, who lives within 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 the place of Karataev 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 of the enemy and the cruelty necessary in a situation of danger; in Karataev - love for everyone and trust in God's providence, which cannot be wrong. Which point of view is closer to you 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 features negative ones are also clearly visible. It costs him nothing, looking into the eyes of the commander, to lie, but his lie is so resourceful 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 discovered any cases of attack, no one else took him or beat the French; and as a result, he was a jester of all the Cossacks, hussars and 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 highest sense of the word, and do not treat him with reverence. Tolstoy reveals two contradictory sides of the folk character through the images of these heroes.

The antithesis "Platon Karataev - Tikhon Shcherbaty" is associated 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 us recall significant episodes: the salvation 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 people too” - vol. IV, part IV, ch.

The mastery of psychologism in Tolstoy's novel. Individual tasks: Find examples of the use of the “dialectic of the soul” technique in the novel. Perform episode analysis of your choice.

(development of speech) С-1 (USE) What type of psychologism do we find 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 paragraphs with an analysis of the episode "Impressions of Pierre Bezukhov from the shooting of prisoners" (volume 4, part 1 of 10-12 chapters).

"The mastery of psychologism in Tolstoy's novel." Plan 1. Introduction. A) Psychologism - detailed and deep reproduction in literary work the inner world of a person. Traditionally, in Russian literature, two types of psychologism are distinguished: hidden - when the reader can only observe the results of the experiences of the heroes; 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 “dialectic 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. The main part. To depict the inner world of the characters, Tolstoy uses various methods of psychologism, which allow him to penetrate the human soul with amazing depth: 1) Psychological analysis. Complex feelings and experiences are "decomposed" into components. Often Tolstoy reveals the psychological world of his heroes as if from the outside; he sees in their experiences what the heroes themselves cannot see. The author analyzes and explains to the reader the reasons for this or that psychological state (feelings and experiences of Andrei Bolkonsky on the Austerlitz field after being wounded, Natasha's perception of the opera, Pierre Bezukhov's impressions of the shooting of prisoners). 2) Internal monologue. Tolstoy conveys the stream of thoughts and feelings of the character, imitating a natural, literary unprocessed 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 by N. G. Chernyshevsky). Tolstoy was one of the first to depict inner world a person in motion, in dynamics, revealing indirect and often illogical connections between thoughts, ideas, memories. This helped to increase the likelihood in revealing the psychological world of the personality, strengthened the emotional impact on the reader (the psychological state of Bezukhov in Torzhok before meeting with Bazdeev, Natasha's thoughts after meeting with Anatol at the opera). 4) Psychological details. Tolstoy mainly uses a psychological portrait in order to reveal certain inner 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 death, borderline states of consciousness (delirium of Nikolai Rostov 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. impact on the reader: we empathize with the heroes of Tolstoy, take an ardent part in their fate, closely follow their moral development (AB Esin. "How to write an essay on your own").

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 evoke the irony of the author? How does Tolstoy show his true purpose - to save and protect people? (Volume 3, part 3, 27-29; 33-34 chapters). 2. What conclusions did Pierre come to after the interrogations and the scene of the execution of the arsonists in Moscow? (4 volume, 1 part, 9-13 chapters; 2 part, 11-13, 3 part 12-15; 4 part, 12-13 chapters). Analysis of the episode "Impressions of Pierre Bezukhov from the shooting of prisoners." 3. What influence did the meeting with Platon Karataev have on him? The role of Pierre's sleep (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 thrown away the "mental telescope", "into which he had looked over his heads until now," learns the joy of getting closer to a wide circle of people. Pierre begins to realize that his true path is in the merging of his “I” with the people, with “common life”.

Pierre in Moscow After the Battle of Borodino, Pierre decides: "Be a soldier, a simple soldier!" He breaks off relations with his class, secretly flees, leaving two houses and wealth. Deciding to become a commoner, he dresses up 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 our usual path, everything is gone: and then a new, good thing is just beginning” Pierre decides to kill Napoleon - to make his contribution to the national cause. Life teaches Pierre, offering him - in return for the murder of Napoleon - the salvation of the French officer Rambal, a girl, a beautiful young Armenian. He acts instinctively: his job is to save, not increase evil and multiply murder in the world. As the arsonist of Moscow, Pierre is captured.

Having witnessed the execution of the participants in the arson of Moscow, Pierre completely loses faith in the expediency of life, and "in the human soul, and in his own soul." This is his last moral crisis in the novel. Doubts about the rationality of life crept into his mind before, but he thought that the guilt should be sought only in himself. “But now he felt that it was not his fault that was the reason that the world 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 you teach him? It is no coincidence that Platon Karataev appears in the novel at the very moment when Pierre needs to rely on something in order to regain his faith in goodness and truth, which he lost after the French shot the Russians accused of setting Moscow on fire. Thanks to Karataev, writes Tolstoy, "a previously destroyed world now with a new beauty, on some new and unshakable foundations, was being erected in his soul." In captivity, Pierre learned to live for 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 most powerful and dear memory and the 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 the misfortune of people always happens (and his misfortune until then) “not from lack, but from surplus”; the surplus here is not only material advantages that separate the “masters” from the people, but also the surplus of spiritual, inner life, seeking, development, “dialectic of the soul”. All this is not characteristic of ordinary people, soldiers, peasants, they are, as it were, given directly, directly, spontaneously that knowledge of the meaning of existence, to which the seeking and reflecting heroes of War and Peace make their way long and hard.

External and internal changes in Pierre's appearance Pierre's external appearance is changing: “He did not seem to be fat, although he still had the same kind of size and strength ... Pierre looked at his bare feet, which he gladly moved to different positions, wiggled Dirty, fat , 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 that Pierre's eyes never had. His former licentiousness, which was also expressed in his gaze, 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 ideological completeness. Simplifying 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 self-satisfaction, "harmony with oneself." Where did he seek this calmness? "He sought this in philanthropy, in Freemasonry, in the scattering of secular life, in wine, in the heroic deed of self-sacrifice." On what path did he think to find agreement with himself?

“They are holding me captive. Who me? Me? Me - my immortal soul. " "He searched for this by means of thought, and all searches and attempts have deceived him." And it was necessary to open the path of the heart. Where did Pierre find happiness now? “Here, now only Pierre appreciated the pleasure of food, when he was hungry, drinking, when he was thirsty, sleep when he wanted to sleep, warmth when it was cold, talking with a person, when he wanted to speak and listen to a human voice. Satisfaction of needs - good food, purity, freedom - now that he was deprived of all this, it seemed to Pierre perfect happiness. ... ... "He found inner freedom:" They are holding me captive. Who me? Me - my immortal soul. " He realized that the meaning of life is in life itself.

“Before the terrible question that destroyed all his mental structures: why? - now for him did not exist. "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 appearance of Karataev seems to cancel the whole path traveled by Pierre, all his searches. It turns out that if these searches were needed, it was only then, in order to finally understand that there was no need to search for anything, for the main thing had been found and already known; and it is not sought at all, not developed, not created, but simply exists; you just need to get rid of everything that prevents you from accepting it, you have to be like them. After captivity, Pierre feels the joy of freedom from the search for the purpose and meaning of life, searches that only prevented him from feeling in himself a direct knowledge of this purpose and meaning: “Before, destroying all his mental structures, the terrible question: why? "didn't exist for him now."

"When I am occupied with a 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 beloved and always most important occupation in life - from restless reflection, from analysis. And can we believe that we gave up forever? Will it return from "fun" to "thought"?

Why is Andrei Bolkonsky a tragic hero? Why does Tolstoy show his hero in reserve, in inaction, and not in the front ranks of the attackers, as in the Battle of Austerlitz? Why does Prince Andrew 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 Anatol, the doctor's kiss)? Natasha's meeting with the wounded Prince Andrey (volume 3, part 3, chapters 30-32). The Mystery of Prince Andrey's Dying Reflections. Death of Prince Andrew (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 it happen to Prince Andrey (according to Natasha)? Was there a physical reason for this or some other? How to explain Natasha's words: “Oh, Marie, he is too good, he cannot, he cannot live ...”? Didn't Natasha think that Prince Andrew did not die of a wound? And if not from a wound, then from ... what? Why didn't Prince Andrei explain his condition to Natasha, his sister, or his son, when “it happened”? And isn't he sorry to leave them? What, in fact, is the meaning of describing this change in Prince Andrei and his dying state?

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

Critics' Opinion In literary criticism, different points of view are expressed on this matter. Someone reproaches Bolkonsky with excessive pride, someone sees in this a manifestation of fortitude. Let us remember that for the first time a feeling of anxiety, a misunderstanding of what was happening, finally, of horror before the steadfastness and self-sacrifice of the Russians seized Napoleon precisely after he saw that the Russians had not retreated a step, despite the fierce fire of the French artillery? From the height of Semyonovsky, where Napoleon went, he could see that "the Russians were standing in dense rows behind Semyonovsky and the mound."

Tolstoy emphasizes that Prince Andrey's regiment was among those reserves that were "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 was laid upon the French invasion. Note, according to Tolstoy, it was not the attack of the Russians that overthrew the French, it was not the loss of the killed and the prisoners that decided the matter, but the superiority of the "incredible spiritual strength" put an end to the Napoleonic army. Probably, everything was determined at the moment when Prince Andrei stood in front of a grenade.

If pride had ruled Prince Andrew, 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 Andrew 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, destroyed morally. Do you agree with the suggested point of view? How well does it correlate with the original teaching created by Tolstoy?

“I can’t, I don’t want to die. ... ... At the moment of his mortal wound, when a smoking grenade, ready to explode at once, spins like a top next to him, a passionate outburst of love for life captures Prince Andrey. With a completely new, envious look, he looks at the grass, at the wormwood and at the stream of pomegranate smoke - at these lifestyles from which he is parting. “I can’t, I don’t want to die. ... ... "Later, when he is carried on a stretcher, he recalls this instant passionate state and tries to explain it to himself:" Why was I so sorry to part 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 glance of Andrey, lying in front of the grenade, at the grass and wormwood.

What thought pierced the mind of Prince Andrey when he saw Anatol on the next operating table? “Compassion, love for brothers, for those who love, love for those who hate us, love for enemies, yes, that love that Princess Marya taught me and which I did not understand; this is why I felt sorry for life, this is what remained 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“ fateful moments ”of history, against the background of the glow of the abandoned burning Moscow, Natasha Rostova met again with the dying Prince Andrei, wounded on the Borodino field. Why are we always so excited about this scene when we read War and Peace? A new meeting should not happen in order to correct something - to correct, nothing can be returned - but to make up, clarify the relationship between these two people and so that before it ends, the tragically high life of Bolkonsky will be rewarded. “What a blessing that he met with you before his death,” Pierre would later say to Natasha.

Natasha in her carriage, on the way from Moscow, all the time sees ahead of the closed top of Prince Andrey's carriage. "She did not know who was in it, and every time, figuring out the area of ​​her 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 internally for a meeting. Bolkonsky, recognizing Natasha, "was not surprised, but quietly delighted." "He smiled and held out his hand to her," as if he were waiting for her. The date happens like a miracle, as if someone arranged it for them; but they arranged this miracle themselves.

"She did not know what it was for, but she knew that the meeting 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 him, writes Tolstoy, that in case of recovery, the relationship between the bride and groom could be resumed," no one, even less Natasha and Prince Andrey, talked about this: an unresolved, hanging question life or death, not only over Bolkonsky, but over Russia, overshadowed all other assumptions. "

There cannot and should not be a renewal of the former between him and Natasha; this date for Prince Andrey is a dying one. “Was it only then that fate brought me so strangely to her, so that I could die? "This question already contains the answer. 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 continue, but in a new way became the bride and groom, and a special heroic generalization distinguishes this new relationship.

Why is Andrei Bolkonsky dying? From modern works about "War and Peace", the book of B. Berman stands out for its depth and uniqueness. (Berman B. Innermost Tolstoy. M., 1992). It interprets the image of Prince Andrew as the image of the Heavenly Bird. The bird as a metaphor of 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 I”), associated by spiritual gravitation with “a common and eternal source ”, That is, the universal center of love. This is the “food” that Prince Andrew is thinking about. Tolstoy, I think, is closest here to Pushkin, to the dialogue between Pugachev and Grinev about what the human soul “feeds on”. (It is clear that it is the book word “eat”, unexpected in the mouth of Pugachev, and even in a supposedly folk 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 Heavenly Bird is one of the favorite images in Tolstoy's works and diaries. In one of the entries (notebook of 1879, October 28), Tolstoy contrasts “Napoleons”, whom he calls “people of the world, heavy, without wings,” to light people, “resurrected,” “idealists”. He calls himself a man “with large, strong wings,” falling and breaking wings, but able to “soar high” when they heal. This is the conscience, the “inner voice”, the ability of some people to find solutions that will save humanity, this is the indestructible, immortal essence of the soul, purified from everything dark.

“Birds of Heaven” is a conscience, an “inner voice”, the ability of some people to find solutions that will save humanity, it is an indestructible, immortal essence of the soul, purified from all dark, immortal essence of the soul.

Nikolenkin's dream In the religious beliefs of mankind, birds carry out a connection between heaven and earth, God and people. V 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 Nikolenka's dream, in accordance with Christian tradition, prescribing to little Bolkonsky the fulfillment of the Father's will 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's, soul.

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

Such is the logic of sleep, and then prayer and threefold, as in the Gospel, Nikolenka's appeal to the Father. Italicized words “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 has long been solving 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, showing the image of heavenly earthly greatness, finally becomes a "personal God", the center of the nearest spiritual gravitation, the embodiment of the "spiritual sun" of Tolstoy himself. ”(B. Bergman).

According to Berman, thinking of the Heavenly Bird as the immortal essence of the soul, “the best part of the human soul,” Prince Andrey realizes that he does not leave Nikolenka. After all, these thoughts about the Bird came to Prince Andrey when he saw that Princess Marya was crying for Nikolenka, who was destined to remain an orphan. But “a father in the flesh is needed only by a son in the flesh, but for a son in 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 attraction between the“ father ”and the“ son ”- always nourishes, guides, lives him ”. Let us add that Christ did not feel like an orphan, on the contrary, he kept saying that he abides in God, and God is in him. Berman B. Innermost Tolstoy. M., 1992.

“Everything is, everything exists only because I love,” Bolkonsky understands. - Everything is connected by her alone. Love is God ... ”Before his death, Prince Andrew 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 searches. The following conclusions can be drawn from the image and fate of Andrei Bolkonsky. First, one should not disdain the simple, because all great things grow out of the ordinary. Secondly, in order to understand the character of a person, you need to be able to see and understand the interconnection of distant phenomena, the similarity in the different, that is, to conjugate the seemingly incompatible.

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

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

After captivity, Pierre feels the joy of freedom from the search for the purpose and meaning of life. In this state, Pierre also remembers Natasha in a long past tense, for "he felt not only free from everyday conditions, but also from this feeling, which, as it seemed to him, he deliberately let loose 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 a freedom that is possible only in the absence of personal attachments, with too even relations with all other people. Natasha tied Pierre with renewed feelings for her, just as, we remember, she tied the wounded Prince Andrei by appearing to him and breaking his indifferent "divine" love.

The awakening of the old feeling in Pierre, depriving freedom, similar to indifference, is the beginning of the restoration of the former Pierre, "pre-Karataevsky". When meeting Natasha and Marya Bolkonskaya after a long separation, Pierre recalls Petya Rostov: full of life boy? The question does not sound as probing, analytical as it sounded in Pierre's earlier, but more conciliatory, melancholy, but this is the very 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 guarantee of how Pierre will appear in the epilogue of War and Peace.

Epilogue. All is well that ends well? It seems that it is so in the epilogue: the struggle of life is harmoniously completed, the relations of people are justly resolved, the contradictions are rounded off. The heroes of the novel live in one large newly formed family, which included the former Rostovs, Bolkonskys, Pierre Bezukhov; moreover, within this “world” the independence of its constituent groups and individuals is preserved. “As in every real family, several completely different worlds lived together in the Lysogorsk house, which, each holding its own peculiarity and making concessions to one another, merged into one harmonious whole. Every event that happened in the house was equally joyful 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-Karatayev" state, to himself, to his worried questions, doubts, and hobbies. “Yes, Pierre has always been and will remain a dreamer,” Nikolai says 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 an agreement, "peace" with himself, which he was always looking for - in philanthropy, Freemasonry, philosophy, he was looking for "through thought", but could not find it. Pierre, in the epilogue, again, as is typical of him, seeks the meaning of life "by way of thought."

The goodness received from Karataev was retained in his family life; “He would approve, this is our family life,” he and Natasha say about Karataev.

"It seemed to him at that moment," that he was called to give a new direction to the entire Russian society and the whole world. " But he says this after that, as to Natasha's more general question: "Would Karataev approve of you now?" - he answered, thinking: no, he would not approve. Karataev would not approve of Pierre's new activities, and the author himself accompanies an ironic commentary on his "smug reasoning", plans, dreams: "It seemed to him at this moment," that he was called upon to give a new direction to the entire Russian society and the whole world. " There is no longer the balance that was in Pierre, freed from captivity. This equilibrium was described in the fourth part of the fourth volume as if it were final, and the influence of the "round" Karataev-rounding off also of 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 Nicholas thoughts and reasoning are fun, almost passing the time, and for him, Pierre, everything else is fun. Here are named the constant qualities of Nicholas and Pierre, which were always inherent in them, led them through life, constituted the special truth of both - and for Tolstoy, both truths are related to the general idea of ​​"peace."

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

"It is necessary as close as possible and more people to join hands in order to resist the general catastrophe"

“Everyone sees that things are going badly, that it cannot be left that way, and that it is the duty of all honest people to resist to the best of their ability.” The number of good people, Pierre believes, should increase at the expense of honest and independent people. Through the society 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 1920s, which became more revolutionary by 1825.

Nikolay Bolkonsky's Dream Nikolay Bolkonsky, the son of Prince Andrey, is in awe of his father's memory, 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 Nicholas, and then in his dream, which ends the story of Tolstoy, Uncle Nikolai Ilyich threatens him and Pierre, walking in helmets in front of a huge army. Pierre turns into Prince Andrew, his father, and the father has no image and form, although he is, the boy feels it. 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 an impending 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 in my life? "And in front, where the army of him and Pierre is moving," there was glory ahead. ... ... ". On the last page of the narrative, those motives are revived that seem to have been left behind long ago and even debunked. But now they are charming again, excite again the person whose path begins. In "War and Peace" life sums up something, like, for example, Prince Andrei's striving for glory - and it seems to the epilogue that the general result of everything has already been summed up; but that which was filmed and summed up is renewed, becomes actual, ALIVE again.

The relativity of the outcome itself in the process of life and the idea of ​​the outcome as an attitude to life, a point of view on it. The epilogue rounds out and immediately refutes any rounding off of life - of an individual person, or, moreover, of a universal life. The action continues after the result has already been achieved, 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 more contradiction. It remains in Tolstoy's book not closed - the contradiction of the spiritual and the simple, conscious and immediate life, between the principles and people whom the author himself would like, perhaps, to see in harmony, in a consistent unity - but not in his power.

With its 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, of all people, both past and future.

Natasha Rostova. The author's ideal in the novel Two precious human traits are combined in her character: first, the gift of intuitive penetration into the souls of Russian people (an episode in her uncle's house); secondly, the ability of 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 Andrew, and later for the sake of Pierre and the children). Such reckless dedication 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 Andrey; but Moscow is reborn from the ashes - Natasha is reborn as well. Through this parallel - Natasha the people - Tolstoy to no small extent expressed the main idea of ​​the whole novel - "people's thought."

Natasha's reckless ability and readiness for immediate self-sacrifice is also manifested in her attitude to love. Her constant responsiveness to the loving attention to her on the part of various people is a kind of help, this passionate desire to make his life easier for a person, to alleviate his suffering. Therefore, Natasha recklessly falls in love several times: with Boris Drubetsky, with Andrei Bolkonsky, with Anatoly Kuragin, with Pierre. Such love responsiveness for Natasha is the only way to realize herself as a woman and as a person. Without the possibility of such dedication, Natasha dies. That is why she is going through a very difficult year of the probationary period, which Prince Andrew assigns to her. This constant thirst not to take, as Helen Kuragin did, but to selflessly give up her love is the meaning of Tolstoy's words: "The essence of her life is love."

The image of Natasha plays an important role in revealing the pathos of the book - the idea of ​​the free and voluntary unity of people. And Natasha really attracts those around her. Serfs, courtyard uncles, as well as all the central characters love her. People are drawn to her because she gives them a sense of the true value of life. Natasha revives people, creates an atmosphere of freedom. An example of such revival is helping Nikolai after his gambling loss to Dolokhov. She demands 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 a visit to their house if Natasha is not going to marry him.

Natasha is surprised: “Why is it obligatory to get married? I feel good and he feels good, so let him walk just like that. Why can't you just like that? »But the episode with Anatol Kuragin, Natasha's infatuation with him shows that unlimited freedom has its downside, that is, it must be corrected by the moral law - conscience. Otherwise, unlimited freedom turns into the principle "everything is allowed."

Natasha's evolution in the novel The evolution of Natasha in the novel is significant. In volume 1 (1805) she is shown as a girl, in volume 2 (1807) as a girl, in volume 3 (1809-18012) as a bride, in volume 4 (1812) as a wife, in the Epilogue (1819) as a mother. Unlike the internally motionless Sonya, Natasha, passing through such a large life path and so changing in time, is the expression of the idea of ​​the movement of Tolstoy, who believes that "truth is in movement."

If earlier, before breaking up with Prince Andrei, Natasha lived carefree according to the principles “everything is possible” and “what if I want to? ”, Then after breaking up with Bolkonsky, Natasha has a sense 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 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 controversial. Natasha is so immersed in caring for children that she ceases to take care of herself and even loses her former charm. For this, Tolstoy was reproached for the fact that by reducing Natasha to the level of “only” a mother, he humiliates a woman. But it is precisely this Natasha that Tolstoy especially loves and poeticizes. Here he argues with the sixties on the "women's issue", in which they reached the point of denying family and motherhood. Critics forgot that Natasha was not a woman of the 60s, but of the early 19th century. So, having immersed Natasha in family concerns, Tolstoy did not deviate from the truth of history, from artistic realism. The family was the only field for a woman from a noble circle.

References 1. Berman. B. Intimate Tolstoy. M.,. ... 1992. 2. Bocharov S. "The novel by L. N. Tolstoy" 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 "The novel by L. N. Tolstoy" 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 Guide for Teachers and Students. - M.: Shkola-Press, 2000. 8. Kozlova G. N. Education of aesthetic taste: The study of landscape in the novel by L. Tolstoy "War and Peace "// Lit. in school. - 1988. - No. 2. - pp. 33 - 40. 10. Mann Yu. Why do you love Natasha Rostova? // Lit. newspaper. - 1980. - 2 Apr 11. Nedzvetsky. V. Russian socially universal novel of the nineteenth century. M., 1997. P. 236. 12. Opulskaya L. D. The novel-epic by L. N. Tolstoy "War and Peace": Book for study. - M.: Enlightenment, 1987. - 174 pp. 13. Potapova T.V. 6 Rudnev V. Away from reality, M., 2000, p. 200. 15. Suvorova E. Materials for the essay on "War and Peace" // Literature (Appendix to the gas. "September 1st"). - 1998 - № 29. 16. Frank. I. The Third Eye. Dialectics of Art. Moscow, 1993. P. 156.

Lev Tolstoy

© Nikolaev A.V., illustrations, 2003

© Design of the series. Children's Literature Publishing House, 2003

Part one

In St. Petersburg at that time in the highest circles, with greater fervor than ever, there was a complex struggle between the parties of Rumyantsev, the French, Maria Feodorovna, the Tsarevich and others, drowned out, as always, by the trumpeting of the court drones. But calm, luxurious, preoccupied only with ghosts, reflections of life, Petersburg life went on as before; and because of the course of this life it was necessary to make great efforts to realize the danger and the difficult situation in which the Russian people found themselves. There were the same exits, balls, the same French theater, the same interests of the courtyards, the same interests of service and intrigue. Only in the highest circles were efforts made to resemble the difficulty of the present situation. It was told in a whisper about how both Empresses acted opposite to each other, in such difficult circumstances. Empress Maria Feodorovna, concerned about the welfare of the charitable and educational institutions under her jurisdiction, made an order to send all the institutions to Kazan, and the things of these institutions had already been packed. The Empress Elizaveta Alekseevna, when asked what orders she would like to make, with her characteristic Russian patriotism, deigned to answer that she could not make orders about state institutions, since this concerns the sovereign; about the same thing that personally depends on her, she deigned to say that she would be the last to leave Petersburg.

On August 26, Anna Pavlovna, on the very day of the Battle of Borodino, had an evening, the flower of which was to be the reading of a letter from the Right Reverend, written when the emperor was sent the image of the Monk Sergius. This letter was considered a model of patriotic spiritual eloquence. It was supposed to be read by Prince Vasily himself, famous for his art of reading. (He also read from the Empress.) The art of reading was considered to be loud, melodious, between a desperate howl and a gentle murmur, pouring words, completely regardless of their meaning, so that quite by accident a howl fell on one word, on others - a murmur. This reading, like all Anna Pavlovna's evenings, had political significance. At this evening there were to be several important persons who were to be ashamed of their trips to the French theater and to be encouraged to a patriotic mood. Quite a lot of people had already gathered, but Anna Pavlovna had not yet seen in the drawing-room all those whom she needed, and therefore, without beginning to read, started general conversations.

The news of the day that day in St. Petersburg was the illness of Countess Bezukhova. The Countess unexpectedly fell ill a few days ago, missed several meetings, of which she was an adornment, and it was heard that she did not receive anyone and that instead of the famous St. in a new and unusual way.

Everyone knew very well that the pretty countess's illness stemmed from the inconvenience of marrying two husbands at once, and that the treatment of the Italian consisted in removing this inconvenience; but in the presence of Anna Pavlovna, not only no one dared to think about it, but as if no one knew it.

- On dit que la pauvre comtesse est très mal. Le médecin dit que c'est l'angine pectorale.

- L'angine? Oh, c’est une maladie terrible!

- On dit que les rivaux se sont reconciliés grâce à l'angine ...

The word angine was repeated with great pleasure.

- Le vieux comte est touchant à ce qu'on dit. Il a pleuré comme un enfant quand le médecin lui a dit que le cas était dangereux.

- Oh, ce serait une perte terrible. C'est une femme ravissante.

“Vous parlez de la pauvre comtesse,” Anna Pavlovna said, coming up. - J'ai envoyé savoir de ses nouvelles. On m'a dit qu'elle allait un peu mieux. Oh, sans doute, c'est la plus charmante femme du monde, - said Anna Pavlovna with a smile over her enthusiasm. - Nous appartenons à des camps différents, mais cela ne m'empêche pas de l'estimer, comme elle le mérite. Elle est bien malheureuse, added Anna Pavlovna.

Believing that with these words Anna Pavlovna slightly lifted the veil of secrecy over the countess's illness, one careless young man allowed himself to express surprise that famous doctors were not called, but heals the countess a charlatan who can give dangerous remedies.

“Vos informations peuvent être meilleures que les miennes,” Anna Pavlovna suddenly snapped at the inexperienced young man. - Mais je sais de bonne source que ce médecin est un homme très savant et très habile. C'est le médecin intime de la Reine d'Espagne. - And thus destroying the young man, Anna Pavlovna turned to Bilibin, who in another circle, picking up the skin and, apparently, about to dissolve it in order to say un mot, was talking about the Austrians.

- Je trouve que c’est charmant! - he spoke of the diplomatic paper in which the Austrian banners taken by Wittgenstein, le héros de Pétropol (as they called him in Petersburg), were sent to Vienna.

- How, how is it? Anna Pavlovna turned to him, arousing silence for hearing mot, which she already knew.

And Bilibin repeated the following genuine words of the diplomatic dispatch he had drawn up:

“L'Empereur renvoie les drapeaux Autrichiens,” said Bilibin, “drapeaux amis et égarés qu’il a trouvé hors de la route,” Bilibin finished, loosening his skin.

“Charmant, charmant,” said Prince Vasily.

“C’est la route de Varsovie peut-être,” Prince Hippolytus said loudly and unexpectedly. Everyone looked at him, not understanding what he meant by this. Prince Hippolytus, too, looked around him with cheerful surprise. He, like the others, did not understand what the words he said meant. During his diplomatic career, he more than once noticed that words spoken in this way suddenly turned out to be very witty, and, just in case, he said these words, the first that came into his tongue. “Maybe it will come out very well,” he thought, “but if it doesn’t come out, they will be able to arrange it there.” Indeed, while an awkward silence reigned, that insufficiently patriotic face entered, which Anna Pavlovna was waiting for to address, and she, smiling and shaking her finger at Ippolita, invited Prince Vasily to the table, and, bringing him two candles and a manuscript, asked him to begin ... Everything fell silent.

- Most Merciful Emperor! - Prince Vasily proclaimed sternly and looked around the audience, as if asking if anyone had anything to say against this. But nobody said anything. - “The capital city of Moscow, New Jerusalem, accepts its Christ,” he suddenly struck at his word, “like a mother into the arms of her zealous sons, and through the arising darkness, foreseeing the brilliant glory of your state, sings in ecstasy:“ Hosanna, blessed is the coming ! " - Prince Vasily in a crying voice uttered these last words.

Bilibin carefully examined his nails, and many, apparently, were shy, as if asking what they were to blame? Anna Pavlovna in a whisper was already repeating ahead, like an old woman, the prayer of the sacrament: "Let the impudent and insolent Goliath ..." - she whispered.

Prince Vasily continued:

- “Let the impudent and impudent Goliath carry deadly horrors on the edges of Russia from the borders of France; meek faith, this sling of the Russian David, will suddenly slay the head of his bloodthirsty pride. This image of the Monk Sergius, an ancient zealot for the good of our fatherland, is brought to your Imperial Majesty. Painful, that my weakening forces prevent me from enjoying your most amiable contemplation. I send warm prayers to heaven, so that the all-powerful will exalt the race of the right and fulfill your Majesty's desires in good ”.

- Quelle force! Quel style! - praise was heard to the reader and writer. Inspired by this speech, Anna Pavlovna's guests spoke for a long time about the state of the fatherland and made various assumptions about the outcome of the battle, which was to be given the other day.

“Vous verrez,” said Anna Pavlovna, “that tomorrow, on the sovereign’s birthday, we will receive news. I have a good feeling.

Anna Pavlovna's premonition was indeed justified. The next day, during a prayer service in the palace on the occasion of the sovereign's birthday, Prince Volkonsky was summoned from the church and received an envelope from Prince Kutuzov. This was Kutuzov's report, written on the day of the battle from Tatarinova. Kutuzov wrote that the Russians did not retreat a single step, that the French had lost much more than ours, that he was reporting in a hurry from the battlefield, not having time to collect the latest information. So it was a victory. And immediately, without leaving the temple, gratitude was given to the Creator for his help and for the victory.

Anna Pavlovna's premonition was justified, and a joyful and festive mood of spirit reigned in the city all morning. Everyone recognized the victory as perfect, and some have already talked about the capture of Napoleon himself, about his overthrow and the election of a new head for France.

Far from business and amid the conditions of court life, it is very difficult for events to be reflected in all their fullness and strength. Involuntarily, general events are grouped around one particular case. So now the main joy of the courtiers was as much in the fact that we won, as in the fact that the news of this victory happened on the birthday of the sovereign. It was like ...

In the booth, which Pierre entered and in which he spent four weeks, there were 23 prisoners of war, three officers and two officials.

All of them then seemed in a fog to Pierre, but Platon Karataev remained forever in Pierre's soul the most powerful and dear memory and the personification of all kind and round Russian. When the next day, at dawn, Pierre saw his neighbor, the first impression of something round was fully 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, his back, chest, shoulders even the arms, which he wore, as if always about to hug something, were round; a pleasant smile and large brown, tender eyes were round.

Platon Karataev should have been over 50 years old, judging by his stories about 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 in 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, in spite of the fine, round wrinkles, had an expression of innocence and youth; his voice was pleasant and melodious. But the main feature of his speech was spontaneity and controversy. 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 at the beginning of his captivity that he did not seem to understand what fatigue and illness were. Every day, in the morning and in the evening, when he lay down, he would say - “lay it down, Lord, with a stone, lift it up with a ball”; in the morning, getting up, always shrugging his shoulders in the same way, said: "I lay down curled up, got up and shook myself." And indeed, as soon as he lay down to immediately fall asleep with a stone, and it was worth shaking himself so that immediately, without a second of delay, to take up some business, as children, getting up, take up toys. He knew how to do everything not very well, but not bad either. He baked, boiled, 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 who know that they are being listened to, but he sang like birds sing, apparently because he needed to make these sounds as it is necessary to stretch or disperse; and these sounds were always subtle, gentle, almost feminine, mournful, and his face was very serious at the same time.

Having been captured and overgrown with a beard, he apparently threw away from himself everything that was alien, a soldier, and involuntarily returned to the old peasant, popular warehouse.

- A soldier on vacation - a shirt made of trousers, - he used to say.

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

Often he said the exact opposite of what he had said before, but both were true. He loved to speak and spoke well, adorning his speech with affectionate 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 event are the most simple, sometimes the very ones that Pierre saw without noticing them, acquired the character of solemn goodness. He loved to listen to fairy tales that one soldier told in the evenings (all the same), but most of all he loved to listen to stories about real life. He smiled happily, listening to such stories, inserting words and asking questions that tended to understand for himself the goodness of what he was told. As Pierre understood, Karataev had no affection, friendship, love; 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 mongrel, loved his comrades, the French, loved Pierre, who was his neighbor; but Pierre felt that Karataev, in spite of all his affectionate tenderness towards him (with which he involuntarily paid tribute to Pierre's spiritual life), would not be upset for a moment at being separated from him. And Pierre began to feel the same feeling for Karataev.

Platon Karataev was an ordinary soldier for all the other prisoners; his name was Sokolik 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, so he remained forever.

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

When Pierre, sometimes struck by the meaning of his speech, asked to repeat what he had said, Plato could not remember what he said a minute ago, just as he could not in any way tell Pierre his favorite song in words. There was: "darling, birch and nauseous to me", but the words did not come out any meaning. He did not understand and could not understand the meaning of words taken separately from speech. His every word 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 made sense only as a part of the whole that he constantly felt. His words and actions poured out of him as evenly, necessary and immediately, as the smell is separated from the flower. He could not understand either the price or the meaning of a single action or word.

197. All of Moscow is only talking 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 leaves Petersburg and, it is assumed, intends to expose his precious existence to the accidents of war himself. May God grant that the Corsican monster, which is disturbing the tranquility of Europe, was overthrown by an angel, whom the almighty in his goodness set over us as a ruler. Not to mention my brothers, this war has robbed me of one of the relationships closest to my heart. I am talking about the young Nikolai Rostov, who, with his enthusiasm, could not bear inaction and left the university to join the army. I confess to you, dear Marie, that, despite his extraordinary youth, his departure for the army was a great grief for me. The young man about whom I spoke to you last summer has so much nobility, true youth, which you meet so rarely in our age between our twenty-year-olds! He especially has so much frankness and heart. He is so pure and full of poetry that my relationship to him, for all its fleetingness, was one of the sweetest delights of my poor heart, which had already suffered so much. I will tell you someday 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 friend to me. But this sweet friendship, this so poetic and so pure relationship, 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 legacy. Imagine, three princesses received some little, Prince Vasily nothing, and Pierre is the heir of everything and, moreover, is recognized as the legitimate son and therefore Count Bezukhov and the owner of the largest fortune in Russia. They say that Prince Vasily played a very disgusting role in this whole story and that he left for Petersburg very embarrassed. I confess to you, I very poorly understand all these matters of spiritual will; I only know that since the young man, whom we all knew under the name of just Pierre, became Count Bezukhov and the owner of one of the best fortunes in Russia, I am amused myself by observing the change in tone of mothers who have bride-daughters and the young ladies themselves in relation to this gentleman, who (in parentheses, be it said) has always seemed to me very insignificant. Since for two years now everyone has been amusing themselves with looking for suitors for me, whom for the most part I 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 not long ago the general aunt Anna Mikhailovna entrusted me, under the greatest secrecy, with the idea of ​​arranging your marriage. This is neither more nor less than the son of Prince Vasily, Anatole, whom they want to attach by marrying a rich and noble girl, and the choice of your parents fell on you. I do not know how you look at this matter, but I considered it my duty to inform you. He is said to be very good and a great rake. Here's everything I could find out about him.