Minor characters of war and peace. The birth of an idea and creative quest

“War and Peace” by Leo Tolstoy is not just a classic novel, but a real heroic epic, the literary value of which is incomparable to any other work. The writer himself considered it a poem in which a person’s private life is inseparable from the history of an entire country.

It took Leo Nikolaevich Tolstoy seven years to perfect his novel. Back in 1863, the writer more than once discussed plans to create a large-scale literary canvas with his father-in-law A.E. Bersom. In September of the same year, the father of Tolstoy’s wife sent a letter from Moscow, where he mentioned the writer’s idea. Historians consider this date to be the official beginning of work on the epic. A month later, Tolstoy writes to his relative that all his time and attention is occupied by a new novel, which he thinks about as never before.

History of creation

The writer's original idea was to create a work about the Decembrists, who spent 30 years in exile and returned home. The starting point described in the novel was supposed to be 1856. But then Tolstoy changed his plans, deciding to depict everything from the beginning of the Decembrist uprising of 1825. And this was not destined to come true: the writer’s third idea was the desire to describe the hero’s young years, which coincided with large-scale historical events: the War of 1812. The final version was the period from 1805. The circle of heroes was also expanded: the events in the novel cover the history of many individuals who went through all the hardships of different historical periods in the life of the country.

The title of the novel had several variations. “Workers” was the name “Three Times”: the youth of the Decembrists during the Patriotic War of 1812; The Decembrist uprising of 1825 and the 50s of the 19th century, when several important events took place in the history of Russia - Crimean War, the passing of Nicholas I, the return of amnestied Decembrists from Siberia. In the final version, the writer decided to focus on the first stage, since writing a novel, even on such a scale, required a lot of effort and time. So, instead of an ordinary work, a whole epic was born, which has no analogues in world literature.

Tolstoy devoted the entire autumn and early winter of 1856 to writing the beginning of War and Peace. Already at this time, he tried more than once to quit his job, because in his opinion it was impossible to convey the entire plan on paper. Historians say that in the writer’s archive there were fifteen versions of the beginning of the epic. In the process of his work, Lev Nikolaevich tried to find answers for himself to questions about the role of man in history. He had to study many chronicles, documents, materials describing the events of 1812. The confusion in the writer’s head was caused by the fact that all information sources gave different assessments of both Napoleon and Alexander I. Then Tolstoy decided to move away from the subjective statements of strangers and display in the novel his own assessment of events, based on true facts. From diverse sources, he borrowed documentary materials, records of contemporaries, newspaper and magazine articles, letters from generals, and archival documents of the Rumyantsev Museum.

(Prince Rostov and Akhrosimova Marya Dmitrievna)

Considering it necessary to visit the scene of events, Tolstoy spent two days in Borodino. It was important for him to personally travel around the place where large-scale and tragic events unfolded. He even personally made sketches of the sun on the field during different periods of the day.

The trip gave the writer the opportunity to experience the spirit of history in a new way; became a kind of inspiration for further work. For seven years, the work proceeded with elation and “burning.” The manuscripts consisted of more than 5,200 sheets. Therefore, War and Peace is easy to read even after a century and a half.

Analysis of the novel

Description

(Napoleon is thoughtful before the battle)

The novel “War and Peace” touches on a sixteen-year period in Russian history. The starting date is 1805, the final date is 1821. The work contains more than 500 characters. These are both real-life people and those fictitious by the writer to add color to the description.

(Kutuzov, before the Battle of Borodino, considers a plan)

The novel intertwines two main storylines: historical events in Russia and the personal lives of the characters. Real historical figures are mentioned in the description of the Austerlitz, Shengraben, Borodino battles; capture of Smolensk and surrender of Moscow. More than 20 chapters are devoted specifically to the Battle of Borodino, as the main decisive event of 1812.

(The illustration shows an episode of Natasha Rostova's Ball from their film "War and Peace" 1967.)

In opposition to “wartime,” the writer describes the personal world of people and everything that surrounds them. Heroes fall in love, quarrel, make peace, hate, suffer... In the confrontation between different characters, Tolstoy shows the difference in moral principles individuals. The writer is trying to tell that various events can change one’s worldview. One complete picture of the work consists of three hundred thirty-three chapters of 4 volumes and another twenty-eight chapters located in the epilogue.

First volume

The events of 1805 are described. The “peaceful” part touches on life in Moscow and St. Petersburg. The writer introduces the reader to the society of the main characters. The “military” part is the Battle of Austerlitz and Shengraben. Tolstoy concludes the first volume with a description of how military defeats affected the peaceful lives of the characters.

Second volume

(Natasha Rostova's first ball)

This is a completely “peaceful” part of the novel, which affected the lives of the heroes in the period 1806-1811: the birth of Andrei Bolkonsky’s love for Natasha Rostova; Freemasonry of Pierre Bezukhov, Karagin's kidnapping of Natasha Rostova, Bolkonsky's refusal to marry Natasha. The volume concludes with a description of a formidable omen: the appearance of a comet, which is a symbol of great upheaval.

Third volume

(The illustration shows an episode of Borodinsky's battle in the film "War and Peace" 1967.)

In this part of the epic, the writer turns to wartime: Napoleon's invasion, the surrender of Moscow, the Battle of Borodino. On the battlefield, the main male characters of the novel are forced to cross paths: Bolkonsky, Kuragin, Bezukhov, Dolokhov... The end of the volume is the capture of Pierre Bezukhov, who staged an unsuccessful attempt to assassinate Napoleon.

Volume four

(After the battle, the wounded arrive in Moscow)

The “military” part is a description of the victory over Napoleon and the shameful retreat of the French army. The writer also touches on the period of partisan warfare after 1812. All this is intertwined with the “peaceful” destinies of the heroes: Andrei Bolkonsky and Helen pass away; love arises between Nikolai and Marya; Natasha Rostova and Pierre Bezukhov are thinking about living together. And the main character of the volume is the Russian soldier Platon Karataev, through whose words Tolstoy tries to convey all the wisdom of the common people.

Epilogue

This part is devoted to describing the changes in the lives of the heroes seven years after 1812. Natasha Rostova is married to Pierre Bezukhov; Nikolai and Marya found their happiness; Bolkonsky’s son Nikolenka has matured. In the epilogue, the author reflects on the role of individuals in the history of an entire country, and tries to show the historical relationships between events and human destinies.

The main characters of the novel

More than 500 characters are mentioned in the novel. The author tried to describe the most important of them as accurately as possible, endowing them with special features not only of character, but also of appearance:

Andrei Bolkonsky is a prince, the son of Nikolai Bolkonsky. Constantly searching for the meaning of life. Tolstoy describes him as handsome, reserved and with “dry” features. He has a strong will. Dies as a result of a wound received at Borodino.

Marya Bolkonskaya - princess, sister of Andrei Bolkonsky. Inconspicuous appearance and radiant eyes; piety and concern for relatives. In the novel, she marries Nikolai Rostov.

Natasha Rostova is the daughter of Count Rostov. In the first volume of the novel she is only 12 years old. Tolstoy describes her as not quite a girl beautiful appearance(black eyes, big mouth), but at the same time “alive”. Her inner beauty attracts men. Even Andrei Bolkonsky is ready to fight for your hand and heart. At the end of the novel she marries Pierre Bezukhov.

Sonya

Sonya is the niece of Count Rostov. In contrast to her cousin Natasha, she is beautiful in appearance, but much poorer mentally.

Pierre Bezukhov is the son of Count Kirill Bezukhov. An awkward, massive figure, kind and at the same time strong character. He can be stern, or he can become a child. He is interested in Freemasonry. Tries to change the lives of peasants and influence large-scale events. Initially married to Helen Kuragina. At the end of the novel he takes Natasha Rostova as his wife.

Helen Kuragina is the daughter of Prince Kuragin. A beauty, a prominent socialite. She married Pierre Bezukhov. Changeable, cold. Died as a result of an abortion.

Nikolai Rostov is the son of Count Rostov and Natasha's brother. Successor of the family and defender of the Fatherland. He took part in military campaigns. He married Marya Bolkonskaya.

Fyodor Dolokhov is an officer, a participant in the partisan movement, as well as a big reveler and lover of ladies.

Countess of Rostov

Countess Rostov - parents of Nikolai, Natasha, Vera, Petya. A revered married couple, an example to follow.

Nikolai Bolkonsky is a prince, the father of Marya and Andrei. In Catherine's time, a significant personality.

The author pays much attention to the description of Kutuzov and Napoleon. The commander appears before us as smart, unfeigned, kind and philosophical. Napoleon is described as a small, fat man with an unpleasantly fake smile. At the same time, it is somewhat mysterious and theatrical.

Analysis and conclusion

In the novel “War and Peace” the writer tries to convey to the reader “folk thought”. Its essence is that each positive hero has his own connection with the nation.

Tolstoy moved away from the principle of telling a novel in the first person. The assessment of characters and events occurs through monologues and author's digressions. At the same time, the writer leaves the reader the right to evaluate what is happening for himself. A striking example The scene of the Battle of Borodino, shown both from the side of historical facts and the subjective opinion of the hero of the novel, Pierre Bezukhov, can serve as a similar example. The writer does not forget about the bright historical figure - General Kutuzov.

The main idea of ​​the novel lies not only in the disclosure of historical events, but also in the opportunity to understand that one must love, believe and live under any circumstances.

In this article we will introduce you to the main characters of Leo Nikolaevich Tolstoy's work "War and Peace". The characteristics of the heroes include the main features of their appearance and inner world. All the characters in the work are very interesting. The novel "War and Peace" is very large in volume. The characteristics of the heroes are given only briefly, but meanwhile, a separate work can be written for each of them. Let's begin our analysis with a description of the Rostov family.

Ilya Andreevich Rostov

The Rostov family in the work are typical Moscow representatives of the nobility. Its head, Ilya Andreevich, is known for his generosity and hospitality. This is the count, the father of Petya, Vera, Nikolai and Natasha Rostov, a rich man and a Moscow gentleman. He is spendthrift, good-natured, and loves to live. In general, speaking about the Rostov family, it should be noted that sincerity, goodwill, lively contact and ease in communication were characteristic of all its representatives.

Some episodes from the life of the writer's grandfather were used by him to create the image of Rostov. The fate of this man is burdened by the awareness of ruin, which he does not immediately understand and is unable to stop. Its appearance also has some similarities with the prototype. The author used this technique not only in relation to Ilya Andreevich. Some internal and external features of Leo Tolstoy’s relatives and friends can also be discerned in other characters, which is confirmed by the characteristics of the heroes. "War and Peace" is a large-scale work with a huge number of characters.

Nikolay Rostov

Nikolai Rostov - son of Ilya Andreevich, brother of Petya, Natasha and Vera, hussar, officer. At the end of the novel he appears as the husband of Marya Bolkonskaya, the princess. In the appearance of this man one could see “enthusiasm” and “impetuousness.” It reflected some of the characteristics of the writer’s father, who participated in the War of 1812. This hero is distinguished by such traits as cheerfulness, openness, goodwill and self-sacrifice. Convinced that he is neither a diplomat nor an official, Nikolai leaves the university at the beginning of the novel and enters the hussar regiment. Here he participates in the Patriotic War of 1812, in military campaigns. Nikolai receives his first baptism of fire when he crosses the Enns. In the Battle of Shengraben he was wounded in the arm. Having passed the tests, this man becomes a real hussar, a brave officer.

Petya Rostov

Petya Rostov is the youngest child in the Rostov family, brother of Natasha, Nikolai and Vera. He appears at the beginning of the work as a small boy. Petya, like all Rostovs, is cheerful and kind, musical. He wants to imitate his brother and also wants to join the army. After Nikolai's departure, Petya becomes the main concern of the mother, who only realizes at that time the depth of her love for this child. During the war, he accidentally ends up in Denisov’s detachment with an assignment, where he remains because he wants to take part in the case. Petya dies by coincidence, showing before his death the best traits of the Rostovs in his relationships with his comrades.

Countess of Rostov

Rostova is a heroine, when creating the image of which the author used some circumstances of the life of L. A. Bers, Lev Nikolaevich’s mother-in-law, as well as P. N. Tolstoy, the writer’s paternal grandmother. The Countess was used to living in an atmosphere of kindness and love, in luxury. She is proud of the trust and friendship of her children, spoils them, and worries about their destinies. Despite the external weakness, even some of the heroine makes reasonable and informed decisions regarding her children. Her love for children is also dictated by her desire to marry Nikolai to a wealthy bride at any cost, as well as nagging towards Sonya.

Natasha Rostova

Natasha Rostova is one of the main characters of the work. She is the daughter of Rostov, the sister of Petya, Vera and Nikolai. At the end of the novel she becomes the wife of Pierre Bezukhov. This girl is presented as “ugly, but lively,” with a large mouth and black eyes. The prototype for this image was Tolstoy’s wife, as well as her sister T. A. Bers. Natasha is very sensitive and emotional, she can intuitively guess the characters of people, in manifestations of feelings she is sometimes selfish, but most often capable of self-sacrifice and self-forgetfulness. We see this, for example, during the removal of the wounded from Moscow, as well as in the episode of nursing the mother after Petya died.

One of Natasha's main advantages is her musicality and beautiful voice. With her singing, she can awaken all the best that is in a person. This is what saves Nikolai from despair after he lost a large sum.

Natasha, constantly getting carried away, lives in an atmosphere of happiness and love. After meeting Prince Andrei, a change occurs in her destiny. The insult inflicted by Bolkonsky (the old prince) pushes this heroine to become infatuated with Kuragin and to refuse Prince Andrei. Only after feeling and experiencing a lot does she realize her guilt before Bolkonsky. But true love this girl feels only for Pierre, whose wife she becomes at the end of the novel.

Sonya

Sonya is the pupil and niece of Count Rostov, who grew up in his family. At the beginning of the work she is 15 years old. This girl fits completely into the Rostov family, she is unusually friendly and close to Natasha, and has been in love with Nikolai since childhood. Sonya is silent, restrained, cautious, reasonable, and has a highly developed ability for self-sacrifice. She attracts attention with her moral purity and beauty, but she does not have the charm and spontaneity that Natasha possesses.

Pierre Bezukhov

Pierre Bezukhov is one of the main characters in the novel. Therefore, without him, the characterization of the heroes ("War and Peace") would be incomplete. Let us briefly describe Pierre Bezukhov. He is the illegitimate son of a count, a famous nobleman who became the heir to a huge fortune and title. In the work he is depicted as a fat, massive young man wearing glasses. This hero is distinguished by a timid, intelligent, natural and observant look. He was raised abroad and appeared in Russia shortly before the start of the 1805 campaign and the death of his father. Pierre is prone to philosophical reflection, intelligent, kind-hearted and gentle, and compassionate towards others. He is also impractical, sometimes subject to passions. Andrei Bolkonsky, his closest friend, characterizes this hero as the only “living person” among all representatives of the world.

Anatol Kuragin

Anatole Kuragin is an officer, brother of Hippolyte and Helen, son of Prince Vasily. Unlike Ippolit, a “calm fool,” his father looks at Anatole as a “restless” fool who must always be rescued from various troubles. This hero is stupid, arrogant, dapper, not eloquent in conversations, depraved, not resourceful, but has confidence. He looks at life as constant fun and pleasure.

Andrey Bolkonsky

Andrei Bolkonsky is one of the main characters in the work, the prince, brother of Princess Marya, son of N. A. Bolkonsky. Described as a "very handsome" young man of "short stature". He is proud, intelligent, and seeks great spiritual and intellectual content in life. Andrey is educated, reserved, practical, and has a strong will. His idol at the beginning of the novel is Napoleon, who will also be introduced to readers just below by our description of the heroes (“War and Peace”). Andrei Balkonsky dreams of imitating him. After participating in the war, he lives in the village, raises his son, and takes care of his household. Then he returns to the army and dies in the Battle of Borodino.

Platon Karataev

Let's imagine this hero of the work "War and Peace". Platon Karataev is a soldier who met Pierre Bezukhov in captivity. In the service he was nicknamed Sokolik. Note that this character was not in the original version of the work. Its appearance was caused by the final design of the image of Pierre in the philosophical concept of “War and Peace”.

When I first met this good-natured affectionate person Pierre was struck by the feeling of something calm emanating from him. This character attracts others with his calmness, kindness, confidence, and smile. After the death of Karataev, thanks to his wisdom, folk philosophy, expressed unconsciously in his behavior, Pierre Bezukhov understands the meaning of existence.

But they are not only depicted in the work “War and Peace”. Characteristics of the heroes include real historical figures. The main ones are Kutuzov and Napoleon. Their images are described in some detail in the work "War and Peace". The characteristics of the heroes we have mentioned are given below.

Kutuzov

Kutuzov in the novel, as in reality, is the commander-in-chief of the Russian army. He is described as a man with a plump face, disfigured by a wound, with He walks heavily, plump, gray-haired. For the first time on the pages of the novel he appears in the episode when the review of troops near Branau is depicted. Impresses everyone with his knowledge of the matter, as well as his attention, which is hidden behind external absent-mindedness. Kutuzov is capable of being diplomatic, he is quite cunning. Before the Battle of Shengraben he blesses Bagration with tears in his eyes. A favorite of military officers and soldiers. Believes that winning the campaign against Napoleon requires time and patience, that the matter can be decided not by knowledge, not by intelligence and not by plans, but by something else that does not depend on them, that a person is not able to truly influence the course of history . Kutuzov contemplates the course of events more than interferes with them. However, he knows how to remember everything, listen, see, not interfere with anything useful and not allow anything harmful. This is a modest, simple and therefore majestic figure.

Napoleon

Napoleon is a real historical figure, the French emperor. On the eve of the main events of the novel, he is the idol of Andrei Bolkonsky. Even Pierre Bezukhov bows before the greatness of this man. His confidence and self-satisfaction are expressed in the opinion that his presence plunges people into self-forgetfulness and delight, that everything in the world depends only on his will.

This is a brief description of the characters in the novel "War and Peace". It can serve as a basis for a more detailed analysis. Having turned to the work, you can supplement it if you need a detailed description of the characters. "War and Peace" (volume 1 - introduction of the main characters, subsequent ones - character development) describes in detail each of these characters. The inner world of many of them changes over time. Therefore, Leo Tolstoy presented the characteristics of the heroes in dynamics ("War and Peace"). Volume 2, for example, reflects their lives between 1806 and 1812. The next two volumes describe further events, their reflection in the fate of the characters.

The characteristics of the heroes are of great importance for understanding such a creation of Leo Tolstoy as the work “War and Peace”. Through them the philosophy of the novel is reflected, the author's ideas and thoughts are conveyed.

M. M. Blinkina

AGE OF CHARACTERS IN THE NOVEL "WAR AND PEACE"

(Izvestia AN. Series of literature and language. - T. 57. - No. 1. - M., 1998. - P. 18-27)

1. INTRODUCTION

The main goal of this work is the mathematical modeling of certain aspects of plot development and the establishment of relationships between real and novel time, or more precisely, between the real and novel ages of the characters (and, in in this case, the relationship will be predictable and linear).

The very concept of “age” certainly has several aspects. Firstly, the age of a literary character is determined by novel time, which often does not coincide with real time. Secondly, numerals in the designation of age, in addition to their main (actually numerical) meaning, often have a number of additional meanings, that is, they carry an independent semantic load. They can, for example, contain a positive or negative assessment of the hero, reflect his individual characteristics, or introduce an ironic shade into the story.

Sections 2-6 describe how Leo Tolstoy changes the age characteristics of the characters in War and Peace depending on their function in the novel, how young they are, what gender they are, and also on some other individual characteristics.

Section 7 proposes a mathematical model that reflects the features of the “aging” of Tolstoy’s heroes.

2. AGE PARADOXES: TEXT ANALYSIS

Reading Leo Nikolayevich Tolstoy's novel "War and Peace", one cannot help but pay attention to some strange inconsistencies in the age characteristics of his characters. Consider, for example, the Rostov family. It's August 1805 - and we meet Natasha for the first time:... ran into the room thirteen year old girl, wrapping something in her muslin skirt...

In the same August 1805, we meet all the other children from this family, in particular, the older sister Vera: The countess's eldest daughter was four years older than my sister and behaved like a big girl.

Thus, in August 1805 Vere seventeen years. Now fast forward to December 1806: There was faith twenty years old beautiful girl... Natasha is half young lady, half girl...

We see that over the past year and four months Vera has managed to grow by three years. She was seventeen, and now she is neither eighteen nor nineteen; she's twenty at once. Natasha’s age in this fragment is given metaphorically, and not by number, which, as it turns out, is also not without reason.

More will pass exactly three years and we will get last message about the ages of these two sisters:

Natasha was sixteen years, and it was 1809, the same year that she and Boris counted on her fingers four years ago, after she kissed him.

So, over these four years, Natasha has grown by three, as, indeed, was expected. Instead of seventeen or even eighteen, she is now sixteen. And there won't be any more. This is the last mention of her age. Meanwhile, what happens to her unfortunate older sister?

I had faith twenty four years old, she went everywhere, and, despite the fact that she was undoubtedly good and sensible, until now no one had ever proposed to her.

As we can see, over the past three years, Vera has grown by four. If we count from the very beginning, that is, from August 1805, it turns out that in just over four years Vera grew by seven years. During this time period, the age difference between Natasha and Vera doubled. Vera is now not four, but eight years older than her sister.

This was an example of how the ages of two characters change relative to each other. Now let's look at a hero who at some point in time has different ages for different characters. This hero is Boris Drubetskoy. His age is never stated directly, so we will try to calculate it indirectly. On the one hand, we know that Boris is the same age as Nikolai Rostov: Two young men, a student and an officer, friends since childhood, were one year old ...

Nicholas was nineteen or twenty years old in January 1806:

How strange it was for the countess that her son, who was barely noticeable with his tiny limbs, was moving inside her twenty years ago, now a courageous warrior...

It follows that in August 1805 Boris was nineteen or twenty years old. Now let’s estimate his age from Pierre’s perspective. At the beginning of the novel, Pierre is twenty years old: Pierre from the age of ten was sent abroad with the tutor-abbot, where he stayed up to twenty years of age .

On the other hand, we know that Pierre left Boris fourteen year old boy and definitely didn’t remember him.

Thus, Boris is four years older than Pierre and at the beginning of the novel he is twenty-four years old, that is, he is twenty-four years old for Pierre, while for Nikolai he is still only twenty.

And finally, another, completely funny example: the age of Nikolenka Bolkonsky. In July 1805, he appears before us expectant mother: ... little princess Volkonskaya, who got married last winter and now did not go out into the big world because of her pregnancy... waddled around the table with small, quick steps....

From universal human considerations, it is clear that Nikolenka should be born in the fall of 1805: but, contrary to everyday logic, this does not happen, he is born March 19, 1806 It is clear that such a character will have problems with age until the end of his novel life. So in 1811 he will be six years old, and in 1820 - fifteen.

How can such discrepancies be explained? Maybe the exact age of his characters is not important for Tolstoy? On the contrary, Tolstoy has a passion for numbers and, with amazing accuracy, sets the ages of even the most insignificant heroes. So Marya Dmitrievna Akhrosimova exclaims: Fifty eight years old lived in the world...: No, life is not over at thirty-one, - says Prince Andrey.

Tolstoy has numbers everywhere, and exact, fractional numbers. Age in War and Peace is certainly functional. No wonder Dolokhov, beating Nikolai at cards, I decided to continue the game until this entry increased to forty-three thousand. He chose this number because forty-three was the sum of his years added up with Sonya's years .

Thus, all the age discrepancies described above, and there are about thirty of them in the novel, are intentional. What are they due to?

Before starting to answer this question, I note that on average, over the course of the novel’s time, Tolstoy makes each of his characters a year older than they should be (this is shown by calculations that will be discussed later). Usually, the hero of a classic novel will always be twenty-one years old instead of twenty-one years and eleven months, and on average, therefore, such a hero turns out to be six months younger than his years.

However, even from the above examples it is already clear, firstly, that the author “ages” and “youngens” his heroes unequally, and secondly, that this does not happen randomly, but in a systemic, programmed way. How exactly?

From the very beginning, it becomes obvious that positive and negative characters age differently and disproportionately. (“Positive and negative” is, of course, a relative concept, but in Tolstoy, in most cases, the polarity of a character is defined almost unambiguously. The author of “War and Peace” is surprisingly frank in his likes and dislikes). As shown above, Natasha matures more slowly than expected, while Vera, on the contrary, grows up faster. Boris, as Nikolai's friend and friend of the Rostov family, appears to be twenty years old; In the role of Pierre's social acquaintance and Julie Karagina's future husband, he simultaneously turns out to be much older. The ages of the heroes seem to have been given a certain loose order, or rather, an anti-order. There is a feeling that the heroes are being “fined” by increasing their age. Tolstoy seems to punish his heroes with disproportionate aging.

There are, however, characters in the novel who grow older strictly in accordance with the years they have lived. Sonya, for example, being, in essence, neither a positive nor a negative heroine, but completely neutral and colorless, Sonya, who always studied well and remembered everything, grows up exceptionally neatly. The whole confusion of ages that takes place in the Rostov family does not affect her at all. In 1805 she fifteen year old girl , and in 1806 - sixteen year old girl in all the beauty of a newly bloomed flower. It is her age that the calculating Dolokhov wins against Rostov at cards, adding to his own. But Sonya is rather an exception.

In general, characters of “different polarities” grow up in different ways. Moreover, the extremely saturated space of age is divided between positive and negative heroes. Natasha and Sonya are mentioned under the age of sixteen. After the age of sixteen - Vera and Julie Karagina. Pierre, Nikolai and Petya Rostov, Nikolenka Bolkonsky are no more than twenty. Boris, Dolokhov, and the “ambiguous” Prince Andrei are strictly over twenty.

The question is not how old the hero is, the question is what age is recorded in the novel. Natasha is not supposed to be over sixteen; Marya is unacceptably old for a positive heroine, so not a word is said about her age; Helen, on the other hand, is defiantly young for a negative heroine, therefore we do not know how old she is.

The novel sets a boundary after which only negative heroes exist; border, crossing which, obviously positive hero simply ceases to exist in the space of age. In a completely symmetrical manner, the negative hero walks through the novel without age until he passes this border. Natasha loses age, reaching sixteen years old. Julie Karagina, on the contrary, is gaining age, being no longer in her first youth:

Julie was twenty seven years old. After the death of her brothers, she became very rich. She was now completely ugly; but I thought that she was not only just as good, but even much more attractive now than she was before... A man who ten years ago would have been afraid to go every day to the house where she was seventeen year old lady, in order not to compromise her and not to tie himself down, now he boldly went to her every day and communicated with her not as a young lady-bride, but as an acquaintance who does not have a gender.

The problem, however, is that Julie was never seventeen in this novel. In 1805, when this chubby young lady guest appears in the Rostovs' house, nothing is said about her age, for if Tolstoy had honestly given her seventeen years old, then now, in 1811, she would not have been twenty-seven, but only twenty-three, which is also, of course, is no longer the age for a positive heroine, but still not yet the time for the final transition to asexual beings. In general, negative heroes, as a rule, are not entitled to childhood and adolescence. This leads to funny misunderstandings:

Well, what, Lelya? - Prince Vasily turned to his daughter with that careless tone of habitual tenderness, which is acquired by parents who caress their children from childhood, but which Prince Violence only guessed through imitation of other parents.

Or maybe Prince Vasily is not to blame? Perhaps his purely negative children had no childhood at all. And it’s not for nothing that Pierre, before proposing to Helene, convinces himself that he knew her as a child. Was she even a child?

If we move from the lyrics to numbers, it turns out that in the novel there are positive characters aged 5, 6, 7, 9, 13, 15, 16, 20, as well as 40, 45, 50, 58. Negative characters are 17, 20, 24, 25, 27. That is, positive heroes from early youth immediately end up in venerable old age. U negative heroes old age, of course, also happens, but the fraction of age in their old age is less than in positive ones. So, positive Marya Dmitrievna Akhrosimova says: Fifty eight years old lived in the world... The negative Prince Vasily evaluates himself with less accuracy: To me sixth decade, My friend...

In general, accurate calculations show that the aging coefficient in the “positive-negative” space is equal to -2.247, i.e. all other things being equal, the positive hero will be two years and three months younger than the negative one.

Let's now talk about two heroines who are emphatically ageless. These heroines are Helen and Princess Marya, which in itself is not accidental.

Helen symbolizes in the novel eternal beauty and youth. Her rightness, her strength in this inexhaustible youth. Time seems to have no power over her: Elena Vasilievna, that’s how it is at fifty years old she will be a beauty. Pierre, persuading himself to marry Helen, also cites her age as her main advantage. He remembers knowing her as a child. He says to himself: No, she's beautiful young woman! She's not bad woman!

Helen is the eternal bride. With a living husband, she chooses a new groom with charming spontaneity, one of the applicants being young and the other old. Helen dies under mysterious circumstances, preferring an old admirer to a young one, that is: as if she herself chooses old age and death, giving up her privilege of eternal youth, and dissolves into oblivion.

Princess Marya also has no age, and it is not possible to calculate it from the final version of the novel. In fact, in 1811, she old dry princess, envies Natasha's beauty and youth. In the finale, in 1820, Marya is a happy young mother, she is waiting fourth child, and her life, one might say, is just beginning, although at this moment she is no less than thirty-five years old, an age not very suitable for a lyrical heroine; That’s why she lives without age in this novel, thoroughly saturated with numbers.

It is curious that in the first edition of War and Peace, which differs from the final version in its extreme specificity and “ultimate directness,” the uncertainty in the images of Helen and Marya is partly removed. There in 1805 Marya was twenty years old: the old prince himself was engaged in raising his daughter and, in order to develop both main virtues in her, up to twenty years gave her lessons in algebra and geometry and distributed her whole life in continuous studies.

And Helen, too, dies there, not from excess of youth...

4. FIRST COMPLETED VERSION OF THE NOVEL

The first version of "War and Peace" helps to solve many of the riddles posed in final version novel. What is very vaguely read in the final version appears in the early version with a clarity that is amazing for a novel narrative. The space of age here is not yet imbued with the romantic understatement that the modern reader encounters. Deliberate precision borders on banality. It is not surprising that in the final edition of the novel Tolstoy refuses such meticulousness. Mentions of age become one and a half times less. There are a lot of interesting details behind the scenes that are worth mentioning here.

Princess Marya, as already noted, at the beginning of the novel twenty years. Age Helen is not specified, but it is obviously limited from above by the age of her older brother. Moreover, in 1811 Anatoly was 28 years. He was in full splendor of his strength and beauty.

Thus, at the beginning of the novel, Anatole is twenty-two years old, his friend Dolokhov is twenty-five, and Pierre is twenty. Helen no more than twenty-one. Moreover, she probably no more than nineteen, because according to the unwritten laws of that time, she should not be older than Pierre. (The fact, for example, that Julie is older than Boris is especially emphasized.)

So, the scene in which socialite Helen tries to lead young Natasha Rostova astray looks completely comical, considering that Natasha at this moment is twenty years old, and Helen is twenty-four, that is, they actually belong to the same family. age category.

The early version also clarifies the age Boris: Hélène called him mon hage and treated him like a child... Sometimes in rare moments Pierre thought that this patronizing friendship was for an imaginary child who was 23 years old there was something unnatural.

These considerations relate to the autumn of 1809, that is, at the beginning of the novel Boris is nineteen years old, and his future bride Julie - twenty-one years old, if you count her age back from the moment of their wedding. Initially, Julie, apparently, was assigned the role of a more sympathetic heroine in the novel: A tall, plump, proud-looking lady with pretty daughter, rustling with dresses, entered the living room.

This pretty daughter is Julie Karagina, who was initially thought to be younger and more attractive. However, in 1811, Julie Akhrosimova (that’s her original name) will already be the “asexual” creature that we know her in the final version.

In the first version of the novel, Dolokhov wins from Nikolai not forty-three, but only forty-two thousand.

The ages of Natasha and Sonya are given several times. So, at the beginning of 1806 Natasha says: To me fifteenth year, my grandmother got married in my time.

In the summer of 1807, Natasha's age is mentioned twice: Natasha has passed 15 years and she has become very prettier this summer.

“And you sing,” said Prince Andrei. He said these simple words, looking directly into the beautiful eyes of this 15 year old girls.

This number of age entries allows us to establish that Natasha was born in the fall of 1791. Thus, at her first ball she shines at eighteen, and not at all at sixteen.

To make Natasha younger, Tolstoy also changes Sonya’s age. So, at the end of 1810 Sonya was already twentieth year. She had already stopped getting prettier, she didn’t promise anything more than what was in her, but that was enough.

In fact, Natasha is twenty years old at this moment, and Sonya is at least a year and a half older.

Unlike many other heroes, Prince Andrei does not have an exact age in the first version of the novel. Instead of the textbook thirty-one years old, he about thirty years old.

Of course, the accuracy and directness of the early version of the novel cannot serve as an “official clue” to age shifts, since we have no right to assume that Natasha and Pierre in the first edition are the same characters as Natasha and Pierre in the final version of the novel. By changing the age characteristics of the hero, the author partly changes the hero himself. However, the early version of the novel allows us to check the accuracy of the calculations made on the final text and ensure that these calculations are correct.

5. AGE AS A FUNCTION OF AGE (AGE STEREOTYPES)

There's only so long left to live -

I'm already sixteen years old!

Yu. Ryashentsev

The tradition of aging older characters compared to younger ones goes back centuries. In this sense, Tolstoy did not invent anything new. Calculations show that the coefficient of “aging with age” in a novel is equal to 0.097, which, translated into human language, means a year of novel aging by ten years lived, that is, a ten-year-old hero may turn out to be eleven years old, a twenty-year-old hero twenty-two, and a fifty-year-old fifty-five. The result is not surprising. It is much more interesting how Tolstoy presents the ages of his heroes, how he evaluates them on the “young - old” scale. Let's start from the very beginning.

5.1. Up to ten years

Lev Nikolaevich Tolstoy loved children very much.

Sometimes they would bring him a full room. Step by step

There’s nowhere to step, but he keeps shouting: More! More!

D. Kharms

Kharms is certainly right. There are many characters of infancy in the novel. What they have in common, perhaps, is that they do not seem to be independent units, endowed with their own problems and experiences. The age of up to ten years is a signal that the hero will, in fact, be a small mouthpiece for the author. The children in the novel see the world surprisingly subtly and correctly; they engage in systematic “defamiliarization” of their surroundings. They, not spoiled by the burden of civilization, are more successful than adults in solving their moral problems and at the same time seem to be completely devoid of reason. Therefore, such young characters, the number of which will grow to incredible limits by the end, look very artificial:

Five minutes later the little black-eyed three year old Natasha, her father’s favorite, having learned from her brother that daddy was sleeping in the small sofa room, unnoticed by her mother, ran to her father... Nikolai turned around with a tender smile on his face.

- Natasha, Natasha! - the frightened whisper of Countess Marya was heard from the door, - daddy wants to sleep.

“No, mom, he doesn’t want to sleep,” little Natasha answered convincingly, “he’s laughing.”

So edifying small character. But the next one is a little older:

Only Andrei’s granddaughter, Malasha, six year old girl, to whom His Serene Highness, having caressed her, gave her a piece of sugar for tea, remained on the stove in the large hut... Malasha... understood the meaning of this advice differently. It seemed to her that it was only a matter of personal struggle between “grandfather” and “long-haired,” as she called Beningsen.

Amazing insight!

The last character in age to show signs of the same “childish-unconscious” behavior as all of Tolstoy’s juvenile characters is the eternally sixteen-year-old Natasha Rostova:

In the middle of the stage sat girls in red bodices and white skirts. They were all singing something. When they finished their song, the girl in white approached the prompter's booth, and a man in tight-fitting silk trousers on thick legs, with a feather and a dagger, approached her and began to sing and spread his arms...

After the village and in the serious mood in which Natasha was, all this was wild and surprising to her.

So, Natasha sees the world in the same childish, unreasonable way. It’s not because of their age that adult children look like young old people. Striving for globality, the author of “War and Peace” loses the little things, the individuality of babies, for example, Lev Nikolaevich’s children do not come individually, but as a set: At the table were her mother, the old woman Belova who lived with her, her wife, three children, governess, tutor, nephew with his tutor, Sonya, Denisov, Natasha, her three children, their governess and the old man Mikhail Ivanovich, the prince’s architect, who lived in Bald Mountains in retirement.

Individuality in this enumeration is due to everyone, even old lady Belova, whom we meet in the first and second last time. Even the tutor, and the governess, and also the tutor do not merge into the general concept of “tutors”. And only children, sexless and faceless, go in droves. Kharms had something to parody.

Lev Nikolaevich Tolstoy, with his pure Russian pen, gave life to a whole world of characters in the novel “War and Peace.” His fictional characters, who are intertwined into whole noble families or family ties between families, show the modern reader a real reflection of those people who lived in the times described by the author. One of greatest books"War and Peace" of world significance with the confidence of a professional historian, but at the same time, as if in a mirror, presents to the whole world that Russian spirit, those characters of secular society, those historical events that were invariably present at the end of the 18th and beginning of the 19th centuries.
And against the backdrop of these events, the greatness of the Russian soul is shown, in all its power and diversity.

L.N. Tolstoy and the heroes of the novel “War and Peace” experience the events of the past nineteenth century, but Lev Nikolaevich begins to describe the events of 1805. The coming war with the French, the decisively approaching whole world and growing greatness of Napoleon, the turmoil in Moscow secular circles and the visible calm in St. Petersburg secular society - all this can be called a kind of background against which, as genius artist, the author drew his characters. There are quite a lot of heroes - about 550 or 600. There are main and central figures, and there are others or just mentioned ones. In total, the heroes of War and Peace can be divided into three groups: central, secondary and mentioned characters. Among all of them, there are both fictional characters, prototypes of people who surrounded the writer at that time, and real historical figures. Let's look at the main characters novel.

Quotes from the novel “War and Peace”

- ... I often think how unfairly the happiness of life is sometimes distributed.

A person cannot own anything while he is afraid of death. And whoever is not afraid of her, everything belongs to him.

Until now, thank God, I have been a friend of my children and enjoy their complete trust,” said the countess, repeating the misconception of many parents who believe that their children have no secrets from them.

Everything, from napkins to silver, earthenware and crystal, bore that special imprint of novelty that happens in the household of young spouses.

If everyone fought only according to their convictions, there would be no war.

Being an enthusiast became her social position, and sometimes, when she didn’t even want to, she, in order not to deceive the expectations of people who knew her, became an enthusiast.

Everything, to love everyone, to always sacrifice oneself for love, meant not loving anyone, meant not living this earthly life.

Never, never marry, my friend; Here's my advice to you: don't get married until you tell yourself that you did everything you could, and until you stop loving the woman you chose, until you see her clearly; otherwise you will make a cruel and irreparable mistake. Marry an old man who is worthless...

The central figures of the novel "War and Peace"

Rostov - counts and countesses

Rostov Ilya Andreevich

Count, father of four children: Natasha, Vera, Nikolai and Petya. A very kind and generous person who loved life very much. His exorbitant generosity ultimately led him to wastefulness. Loving husband and father. A very good organizer of various balls and receptions. However, his life on a grand scale, and selfless assistance to the wounded during the war with the French and the departure of the Russians from Moscow, dealt fatal blows to his condition. His conscience constantly tormented him because of the impending poverty of his family, but he could not help himself. After the death of his youngest son Petya, the count was broken, but nevertheless revived during the preparations for the wedding of Natasha and Pierre Bezukhov. Literally a few months pass after the Bezukhovs’ wedding when Count Rostov dies.

Rostova Natalya (wife of Ilya Andreevich Rostov)

The wife of Count Rostov and the mother of four children, this woman, at the age of forty-five, had oriental features faces. The concentration of slowness and sedateness in her was regarded by those around her as solidity and the high importance of her personality for the family. But real reason Her demeanor may be due to her exhausted and weak physical condition from giving birth and raising four children. She loves her family and children very much, so the news of the death of her youngest son Petya almost drove her crazy. Just like Ilya Andreevich, Countess Rostova was very fond of luxury and the fulfillment of any of her orders.

Leo Tolstoy and the heroes of the novel “War and Peace” in Countess Rostova helped reveal the prototype of the author’s grandmother, Pelageya Nikolaevna Tolstoy.

Rostov Nikolay

Son of Count Rostov Ilya Andreevich. A loving brother and son who honors his family while also loving to serve Russian army, which is very significant and important for his dignity. Even in his fellow soldiers, he often saw his second family. Even though there was for a long time in love with his cousin Sonya, yet at the end of the novel he marries Princess Marya Bolkonskaya. A very energetic young man, with curly hair and an “open expression.” His patriotism and love for the Emperor of Russia never dried up. Having gone through many hardships of war, he becomes a brave and courageous hussar. After the death of Father Ilya Andreevich, Nikolai retires in order to improve the family’s financial affairs, pay off debts and, finally, become a good husband for Marya Bolkonskaya.

Introduced to Tolstoy Lev Nikolaevich as a prototype of his father.

Rostova Natasha

Daughter of Count and Countess Rostov. A very energetic and emotional girl, considered ugly, but lively and attractive, she is not very smart, but intuitive, because she knew how to perfectly “guess people,” their mood and some character traits. Very impulsive towards nobility and self-sacrifice. She sings and dances very beautifully, which at that time was an important characteristic for a girl from secular society. Natasha’s most important quality, which Leo Tolstoy, like his heroes, repeatedly emphasize in the novel “War and Peace” is her closeness to the ordinary Russian people. And she herself completely absorbed the Russianness of culture and the strength of the spirit of the nation. However, this girl lives in her illusion of goodness, happiness and love, which, after some time, brings Natasha into reality. It is these blows of fate and her heartfelt experiences that make Natasha Rostova an adult and ultimately give her a mature, true love for Pierre Bezukhov. The story of the rebirth of her soul deserves special respect, how Natasha began to attend church after succumbing to the temptation of a deceitful seducer. If you are interested in Tolstoy's works, which take a deeper look at the Christian heritage of our people, then you need to read a book about Father Sergius and how he fought temptation.

A collective prototype of the writer’s daughter-in-law Tatyana Andreevna Kuzminskaya, as well as her sister, Lev Nikolaevich’s wife, Sofia Andreevna.

Rostova Vera

Daughter of Count and Countess Rostov. She was famous for her strict disposition and inappropriate, albeit fair, remarks in society. It is unknown why, but her mother did not really love her and Vera felt this acutely, apparently, which is why she often went against everyone around her. Later she became the wife of Boris Drubetsky.

She is the prototype of Tolstoy’s sister Sophia, the wife of Lev Nikolaevich, whose name was Elizaveta Bers.

Rostov Peter

Just a boy, the son of Count and Countess Rostov. Growing up, Petya, as a young man, was eager to go to war, and in such a way that his parents could not restrain him at all. Having finally escaped from parental care and joined Denisov’s hussar regiment. Petya dies in the first battle, without having had time to fight. His death greatly affected his family.

Sonya

The miniature, nice girl Sonya was the niece of Count Rostov and lived all her life under his roof. Her long-term love for Nikolai Rostov became fatal for her, because she never managed to unite with him in marriage. In addition, the old count Natalya Rostova was very against their marriage, because they were cousins. Sonya acts nobly, refusing Dolokhov and agreeing to love only Nikolai for the rest of her life, while freeing him from his promise to marry her. She lives the rest of her life under the old countess in the care of Nikolai Rostov.

The prototype of this seemingly insignificant character was Lev Nikolaevich’s second cousin, Tatyana Aleksandrovna Ergolskaya.

Bolkonsky - princes and princesses

Bolkonsky Nikolai Andreevich

The father of the main character, Prince Andrei Bolkonsky. In the past, the current general-in-chief, in the present, a prince who earned himself the nickname “Prussian king” in Russian secular society. Socially active, strict like a father, tough, pedantic, but wise master of his estate. Outwardly, he was a thin old man in a powdered white wig, thick eyebrows hanging over penetrating and intelligent eyes. He doesn’t like to show feelings even to his beloved son and daughter. He constantly torments his daughter Marya with nagging and sharp words. Sitting on his estate, Prince Nikolai is constantly on the alert for events taking place in Russia, and only before his death does he lose a full understanding of the scale of the tragedy of the Russian war with Napoleon.

The prototype of Prince Nikolai Andreevich was the writer’s grandfather Nikolai Sergeevich Volkonsky.

Bolkonsky Andrey

Prince, son of Nikolai Andreevich. He is ambitious, just like his father, restrained in the manifestation of sensual impulses, but loves his father and sister very much. Married to the “little princess” Lisa. He had a good military career. He philosophizes a lot about life, meaning and the state of his spirit. From which it is clear that he is in some kind of constant search. After the death of his wife, in Natasha Rostova he saw hope for himself, a real girl, and not a fake one as in secular society, and some light of future happiness, so he was in love with her. Having proposed to Natasha, he was forced to go abroad for treatment, which served as a real test for both of their feelings. As a result, their wedding fell through. Prince Andrei went to war with Napoleon and was seriously wounded, after which he did not survive and died from a serious wound. Natasha devotedly looked after him until the end of his death.

Bolkonskaya Marya

Daughter of Prince Nikolai and sister of Andrei Bolkonsky. A very meek girl, not beautiful, but kind-hearted and very rich, like a bride. Her inspiration and devotion to religion serves as an example of good morals and meekness to many. She unforgettably loves her father, who often mocked her with his ridicule, reproaches and injections. And he also loves his brother, Prince Andrei. She did not immediately accept Natasha Rostova as her future daughter-in-law, because she seemed too frivolous for her brother Andrei. After all the hardships she has experienced, she marries Nikolai Rostov.

The prototype of Marya is the mother of Lev Nikolaevich Tolstoy - Maria Nikolaevna Volkonskaya.

Bezukhovs - counts and countesses

Bezukhov Pierre (Peter Kirillovich)

One of the main characters who deserves close attention and the most positive assessment. This character has experienced a lot of emotional trauma and pain, possessing a kind and highly noble disposition. Tolstoy and the heroes of the novel “War and Peace” very often express their love and acceptance of Pierre Bezukhov as a man of very high morals, complacent and a man of a philosophical mind. Lev Nikolaevich loves his hero, Pierre, very much. As a friend of Andrei Bolkonsky, the young Count Pierre Bezukhov is very loyal and responsive. Despite the various intrigues weaving under his nose, Pierre did not become embittered and did not lose his good nature towards people. And having married Natalya Rostova, he finally found the grace and happiness that he so lacked in his first wife, Helen. At the end of the novel, his desire to change the political foundations in Russia can be traced, and from afar one can even guess his Decembrist sentiments. (100%) 4 votes

Like everything in the epic War and Peace, the character system is extremely complex and very simple at the same time.

It is complex because the composition of the book is multi-figured, dozens of plot lines, intertwining, form its dense artistic fabric. Simple because all the heterogeneous heroes belonging to incompatible class, cultural, and property circles are clearly divided into several groups. And we find this division at all levels, in all parts of the epic.

What kind of groups are these? And on what basis do we distinguish them? These are groups of heroes equally far from folk life, from the spontaneous movement of history, from the truth or equally close to them.

We have just said: Tolstoy’s novel epic is permeated by the end-to-end idea that the unknowable and objective historical process is controlled directly by God; that choosing the right path both in private life and in great history a person can do this not with the help of a proud mind, but with the help of a sensitive heart. The one who guessed right, felt the mysterious course of history and the no less mysterious laws of everyday life, is wise and great, even if he is small in his social status. Anyone who boasts of his power over the nature of things, who selfishly imposes his personal interests on life, is petty, even if he is great in his social position.

In accordance with this harsh opposition, Tolstoy’s heroes are “distributed” into several types, into several groups.

In order to understand exactly how these groups interact with each other, let's agree on the concepts that we will use when analyzing Tolstoy's multi-figure epic. These concepts are conventional, but they make it easier to understand the typology of heroes (remember what the word “typology” means; if you have forgotten, look up its meaning in the dictionary).

Those who, from the author’s point of view, are furthest from the correct understanding of the world order, we will agree to call life wasters. Those who, like Napoleon, think that they control history, we will call leaders. They are opposed by the sages who comprehended the main secret of life and understood that man must submit to the invisible will of Providence. We will call those who simply live, listening to the voice of their own heart, but do not particularly strive for anything, ordinary people. Those favorite Tolstoy heroes! - those who painfully search for the truth will be defined as truth-seekers. And finally, Natasha Rostova does not fit into any of these groups, and this is fundamental for Tolstoy, which we will also talk about.

So, who are they, Tolstoy’s heroes?

Livers. They are busy only with chatting, arranging their personal affairs, serving their petty whims, their egocentric desires. And at any cost, regardless of the fate of other people. This is the lowest of all ranks in Tolstoy's hierarchy. The heroes belonging to him are always of the same type; to characterize them, the narrator demonstratively uses the same detail over and over again.

The head of the capital's salon, Anna Pavlovna Sherer, appearing on the pages of War and Peace, each time with an unnatural smile moves from one circle to another and treats the guests to an interesting visitor. She is confident that she shapes public opinion and influences the course of things (although she herself changes her beliefs precisely in response to fashion).

The diplomat Bilibin is convinced that it is they, the diplomats, who control the historical process (but in fact he is busy with idle talk); from one scene to another, Bilibin gathers wrinkles on his forehead and utters a pre-prepared sharp word.

Drubetsky's mother, Anna Mikhailovna, who persistently promotes her son, accompanies all her conversations with a mournful smile. In Boris Drubetsky himself, as soon as he appears on the pages of the epic, the narrator always highlights one feature: his indifferent calm of an intelligent and proud careerist.

As soon as the narrator starts talking about the predatory Helen Kuragina, he certainly mentions her luxurious shoulders and bust. And whenever Andrei Bolkonsky’s young wife, the little princess, appears, the narrator will pay attention to her slightly open lip with a mustache. This monotony of narrative technique does not indicate a poverty of artistic arsenal, but, on the contrary, a deliberate goal set by the author. The playmakers themselves are monotonous and unchanging; only their views change, the being remains the same. They don't develop. And the immobility of their images, the resemblance to death masks is precisely emphasized stylistically.

The only one of the epic characters belonging to this group who is endowed with a moving, lively character is Fyodor Dolokhov. “Semyonovsky officer, famous gambler and buster,” he is distinguished by his extraordinary appearance - and this alone sets him apart from the general ranks of playmakers.

Moreover: Dolokhov is languishing, bored in that whirlpool of worldly life that sucks in the rest of the “burners.” That's why he indulges in all serious things, ends up in scandalous stories(the plot with the bear and the policeman in the first part, for which Dolokhov was demoted to private). In the battle scenes, we witness Dolokhov's fearlessness, then we see how tenderly he treats his mother... But his fearlessness is aimless, Dolokhov's tenderness is an exception to his own rules. And hatred and contempt for people becomes the rule.

It is fully manifested both in the episode with Pierre (having become Helen’s lover, Dolokhov provokes Bezukhov to a duel), and at the moment when Dolokhov helps Anatoly Kuragin prepare the kidnapping of Natasha. And especially in the scene card game: Fyodor cruelly and dishonestly beats Nikolai Rostov, vilely taking out on him his anger at Sonya, who refused Dolokhov.

Dolokhov’s rebellion against the world (and this is also “the world”!) of wasters of life turns into the fact that he himself is wasting his life, letting it go to waste. And this is especially offensive for the narrator to realize, who, by singling out Dolokhov from the general crowd, seems to be giving him a chance to break out of the terrible circle.

And in the center of this circle, this funnel that sucks in human souls, is the Kuragin family.

The main “ancestral” quality of the entire family is cold selfishness. It is especially characteristic of his father, Prince Vasily, with his courtly self-awareness. It is not for nothing that for the first time the prince appears before the reader “in a courtly, embroidered uniform, in stockings, shoes, with the stars, with a bright expression on his flat face.” Prince Vasily himself does not calculate anything, does not plan ahead, one can say that instinct acts for him: when he tries to marry Anatole’s son to Princess Marya, and when he tries to deprive Pierre of his inheritance, and when, having suffered an involuntary defeat along the way, he imposes on Pierre his daughter Helen.

Helen, whose “unchanging smile” emphasizes the uniqueness, one-dimensionality of this heroine, seems to have been frozen for years in the same state: static deathly sculptural beauty. She, too, does not specifically plan anything, she also obeys almost animal instinct: bringing her husband closer and further away, taking lovers and intending to convert to Catholicism, preparing the ground for divorce and starting two novels at once, one of which (either) must culminate in marriage.

External beauty replaces Helen's inner content. This characteristic also applies to her brother, Anatoly Kuragin. A tall, handsome man with “beautiful big eyes,” he is not gifted with intelligence (although not as stupid as his brother Hippolytus), but “but he also had the ability of calm and unchangeable confidence, precious for the world.” This confidence is akin to the instinct of profit that controls the souls of Prince Vasily and Helen. And although Anatole does not pursue personal gain, he hunts for pleasure with the same unquenchable passion and with the same readiness to sacrifice any neighbor. This is what he does to Natasha Rostova, making her fall in love with him, preparing to take her away and not thinking about her fate, about the fate of Andrei Bolkonsky, whom Natasha is going to marry...

Kuragins play in the vain dimension of the world the same role that Napoleon plays in the “military” dimension: they personify secular indifference to good and evil. At their whim, the Kuragins draw the surrounding life into a terrible whirlpool. This family is like a pool. Having approached him at a dangerous distance, it is easy to die - only a miracle saves Pierre, Natasha, and Andrei Bolkonsky (who would certainly have challenged Anatole to a duel if not for the circumstances of the war).

Leaders. The lowest “category” of heroes - playmakers in Tolstoy's epic corresponds to the upper category of heroes - leaders. The method of depicting them is the same: the narrator draws attention to one single trait of the character’s character, behavior or appearance. And at every meeting of the reader with this hero, he persistently, almost insistently points out this trait.

The playmakers belong to the “world” in the worst of its meanings, nothing in history depends on them, they revolve in the emptiness of the salon. Leaders are inextricably linked with war (again in the bad sense of the word); they stand at the head of historical collisions, separated from mere mortals by an impenetrable veil of their own greatness. But if the Kuragins really involve the surrounding life in a worldly whirlpool, then the leaders of nations only think that they are dragging humanity into a historical whirlpool. In fact, they are just toys of chance, pathetic instruments in the invisible hands of Providence.

And here let's stop for a second to agree on one important rule. And once and for all. In fiction, you have already encountered and will encounter images of real historical figures more than once. In Tolstoy's epic, this is Emperor Alexander I, and Napoleon, and Barclay de Tolly, and Russian and French generals, and the Moscow Governor-General Rostopchin. But we should not, we have no right to confuse “real” historical figures with their conventional images that act in novels, stories, and poems. And the sovereign emperor, and Napoleon, and Rostopchin, and especially Barclay de Tolly, and other Tolstoy characters depicted in “War and Peace” are the same fictional heroes as Pierre Bezukhov, like Natasha Rostova or Anatol Kuragin.

The external outline of their biographies can be reproduced in a literary work with scrupulous, scientific accuracy - but the internal content is “put into” them by the writer, invented in accordance with the picture of life that he creates in his work. And therefore, they are not much more similar to real historical figures than Fyodor Dolokhov is to his prototype, the reveler and daredevil R.I. Dolokhov, and Vasily Denisov is to the partisan poet D.V. Davydov.

Only by mastering this iron and irrevocable rule can we move on.

So, discussing the lowest category of heroes in War and Peace, we came to the conclusion that it has its own mass (Anna Pavlovna Scherer or, for example, Berg), its own center (Kuragins) and its own periphery (Dolokhov). The highest level is organized and structured according to the same principle.

The main leader, and therefore the most dangerous, the most deceitful of them, is Napoleon.

There are two Napoleonic images in Tolstoy's epic. Odin lives in the legend of a great commander, which is retold to each other by different characters and in which he appears either as a powerful genius or as an equally powerful villain. Not only visitors to Anna Pavlovna Scherer’s salon believe in this legend at different stages of their journey, but also Andrei Bolkonsky and Pierre Bezukhov. At first we see Napoleon through their eyes, we imagine him in the light of their life ideal.

And another image is a character acting on the pages of the epic and shown through the eyes of the narrator and the heroes who suddenly encounter him on the battlefields. For the first time, Napoleon as a character in War and Peace appears in the chapters dedicated to the Battle of Austerlitz; first the narrator describes him, then we see him from the point of view of Prince Andrei.

The wounded Bolkonsky, who recently idolized the leader of the peoples, notices on the face of Napoleon, bending over him, “a radiance of complacency and happiness.” Having just experienced a spiritual upheaval, he looks into the eyes of his former idol and thinks “about the insignificance of greatness, about the insignificance of life, the meaning of which no one could understand.” And “his hero himself seemed so petty to him, with this petty vanity and joy of victory, in comparison with that high, fair and kind sky that he saw and understood.”

The narrator - both in Austerlitz's chapters, and in Tilsit's, and in Borodin's - invariably emphasizes the ordinariness and comic insignificance of the appearance of the man whom the whole world idolizes and hates. The “fat, short” figure, “with broad, thick shoulders and an involuntarily protruding belly and chest, had that representative, dignified appearance that forty-year-old people living in the hall have.”

In the novel's image of Napoleon there is not a trace of the power that is contained in his legendary image. For Tolstoy, only one thing matters: Napoleon, who imagined himself to be the mover of history, is in fact pathetic and especially insignificant. Impersonal fate (or the unknowable will of Providence) made him an instrument of the historical process, and he imagined himself to be the creator of his victories. The words from the historiosophical ending of the book refer to Napoleon: “For us, with the measure of good and bad given to us by Christ, there is nothing immeasurable. And there is no greatness where there is no simplicity, goodness and truth.”

A smaller and worsened copy of Napoleon, a parody of him - the Moscow mayor Rostopchin. He fusses, fusses, hangs up posters, quarrels with Kutuzov, thinking that the fate of Muscovites, the fate of Russia, depends on his decisions. But the narrator sternly and unflinchingly explains to the reader that Moscow residents began to leave the capital not because someone called them to do so, but because they obeyed the will of Providence that they had guessed. And the fire broke out in Moscow not because Rostopchin wanted it (and especially not contrary to his orders), but because it could not help but burn down: in abandoned wooden houses where the invaders settled, sooner or later a fire inevitably breaks out.

Rostopchin has the same attitude towards the departure of Muscovites and the Moscow fires that Napoleon has towards the victory on the Field of Austerlitz or the flight of the valiant French army from Russia. The only thing that is truly in his power (as well as in the power of Napoleon) is to protect the lives of the townspeople and militias entrusted to him, or to throw them away out of whim or fear.

The key scene in which the narrator’s attitude to the “leaders” in general and to the image of Rostopchin in particular is concentrated is the lynching execution of the merchant son Vereshchagin (volume III, part three, chapters XXIV-XXV). In it, the ruler is revealed as a cruel and weak person, mortally afraid of an angry crowd and, out of horror of it, ready to shed blood without trial.

The narrator seems extremely objective; he does not show his personal attitude to the actions of the mayor, does not comment on them. But at the same time, he consistently contrasts the “metallic-ringing” indifference of the “leader” with the uniqueness of an individual human life. Vereshchagin is described in great detail, with obvious compassion (“bringing shackles... pressing the collar of his sheepskin coat... with a submissive gesture”). But Rostopchin doesn’t look at his future victim - the narrator specifically repeats several times, with emphasis: “Rostopchin didn’t look at him.”

Even the angry, gloomy crowd in the courtyard of the Rostopchin house does not want to rush at Vereshchagin, accused of treason. Rostopchin is forced to repeat several times, setting her against the merchant’s son: “Beat him!.. Let the traitor die and not disgrace the name of the Russian!” ...Ruby! I order!". But even after this direct call-order, “the crowd groaned and moved forward, but stopped again.” She still sees Vereshchagin as a man and does not dare to rush at him: “A tall fellow, with a petrified expression on his face and with a stopped raised hand, stood next to Vereshchagin.” Only after, obeying the officer’s order, the soldier “with a face distorted with anger hit Vereshchagin on the head with a blunt broadsword” and the merchant’s son in a fox sheepskin coat “shortly and in surprise” cried out, “the barrier was stretched to the highest degree.” human feeling, which was still holding the crowd, broke through instantly.” Leaders treat people not as living beings, but as instruments of their power. And therefore they are worse than the crowd, more terrible than it.

The images of Napoleon and Rostopchin stand at opposite poles of this group of heroes from War and Peace. And the main “mass” of leaders here are formed by various kinds of generals, chiefs of all stripes. All of them, as one, do not understand the inscrutable laws of history, they think that the outcome of the battle depends only on them, on their military talents or political abilities. It doesn’t matter which army they serve - French, Austrian or Russian. And the personification of this entire mass of generals in the epic is Barclay de Tolly, a dry German in Russian service. He understands nothing of the spirit of the people and, together with other Germans, believes in a scheme of correct disposition.

The real Russian commander Barclay de Tolly, unlike the artistic image created by Tolstoy, was not German (he came from a Scottish family that had been Russified a long time ago). And in his activities he never relied on a scheme. But this is where the line between historical figure and his image, which literature creates. In Tolstoy's picture of the world, the Germans are not real representatives of a real people, but a symbol of foreignness and cold rationalism, which only interferes with understanding the natural course of things. Therefore, Barclay de Tolly, as a novel hero, turns into a dry “German”, which he was not in reality.

And at the very edge of this group of heroes, on the border separating the false leaders from the sages (we’ll talk about them a little later), stands the image of the Russian Tsar Alexander I. He is so isolated from the general series that at first it even seems that his image is devoid of boring unambiguity, that it is complex and multi-component. Moreover: the image of Alexander I is invariably presented in an aura of admiration.

But let's ask ourselves a question: whose admiration is this, the narrator's or the heroes'? And then everything will immediately fall into place.

Here we see Alexander for the first time during a review of Austrian and Russian troops (volume I, part three, chapter VIII). At first, the narrator describes him neutrally: “The handsome, young Emperor Alexander... with his pleasant face and sonorous, quiet voice attracted all the attention.” Then we begin to look at the tsar through the eyes of Nikolai Rostov, who is in love with him: “Nicholas clearly, down to all the details, examined the beautiful, young and happy face of the emperor, he experienced a feeling of tenderness and delight, the likes of which he had never experienced before. Everything - every feature, every movement - seemed charming to him about the sovereign.” The narrator discovers ordinary traits in Alexander: beautiful, pleasant. But Nikolai Rostov discovers in them a completely different quality, a superlative degree: they seem beautiful, “lovely” to him.

But here is Chapter XV of the same part; here the narrator and Prince Andrei, who is by no means in love with the sovereign, alternately look at Alexander I. This time there is no such internal gap in emotional assessments. The Emperor meets with Kutuzov, whom he clearly dislikes (and we do not yet know how highly the narrator values ​​Kutuzov).

It would seem that the narrator is again objective and neutral:

“An unpleasant impression, just like the remnants of fog in a clear sky, ran across the young and happy face of the emperor and disappeared... the same charming combination of majesty and meekness was in his beautiful gray eyes, and on his thin lips the same possibility of various expressions and the prevailing expression complacent, innocent youth."

Again the “young and happy face”, again the charming appearance... And yet, pay attention: the narrator lifts the veil over his own attitude towards all these qualities of the king. He says directly: “on thin lips” there was “the possibility of a variety of expressions.” And “the expression of complacent, innocent youth” is only the predominant one, but by no means the only one. That is, Alexander I always wears masks, behind which his real face is hidden.

What kind of face is this? It's contradictory. There is kindness and sincerity in him - and falsity, lies. But the fact of the matter is that Alexander is opposed to Napoleon; Tolstoy does not want to belittle his image, but cannot exalt it. Therefore, he resorts to the only possible way: shows the king primarily through the eyes of heroes devoted to him and worshiping his genius. It is they, blinded by their love and devotion, who pay attention only to the best manifestations different person Alexandra; it is they who recognize him as a real leader.

In Chapter XVIII (volume one, part three), Rostov again sees the Tsar: “The Tsar was pale, his cheeks were sunken and his eyes sunken; but there was even more charm and meekness in his features.” This is a typically Rostov look - the look of an honest but superficial officer in love with his sovereign. However, now Nikolai Rostov meets the Tsar far from the nobles, from thousands of eyes fixed on him; in front of him is a simple suffering mortal, gravely experiencing the defeat of the army: “Tolya said something for a long time and passionately to the sovereign,” and he, “apparently crying, closed his eyes with his hand and shook Tolya’s hand.” Then we will see the tsar through the eyes of the obligingly proud Drubetsky (volume III, part one, chapter III), the enthusiastic Petya Rostov (volume III, part one, chapter XXI), Pierre Bezukhov at the moment when he is captured by the general enthusiasm during the Moscow meeting of the sovereign with deputations of the nobility and merchants (volume III, part one, chapter XXIII)...

The narrator, with his attitude, remains for the time being in a deep shadow. He only says through clenched teeth at the beginning of the third volume: “The Tsar is a slave of history,” but he refrains from direct assessments of the personality of Alexander I until the end of the fourth volume, when the Tsar directly encounters Kutuzov (chapters X and XI, part four). Only here, and even then not for long, does the narrator show his restrained disapproval. After all, we are talking about the resignation of Kutuzov, who had just won, together with the entire Russian people, a victory over Napoleon!

And the result of the “Alexandrov’s” plot line will be summed up only in the Epilogue, where the narrator will try with all his might to maintain justice in relation to the tsar, bringing his image closer to the image of Kutuzov: the latter was necessary for the movement of peoples from west to east, and the former for the return movement peoples from east to west.

Ordinary people. Both the wasters and the leaders in the novel are contrasted with “ordinary people”, led by the lover of truth, the Moscow lady Marya Dmitrievna Akhrosimova. In their world, she plays the same role that the St. Petersburg lady Anna Pavlovna Sherer plays in the world of the Kuragins and Bilibins. Ordinary people have not risen above the general level of their time, their era, have not learned the truth of people's life, but instinctively live in conditional harmony with it. Although they sometimes act incorrectly, and human weaknesses they are fully present.

This discrepancy, this difference in potential, the combination in one person of different qualities, good and not so good, distinguishes ordinary people from both the wasters of life and the leaders. Heroes classified in this category, as a rule, are shallow people, and yet their portraits are painted in different colors and are obviously devoid of unambiguity and uniformity.

This is, in general, the hospitable Moscow Rostov family, the mirror opposite of the St. Petersburg Kuragin clan.

The old Count Ilya Andreich, the father of Natasha, Nikolai, Petya, Vera, is a weak-willed man, he allows his managers to rob him, he suffers at the thought of ruining his children, but he can’t do anything about it. Going to the village for two years, trying to move to St. Petersburg and get a job changes little in the general state of affairs.

The count is not very smart, but at the same time he is fully endowed by God with heartfelt gifts - hospitality, cordiality, love for family and children. Two scenes characterize him from this side, and both are imbued with lyricism and rapture of delight: a description of a dinner in a Rostov house in honor of Bagration and a description of a dog hunt.

And one more scene is extremely important for understanding the image of the old count: the departure from burning Moscow. It is he who first gives the reckless (from the point of view of common sense) order to let the wounded into the carts. Having removed their acquired goods from the carts for the sake of Russian officers and soldiers, the Rostovs deal the last irreparable blow to their own condition... But they not only save several lives, but also, unexpectedly for themselves, give Natasha a chance to reconcile with Andrei.

Ilya Andreich's wife, Countess Rostova, is also not distinguished by any special intelligence - that abstract, scientific mind, which the narrator treats with obvious distrust. She is hopelessly behind modern life; and when the family is completely ruined, the countess is not even able to understand why they should abandon their own carriage and cannot send a carriage for one of her friends. Moreover, we see the injustice, sometimes cruelty of the Countess towards Sonya - who is completely innocent of the fact that she is without a dowry.

And yet, she also has a special gift of humanity, which separates her from the crowd of wasters and brings her closer to the truth of life. This is the gift of love for one's own children; instinctively wise, deep and selfless love. The decisions she makes in relation to children are dictated not simply by the desire for profit and saving the family from ruin (although also for her); they are aimed at arranging the lives of the children themselves in the best possible way. And when the countess learns about the death of her beloved youngest son in the war, her life essentially ends; Having barely escaped insanity, she instantly ages and loses active interest in what is happening around her.

All the best Rostov qualities were passed on to the children, except for the dry, calculating and therefore unloved Vera. Having married Berg, she naturally moved from the category of “ordinary people” to the number of “wasters of life” and “Germans”. And also - except for the Rostovs’ pupil Sonya, who, despite all her kindness and sacrifice, turns out to be an “empty flower” and gradually, following Vera, slides from the rounded world of ordinary people into the plane of wasters of life.

Particularly touching is the youngest, Petya, who completely absorbed the atmosphere of the Rostov house. Like his father and mother, he is not very smart, but he is extremely sincere and sincere; this soulfulness is especially expressed in his musicality. Petya instantly gives in to the impulse of his heart; therefore, it is from his point of view that we look from the Moscow patriotic crowd at Emperor Alexander I and share his genuine youthful delight. Although we feel: the narrator’s attitude towards the emperor is not as clear as the young character. Petya's death from an enemy bullet is one of the most poignant and most memorable episodes of Tolstoy's epic.

But just as the people who live their lives, the leaders, have their own center, so do the ordinary people who populate the pages of War and Peace. This center is Nikolai Rostov and Marya Bolkonskaya, whose life lines, separated over three volumes, eventually still intersect, obeying the unwritten law of affinity.

“A short, curly-haired young man with an open expression,” he is distinguished by “impetuousness and enthusiasm.” Nikolai, as usual, is shallow (“he had that common sense of mediocrity that told him what should have been done,” the narrator says bluntly). But he is very emotional, impetuous, warm-hearted, and therefore musical, like all the Rostovs.

One of the key episodes of Nikolai Rostov’s storyline is the crossing of the Enns, and then being wounded in the arm during the Battle of Shengraben. Here the hero first encounters an insoluble contradiction in his soul; he, who considered himself a fearless patriot, suddenly discovers that he is afraid of death and that the very thought of death is absurd - him, whom “everyone loves so much.” This experience not only does not reduce the image of the hero, on the contrary: it is at that moment that his spiritual maturation occurs.

And yet it’s not for nothing that Nikolai likes it so much in the army and is so uncomfortable in ordinary life. The regiment is a special world (another world in the middle of war), in which everything is arranged logically, simply, unambiguously. There are subordinates, there is a commander, and there is a commander of commanders - the Emperor, whom it is so natural and so pleasant to adore. And the life of civilians consists entirely of endless intricacies, of human sympathies and antipathies, clashes of private interests and common goals of the class. Arriving home on vacation, Rostov either gets confused in his relationship with Sonya, or loses completely to Dolokhov, which puts the family on the brink of financial disaster, and actually flees from ordinary life to the regiment, like a monk to his monastery. (He doesn’t seem to notice that the same rules apply in the army; when in the regiment he has to solve complex moral problems, for example, with officer Telyanin, who stole a wallet, Rostov is completely lost.)

Like any hero who claims in the novel space to have an independent line and actively participate in the development of the main intrigue, Nikolai is endowed with a love plot. He is a kind fellow, an honest man, and therefore, having made a youthful promise to marry the dowryless Sonya, he considers himself bound for the rest of his life. And no amount of persuasion from his mother, no hints from his loved ones about the need to find a rich bride can sway him. Moreover, his feeling for Sonya goes through different stages, then completely fading away, then returning again, then disappearing again.

Therefore, the most dramatic moment in Nikolai’s fate comes after the meeting in Bogucharovo. Here, during the tragic events of the summer of 1812, he accidentally meets Princess Marya Bolkonskaya, one of the richest brides in Russia, whom he would dream of marrying. Rostov selflessly helps the Bolkonskys get out of Bogucharov, and both of them, Nikolai and Marya, suddenly feel mutual attraction. But what is considered the norm among “life-lovers” (and most “ordinary people” too) turns out to be an almost insurmountable obstacle for them: she is rich, he is poor.

Only Sonya’s refusal of the word given to her by Rostov, and the power of natural feeling are able to overcome this obstacle; Having gotten married, Rostov and Princess Marya live in perfect harmony, just as Kitty and Levin will live in Anna Karenina. However, this is the difference between honest mediocrity and the impulse of truth-seeking, that the former does not know development, does not recognize doubts. As we have already noted, in the first part of the Epilogue, an invisible conflict is brewing between Nikolai Rostov, on the one hand, and Pierre Bezukhov and Nikolenka Bolkonsky, on the other, the line of which stretches into the distance, beyond the boundaries of the plot action.

Pierre, at the cost of new moral torment, new mistakes and new quests, is drawn into another turn great history: he becomes a member of early pre-Decembrist organizations. Nikolenka is completely on his side; it is not difficult to calculate that by the time of the uprising on Senate Square he will be a young man, most likely an officer, and with such a heightened sense of morality he will be on the side of the rebels. And the sincere, respectable, narrow-minded Nikolai, who has once and for all stopped developing, knows in advance that if anything happens he will shoot at the opponents of the legitimate ruler, his beloved sovereign...

Truth seekers. This is the most important of the categories; without truth-seeking heroes, there would be no epic “War and Peace” at all. Only two characters, two close friends, Andrei Bolkonsky and Pierre Bezukhov, have the right to claim this special title. They also cannot be called unconditionally positive; to create their images, the narrator uses the most different colors, but it is precisely because of their ambiguity that they seem especially voluminous and bright.

Both of them, Prince Andrei and Count Pierre, are rich (Bolkonsky - initially, the illegitimate Bezukhov - after the sudden death of his father); smart, although in different ways. Bolkonsky's mind is cold and sharp; Bezukhov's mind is naive, but organic. Like many young people in the 1800s, they are in awe of Napoleon; a proud dream of a special role in world history, and therefore the conviction that it is the individual who controls the course of things, is equally inherent in both Bolkonsky and Bezukhov. From this common point, the narrator draws two very different storylines, which at first diverge very far, and then connect again, intersecting in the space of truth.

But this is where it turns out that they become truth-seekers against their will. Neither one nor the other is going to seek the truth, they do not strive for moral improvement, and at first they are sure that the truth is revealed to them in the form of Napoleon. They are pushed to an intense search for truth by external circumstances, and perhaps by Providence itself. It’s just that the spiritual qualities of Andrei and Pierre are such that each of them is able to answer the call of fate, to respond to its silent question; it is only because of this that they ultimately rise above the general level.

Prince Andrey. Bolkonsky is unhappy at the beginning of the book; he does not love his sweet but empty wife; is indifferent to the unborn child, and even after his birth does not show any special paternal feelings. The family “instinct” is as alien to him as the secular “instinct”; he cannot fall into the category of “ordinary” people for the same reasons that he cannot be among the “wasters of life.” But he not only could have broken into the number of elected “leaders,” but he would have really wanted to. Napoleon, we repeat again and again, for him life example and landmark.

Having learned from Bilibin that the Russian army (this takes place in 1805) was in a hopeless situation, Prince Andrei was almost happy about the tragic news. “... It occurred to him that he was precisely destined to lead the Russian army out of this situation, that here he was, that Toulon, who would lead him out of the ranks of unknown officers and open for him the first path to glory!” (volume I, part two, chapter XII).

You already know how it ended; we analyzed the scene with the eternal sky of Austerlitz in detail. The truth reveals itself to Prince Andrey, without any effort on his part; he does not gradually come to the conclusion about the insignificance of all narcissistic heroes in the face of eternity - this conclusion appears to him immediately and in its entirety.

It would seem that Bolkonsky’s storyline is exhausted already at the end of the first volume, and the author has no choice but to declare the hero dead. And here, contrary to ordinary logic, the most important thing begins - the search for truth. Having accepted the truth immediately and in its entirety, Prince Andrei suddenly loses it and begins a painful, long search, taking a side road back to the feeling that once visited him on the field of Austerlitz.

Arriving home, where everyone thought he was dead, Andrei learns about the birth of his son and - soon - about the death of his wife: the little princess with a short upper lip disappears from his life horizon at the very moment when he is ready to finally open his heart to her! This news shocks the hero and awakens in him a feeling of guilt towards his dead wife; Having abandoned military service (along with a vain dream of personal greatness), Bolkonsky settles in Bogucharovo, takes care of the household, reads, and raises his son.

It would seem that he anticipates the path along which at the end of the fourth Tom will do Nikolai Rostov together with Andrei's sister Princess Marya. Compare for yourself the descriptions of the economic concerns of Bolkonsky in Bogucharovo and Rostov in Bald Mountains. You will be convinced of the non-random similarity and will discover another plot parallel. But this is the difference between the “ordinary” heroes of “War and Peace” and the truth-seekers, that the former stop where the latter continue their unstoppable movement.

Bolkonsky, having learned the truth of eternal heaven, thinks that it is enough to give up personal pride in order to find peace of mind. But really country life cannot contain his unspent energy. And the truth, received as if as a gift, not personally suffered, not acquired as a result of long searches, begins to elude him. Andrei is languishing in the village, his soul seems to be drying up. Pierre, who arrived in Bogucharovo, is amazed at the terrible change that has occurred in his friend. Only for a moment does the prince awaken to a happy feeling of belonging to the truth - when for the first time after being wounded he pays attention to the eternal sky. And then a veil of hopelessness again obscures his life horizon.

What happened? Why does the author “doom” his hero to inexplicable torment? First of all, because the hero must independently “ripen” to the truth that was revealed to him by the will of Providence. Prince Andrei will have to hard work, he will have to go through numerous trials before he regains his sense of unshakable truth. And from this moment on, Prince Andrei’s storyline becomes like a spiral: it goes towards new round, repeating at a more complex level the previous stage of his fate. He is destined to fall in love again, again to indulge in ambitious thoughts, again to be disappointed in both love and thoughts. And finally, come to the truth again.

The third part of the second volume opens with a symbolic description of Prince Andrey's trip to the Ryazan estates. Spring is coming; When entering the forest, he notices an old oak tree on the edge of the road.

“Probably ten times older than the birches that made up the forest, it was ten times thicker and twice as tall as each birch. It was a huge oak tree, twice the girth, with branches that had been broken off for a long time and with broken bark overgrown with old sores. With his huge, clumsily, asymmetrically splayed, gnarled arms and fingers, he stood like an old, angry and contemptuous freak between the smiling birch trees. Only he alone did not want to submit to the charm of spring and did not want to see either spring or the sun.”

It is clear that in the image of this oak tree Prince Andrei himself is personified, whose soul does not respond to the eternal joy of renewed life, has become dead and extinguished. But on the affairs of the Ryazan estates, Bolkonsky must meet with Ilya Andreich Rostov - and, having spent the night in the Rostovs’ house, the prince again notices the bright, almost starless spring sky. And then he accidentally hears an excited conversation between Sonya and Natasha (volume II, part three, chapter II).

A feeling of love latently awakens in Andrei’s heart (although the hero himself does not understand this yet). As a character folk tale, it is as if he was sprinkled with living water - and on the way back, already at the beginning of June, the prince again sees the oak tree, personifying himself, and remembers the Austerlitz sky.

Returning to St. Petersburg, Bolkonsky joins with renewed vigor in social activities; he believes that he is now driven not by personal vanity, not by pride, not by “Napoleonism,” but by a selfless desire to serve people, to serve the Fatherland. The young energetic reformer Speransky becomes his new hero and idol. Bolkonsky is ready to follow Speransky, who dreams of transforming Russia, in the same way as before he was ready to imitate Napoleon in everything, who wanted to throw the entire Universe at his feet.

But Tolstoy constructs the plot in such a way that the reader feels from the very beginning that something is not entirely right; Andrei sees a hero in Speransky, and the narrator sees another leader.

The judgment about the “insignificant seminarian” who holds the fate of Russia in his hands, of course, expresses the position of the enchanted Bolkonsky, who himself does not notice how he transfers the features of Napoleon to Speransky. And the mocking clarification - “as Bolkonsky thought” - comes from the narrator. Speransky’s “disdainful calmness” is noticed by Prince Andrei, and the arrogance of the “leader” (“from an immeasurable height...”) is noticed by the narrator.

In other words, Prince Andrei, in a new round of his biography, repeats the mistake of his youth; he is again blinded by the false example of someone else's pride, in which his own pride finds food. But here a significant meeting takes place in Bolkonsky’s life - he meets the same Natasha Rostova, whose voice on a moonlit night in the Ryazan estate brought him back to life. Falling in love is inevitable; matchmaking is a foregone conclusion. But since his stern father, old Bolkonsky, does not give consent to a quick marriage, Andrei is forced to go abroad and stop collaborating with Speransky, which could seduce him and lead him back to his previous path. And the dramatic break with the bride after her failed escape with Kuragin completely pushes Prince Andrei, as it seems to him, to the margins of the historical process, to the outskirts of the empire. He is again under the command of Kutuzov.

But in fact, God continues to lead Bolkonsky in a special way, known to Him alone. Having overcome the temptation by the example of Napoleon, happily avoided the temptation by the example of Speransky, having again lost hope of family happiness, Prince Andrei repeats the “pattern” of his fate for the third time. Because, having fallen under the command of Kutuzov, he is imperceptibly charged with the quiet energy of the old wise commander, as before he was charged with the stormy energy of Napoleon and the cold energy of Speransky.

It is no coincidence that Tolstoy uses the folklore principle of testing the hero three times: after all, unlike Napoleon and Speransky, Kutuzov is truly close to the people and forms one whole with them. Until now, Bolkonsky was aware that he worshiped Napoleon, and guessed that he was secretly imitating Speransky. And the hero doesn’t even suspect that he follows Kutuzov’s example in everything. The spiritual work of self-education occurs in him hidden, latent.

Moreover, Bolkonsky is confident that the decision to leave Kutuzov’s headquarters and go to the front, to rush into the thick of the battles, comes to him spontaneously, of course. In fact, he takes over from the great commander a wise view of the purely folk character war, which is incompatible with court intrigues and the pride of the “leaders”. If the heroic desire to pick up the regimental banner on the field of Austerlitz was the “Toulon” of Prince Andrei, then the sacrificial decision to participate in the battles of the Patriotic War is, if you like, his “Borodino”, comparable on the small level of an individual human life with the great Battle of Borodino, morally won Kutuzov.

It is on the eve of the Battle of Borodino that Andrei meets Pierre; between them there is a third (again folklore number!) meaningful conversation. The first took place in St. Petersburg (volume I, part one, chapter VI) - during it, Andrei for the first time dropped the mask of a contemptuous socialite and frankly told a friend that he was imitating Napoleon. During the second (volume II, part two, chapter XI), held in Bogucharovo, Pierre saw before him a man mournfully doubting the meaning of life, the existence of God, internally dead, having lost the incentive to move. This meeting with a friend became for Prince Andrei “the era from which, although in appearance it was the same, but in the inner world his new life began.”

And here is the third conversation (volume III, part two, chapter XXV). Having overcome involuntary alienation, on the eve of the day when, perhaps, both of them will die, friends again openly discuss the subtlest, most important topics. They do not philosophize - there is neither time nor energy for philosophizing; but every word they say, even a very unfair one (like Andrei’s opinion about the prisoners), is weighed on special scales. And Bolkonsky’s final passage sounds like a premonition of imminent death:

“Ah, my soul, lately it has become difficult for me to live. I see that I have begun to understand too much. But it is not good for a person to eat from the tree of the knowledge of good and evil... Well, not for long! - he added.”

The wound on the Borodin field compositionally repeats the scene of Andrei's wound on the Austerlitz field; both there and here the truth is suddenly revealed to the hero. This truth is love, compassion, faith in God. (Here is another plot parallel.) But in the first volume we had a character to whom the truth appeared in spite of everything; Now we see Bolkonsky, who has managed to prepare himself to accept the truth at the cost of mental anguish and tossing. Please note: the last person Andrei sees on the Field of Austerlitz is the insignificant Napoleon, who seemed great to him; and the last person he sees on the Borodino field is his enemy, Anatol Kuragin, also seriously wounded... (This is another plot parallel that allows us to show how the hero has changed during the time that passed between three meetings.)

Andrey has a new date with Natasha ahead; last date. Moreover, the folklore principle of triple repetition “works” here too. For the first time Andrey hears Natasha (without seeing her) in Otradnoye. Then he falls in love with her during Natasha’s first ball (volume II, part three, chapter XVII), explains to her and proposes. And here is the wounded Bolkonsky in Moscow, near the Rostovs’ house, at the very moment when Natasha orders the carts to be given to the wounded. The meaning of this final meeting is forgiveness and reconciliation; having forgiven Natasha and reconciled with her, Andrei has finally comprehended the meaning of love and is therefore ready to part with earthly life... His death is depicted not as an irreparable tragedy, but as a solemnly sad result of his earthly career.

It is not for nothing that it is here that Tolstoy carefully introduces the theme of the Gospel into the fabric of his narrative.

We are already accustomed to the fact that the heroes of Russian literature of the second half of the 19th century often take this general ledger Christianity, telling about the earthly life, teaching and resurrection of Jesus Christ; Just remember Dostoevsky’s novel “Crime and Punishment.” However, Dostoevsky wrote about his modernity, while Tolstoy turned to the events of the beginning of the century, when educated people from high society turned to the Gospel much less often. For the most part, they read Church Slavonic poorly, and rarely resorted to the French version; Only after the Patriotic War did work begin on translating the Gospel into living Russian. It was headed by the future Metropolitan of Moscow Filaret (Drozdov); The publication of the Russian Gospel in 1819 influenced many writers, including Pushkin and Vyazemsky.

Prince Andrey is destined to die in 1812; nevertheless, Tolstoy decided to radically violate chronology, and in Bolkonsky’s dying thoughts he placed quotes from the Russian Gospel: “The birds of the air do not sow or reap, but your Father feeds them...” Why? Yes, for the simple reason that Tolstoy wants to show: the wisdom of the Gospel entered Andrei’s soul, it became part of his own thoughts, he reads the Gospel as an explanation of his own life and his own death. If the writer had “forced” the hero to quote the Gospel in French or even in Church Slavonic, this would have immediately separated Bolkonsky’s inner world from the Gospel world. (In general, in the novel, the heroes speak French more often, the further they are from the national truth; Natasha Rostova generally utters only one line in French over the course of four volumes!) But Tolstoy’s goal is exactly the opposite: he seeks to forever connect the image of Andrei, who found the truth , with a gospel theme.

Pierre Bezukhov. If the storyline of Prince Andrei is spiral-shaped, and each subsequent stage of his life in a new turn repeats the previous stage, then the storyline of Pierre - right up to the Epilogue - is similar to a narrowing circle with the figure of the peasant Platon Karataev in the center.

This circle at the beginning of the epic is immensely wide, almost like Pierre himself - “a massive, fat young man with a cropped head and glasses.” Like Prince Andrei, Bezukhov does not feel like a truth-seeker; he, too, considers Napoleon a great man and is content with the common idea that history is controlled by great men, heroes.

We meet Pierre at the very moment when, from an excess of vitality, he takes part in carousing and almost robbery (the story with the policeman). Life force is his advantage over the dead light (Andrei says that Pierre is the only “living person”). And this is his main problem, since Bezukhov does not know what to apply his heroic strength to, it is aimless, there is something Nozdrevsky in it. Pierre initially has special spiritual and mental needs (which is why he chooses Andrey as his friend), but they are scattered and do not take on a clear and distinct form.

Pierre is distinguished by energy, sensuality, reaching the point of passion, extreme artlessness and myopia (literally and figuratively); all this dooms Pierre to take rash steps. As soon as Bezukhov becomes the heir to a huge fortune, the “wasters of life” immediately entangle him in their networks, Prince Vasily marries Pierre to Helen. Of course, family life is not set; Pierre cannot accept the rules by which high-society “burners” live. And so, having parted ways with Helen, he for the first time consciously begins to look for the answer to the questions that torment him about the meaning of life, about the purpose of man.

“What’s wrong? What well? What should you love, what should you hate? Why live and what am I? What is life, what is death? What force controls everything? - he asked himself. And there was no answer to any of these questions, except one, not a logical answer, not to these questions at all. This answer was: “If you die, everything will end. You die and you’ll find out everything, or you’ll stop asking.” But it was scary to die” (volume II, part two, chapter I).

And then on his life’s path he meets the old Mason-mentor Osip Alekseevich. (Freemasons were members of religious and political organizations, “orders,” “lodges,” who set themselves the goal of moral self-improvement and intended to transform society and the state on this basis.) Metaphor life path the road along which Pierre travels serves in the epic; Osip Alekseevich himself approaches Bezukhov at the postal station in Torzhok and starts a conversation with him about the mysterious destiny of man. From the genre shadow of the family-everyday novel we immediately move into the space of the novel of education; Tolstoy barely noticeably stylizes the “Masonic” chapters into novel prose late XVIII - early XIX century. Thus, in the scene of Pierre’s acquaintance with Osip Alekseevich, much makes one remember the “Journey from St. Petersburg to Moscow” by A. N. Radishchev.

In Masonic conversations, conversations, reading and reflections, the same truth is revealed to Pierre that appeared on the field of Austerlitz to Prince Andrei (who, perhaps, also at some point went through the “Masonic art”; in a conversation with Pierre, Bolkonsky mockingly mentions gloves, which Masons receive before marriage for their chosen one). The meaning of life is not in heroic deeds, not in becoming a leader like Napoleon, but in serving people, feeling involved in eternity...

But the truth is just revealed, it sounds dull, like a distant echo. And gradually, more and more painfully, Bezukhov feels the deceit of the majority of Freemasons, the discrepancy between their petty social life and the proclaimed universal ideals. Yes, Osip Alekseevich forever remains a moral authority for him, but Freemasonry itself eventually ceases to meet Pierre’s spiritual needs. Moreover, the reconciliation with Helen, which he agreed to under Masonic influence, does not lead to anything good. And having taken a step in the social field in the direction set by the Freemasons, having started a reform in his estates, Pierre suffers an inevitable defeat: his impracticality, gullibility and lack of system doom the land experiment to failure.

The disappointed Bezukhov first turns into a good-natured shadow of his predatory wife; it seems that the pool of “life-lovers” is about to close over him. Then he again starts drinking, carousing, returns to the bachelor habits of his youth, and eventually moves from St. Petersburg to Moscow. You and I have noted more than once that in Russian literature of the 19th century, St. Petersburg was associated with the European center of official, political, and cultural life in Russia; Moscow - with a rustic, traditionally Russian habitat of retired nobles and lordly idlers. The transformation of Petersburger Pierre into a Muscovite is tantamount to his abandonment of any aspirations in life.

And here the tragic and Russia-cleansing events of the Patriotic War of 1812 are approaching. For Bezukhov they have a very special, personal meaning. After all, he has long been in love with Natasha Rostova, hopes of an alliance with whom were twice crossed out by his marriage to Helen and Natasha’s promise to Prince Andrei. Only after the story with Kuragin, in overcoming the consequences of which Pierre played a huge role, does he actually confess his love to Natasha (volume II, part five, chapter XXII).

It is no coincidence that immediately after the scene of explanation with Natasha Tolstaya, through the eyes of Pierre, he shows the famous comet of 1811, which foreshadowed the beginning of the war: “It seemed to Pierre that this star fully corresponded to what was in his blossoming to a new life, softened and encouraged soul.” The theme of national testing and the theme of personal salvation merge together in this episode.

Step by step, the stubborn author leads his beloved hero to comprehend two inextricably linked “truths”: the truth of sincere family life and the truth of national unity. Out of curiosity, Pierre goes to the Borodin field just on the eve of the great battle; observing, communicating with the soldiers, he prepares his mind and his heart to perceive the thought that Bolkonsky will express to him during their last Borodin conversation: the truth is where they are, ordinary soldiers, ordinary Russian people.

The views that Bezukhov professed at the beginning of War and Peace are turned upside down; Previously, he saw in Napoleon the source of the historical movement; now he sees in him the source of transhistorical evil, the embodiment of the Antichrist. And he is ready to sacrifice himself to save humanity. The reader should understand: spiritual path Pierre is passed only to the middle; the hero has not yet “grown up” to the point of view of the narrator, who is convinced (and convinces the reader) that the matter is not about Napoleon at all, that the French emperor is just a toy in the hands of Providence. But the experiences that befell Bezukhov in French captivity, and most importantly, his acquaintance with Platon Karataev, will complete the work that has already begun in him.

During the execution of prisoners (a scene that refutes Andrei’s cruel arguments during Borodin’s last conversation), Pierre himself recognizes himself as an instrument in the wrong hands; his life and his death do not really depend on him. And communication with a simple peasant, the “rounded” soldier of the Absheron regiment Platon Karataev finally reveals to him the prospect of a new life philosophy. The purpose of a person is not to become a bright personality, separate from all other personalities, but to reflect the people’s life in its entirety, to become a part of the universe. Only then can you feel truly immortal:

“Ha, ha, ha! - Pierre laughed. And he said out loud to himself: “The soldier didn’t let me in.” They caught me, they locked me up. They are holding me captive. Who me? Me? Me - my immortal soul! Ha, ha, ha!.. Ha, ha, ha!.. - he laughed with tears welling up in his eyes... Pierre looked into the sky, into the depths of the receding, playing stars. “And all this is mine, and all this is in me, and all this is me!..” (volume IV, part two, chapter XIV).

It is not for nothing that these reflections of Pierre sound almost like folk poetry; they emphasize and strengthen the internal, irregular rhythm:

The soldier didn't let me in.
They caught me, they locked me up.
They are holding me captive.
Who me? Me?

The truth sounds like a folk song, and the sky into which Pierre directs his gaze makes the attentive reader remember the ending of the third volume, the appearance of the comet, and, most importantly, the sky of Austerlitz. But the difference between the Austerlitz scene and the experience that visited Pierre in captivity is fundamental. Andrei, as we already know, at the end of the first volume comes face to face with the truth, contrary to his own intentions. He just has a long, roundabout way to get to her. And Pierre comprehends it for the first time as a result of painful quests.

But there is nothing final in Tolstoy’s epic. Remember when we said that Pierre’s storyline only seems circular, and that if you look at the Epilogue, the picture will change somewhat? Now read the episode of Bezukhov’s arrival from St. Petersburg and especially the scene of the conversation in the office with Nikolai Rostov, Denisov and Nikolenka Bolkonsky (Chapters XIV-XVI of the first Epilogue). Pierre, the same Pierre Bezukhov, who has already comprehended the fullness of the national truth, who has renounced personal ambitions, again starts talking about the need to correct social ills, about the need to counter the government’s mistakes. It is not difficult to guess that he became a member of the early Decembrist societies and that a new storm began to swell on the historical horizon of Russia.

Natasha, with her feminine instincts, guesses the question that the narrator himself would clearly like to ask Pierre:

“Do you know what I’m thinking about? - she said, - about Platon Karataev. How is he? Would he approve of you now?..

No, I wouldn’t approve,” Pierre said after thinking. - What he would approve of is our family life. He so wanted to see beauty, happiness, tranquility in everything, and I would be proud to show him us.”

What happens? Has the hero begun to evade the acquired and hard-won truth? And is the “average”, “ordinary” person Nikolai Rostov right, who speaks with disapproval of the plans of Pierre and his new comrades? Does this mean Nikolai is now closer to Platon Karataev than Pierre himself?

Yes and no. Yes, because Pierre, undoubtedly, deviates from the “rounded”, family-oriented, national peaceful ideal, and is ready to join the “war”. Yes, because he had already gone through the temptation of striving for the public good in his Masonic period, and through the temptation of personal ambitions - at the moment when he “counted” the number of the beast in the name of Napoleon and convinced himself that it was he, Pierre, who was destined to rid humanity of this villain. No, because the entire epic “War and Peace” is permeated with a thought that Rostov is unable to comprehend: we are not free in our desires, in our choice, to participate or not to participate in historical upheavals.

Pierre is much closer than Rostov to this nerve of history; among other things, Karataev taught him by his example to submit to circumstances, to accept them as they are. By joining a secret society, Pierre moves away from the ideal and, in a certain sense, returns several steps back in his development, but not because he wants it, but because he cannot evade the objective course of things. And, perhaps, having partially lost the truth, he will come to know it even more deeply at the end of his new path.

That is why the epic ends with a global historiosophical argument, the meaning of which is formulated in its last phrase: “it is necessary to abandon the perceived freedom and recognize the dependence that we do not feel.”

Sages. You and I talked about people who live their lives, about leaders, about ordinary people, about truth-seekers. But there is another category of heroes in War and Peace, the opposite of the leaders. These are the sages. That is, characters who have comprehended the truth of national life and set an example for other heroes, seeking the truth. These are, first of all, Staff Captain Tushin, Platon Karataev and Kutuzov.

Staff Captain Tushin first appears in the scene of the Battle of Shengraben; We see him first through the eyes of Prince Andrei - and this is no coincidence. If circumstances had turned out differently and Bolkonsky had been internally prepared for this meeting, it could have played the same role in his life as the meeting with Platon Karataev played in Pierre’s life. However, alas, Andrey is still blinded by the dream of his own Toulon. Having defended Tushin (volume I, part two, chapter XXI), when he guiltily remains silent in front of Bagration and does not want to betray his boss, Prince Andrei does not understand that behind this silence lies not servility, but an understanding of the hidden ethics of people's life. Bolkonsky is not yet ready to meet “his Karataev.”

“A small, stooped man,” commander of an artillery battery, Tushin makes a very favorable impression on the reader from the very beginning; external awkwardness only sets off his undoubted natural intelligence. It is not for nothing that, when characterizing Tushin, Tolstoy resorts to his favorite technique, drawing attention to the hero’s eyes, this is the mirror of the soul: “Silent and smiling, Tushin, stepping from bare foot to foot, looked questioningly with large, smart and kind eyes...” (vol. I, part two, chapter XV).

But why does the author pay attention to such an insignificant figure, and in a scene that immediately follows the chapter dedicated to Napoleon himself? The guess does not come to the reader right away. Only when he reaches Chapter XX does the image of the staff captain gradually begin to grow to symbolic proportions.

“Little Tushin with a straw bitten to one side”, along with his battery, was forgotten and left without cover; he practically does not notice this, because he is completely absorbed in the common cause and feels himself an integral part of the entire people. On the eve of the battle, this little awkward man spoke of the fear of death and complete uncertainty about eternal life; now he is transforming before our eyes.

The narrator shows this little man in close-up: “...He had his own fantasy world, which was his pleasure at that moment. The enemy’s guns in his imagination were not guns, but pipes, from which an invisible smoker released smoke in rare puffs.” At this second, it is not the Russian and French armies that are confronting each other; Opposing each other are little Napoleon, who imagines himself great, and little Tushin, who has risen to true greatness. The staff captain is not afraid of death, he is only afraid of his superiors, and immediately becomes timid when a staff colonel appears at the battery. Then (Chapter XXI) Tushin cordially helps all the wounded (including Nikolai Rostov).

In the second volume we will once again meet with Staff Captain Tushin, who lost his arm in the war.

Both Tushin and another Tolstoy sage, Platon Karataev, are endowed with the same physical properties: they vertically challenged, they have similar characters: They are affectionate and good-natured. But Tushin feels himself an integral part of the general life of the people only in the midst of war, and in peaceful circumstances he is simple, kind, timid and very a common person. And Plato is always involved in this life, in any circumstances. And in war and especially in a state of peace. Because he carries peace in his soul.

Pierre meets Plato at a difficult moment in his life - in captivity, when his fate hangs by a thread and depends on many accidents. The first thing that catches his eye (and strangely calms him down) is Karataev’s roundness, the harmonious combination of external and internal appearance. In Plato, everything is round - his movements, the way of life that he creates around him, and even the homely smell. The narrator, with his characteristic persistence, repeats the words “round”, “rounded” as often as in the scene on the Field of Austerlitz he repeated the word “sky”.

During the Battle of Shengraben, Andrei Bolkonsky was not ready to meet “his Karataev,” staff captain Tushin. And Pierre, by the time of the Moscow events, had matured enough to learn a lot from Plato. And above all, a true attitude towards life. That is why Karataev “remained forever in Pierre’s soul as the strongest and dearest memory and personification of everything Russian, kind and round.” After all, on the way back from Borodino to Moscow, Bezukhov had a dream, during which he heard a voice:

“War is the most difficult task of subordinating human freedom to the laws of God,” said the voice. - Simplicity is submission to God; you cannot escape Him. And they are simple. They don't talk, but they do. The spoken word is silver, and the unspoken word is golden. A person cannot own anything while he is afraid of death. And whoever is not afraid of her belongs to him everything... To unite everything? - Pierre said to himself. - No, don't connect. You cannot connect thoughts, but connecting all these thoughts is what you need! Yes, we need to mate, we need to mate!” (volume III, part three, chapter IX).

Platon Karataev is the embodiment of this dream; everything is connected in him, he is not afraid of death, he thinks in proverbs, which summarize centuries-old folk wisdom - it is not for nothing that Pierre hears in his dreams the proverb “The spoken word is silver, and the unspoken is golden.”

Can Platon Karataev be called a bright personality? No way. On the contrary: he is not a person at all, because he does not have his own special, separate from the people, spiritual needs, no aspirations and desires. For Tolstoy he is more than a person; he is a piece of the people's soul. Karataev does not remember his own words spoken a minute ago, since he does not think in the usual meaning of this word. That is, he does not organize his reasoning in a logical chain. Simple, as they would say modern people, his mind is connected to the national consciousness, and Plato’s judgments reproduce the personal wisdom of the people.

Karataev does not have a “special” love for people - he treats all living beings equally lovingly. And to the master Pierre, and to the French soldier who ordered Plato to sew a shirt, and to the wobbly dog ​​that clung to him. Not being a person, he does not see the personalities around him; everyone he meets is the same particle of a single universe as he himself. Death or separation therefore has no meaning for him; Karataev is not upset when he learns that the person with whom he became close has suddenly disappeared - after all, nothing changes from this! The eternal life of the people continues, and its constant presence will be revealed in every new person they meet.

The main lesson that Bezukhov learns from his communication with Karataev, the main quality that he strives to adopt from his “teacher”, is voluntary dependence on the eternal life of the people. Only it gives a person a real sense of freedom. And when Karataev, having fallen ill, begins to lag behind the column of prisoners and is shot like a dog, Pierre is not too upset. Individual life Karataev’s life has ended, but the eternal, national one, in which he is involved, continues, and there will be no end to it. That's why Tolstoy ends storyline Karataev’s second dream was Pierre’s, which was seen by the captive Bezukhov in the village of Shamshevo:

And suddenly Pierre introduced himself to a living, long-forgotten, gentle old teacher who taught Pierre geography in Switzerland... he showed Pierre a globe. This globe was a living, oscillating ball that had no dimensions. The entire surface of the ball consisted of drops tightly compressed together. And these drops all moved, moved and then merged from several into one, then from one they were divided into many. Each drop sought to spread out, to capture the greatest possible space, but others, striving for the same thing, compressed it, sometimes destroyed it, sometimes merged with it.

This is life, said the old teacher...

In the middle is God, and every drop strives to expand so that largest sizes reflect Him... Here he is, Karataev, overflowed and disappeared” (volume IV, part three, chapter XV).

In the metaphor of life as a “liquid oscillating ball” made up of individual drops, everything is connected symbolic images“War and Peace”, which we talked about above: and the spindle, and the clockwork, and the anthill; a circular movement connecting everything to everything - this is Tolstoy’s idea of ​​the people, of history, of the family. The meeting of Platon Karataev brings Pierre closer to understanding this truth.

From the image of Staff Captain Tushin we rose, as if a step up, to the image of Platon Karataev. But from Plato in the space of the epic one more step leads upward. The image of People's Field Marshal Kutuzov is raised here to an unattainable height. This old man, gray-haired, fat, walking heavily, with a face disfigured by a wound, towers over both Captain Tushin and even Platon Karataev. He consciously comprehended the truth of the nationality, which they perceived instinctively, and elevated it to the principle of his life and his military leadership.

The main thing for Kutuzov (unlike all the leaders led by Napoleon) is to deviate from a personal proud decision, to guess the correct course of events and not to interfere with their development according to God's will, in truth. We first meet him in the first volume, in the scene of the review near Brenau. Before us is an absent-minded and cunning old man, an old campaigner, who is distinguished by an “affection of respect.” We immediately understand that the mask of an unreasoning servant, which Kutuzov puts on when approaching the ruling people, especially the tsar, is just one of the many ways of his self-defense. After all, he cannot, must not allow these self-righteous persons to really interfere in the course of events, and therefore he is obliged to affectionately evade their will, without contradicting it in words. So he will avoid the battle with Napoleon during the Patriotic War.

Kutuzov, as he appears in the battle scenes of the third and fourth volumes, is not a doer, but a contemplator; he is convinced that victory requires not intelligence, not a scheme, but “something else, independent of intelligence and knowledge.” And above all, “it takes patience and time.” The old commander has both in abundance; he is endowed with the gift of “calm contemplation of the course of events” and sees his main purpose in not doing harm. That is, listen to all the reports, all the main considerations: support the useful ones (that is, those that agree with the natural course of things), reject the harmful ones.

And the main secret that Kutuzov comprehended, as he is depicted in “War and Peace,” is the secret of maintaining the national spirit, the main force in the fight against any enemy of the Fatherland.

That is why this old, weak, voluptuous man personifies Tolstoy’s idea of ​​an ideal politician who has comprehended the main wisdom: the individual cannot influence the course of historical events and must renounce the idea of ​​freedom in favor of the idea of ​​necessity. Tolstoy “instructs” Bolkonsky to express this thought: watching Kutuzov after his appointment as commander-in-chief, Prince Andrei reflects: “He will have nothing of his own... He understands that there is something stronger and more significant than his will - this is the inevitable course of events ... And the main thing ... is that he is Russian, despite the novel by Zhanlis and French sayings" (volume III, part two, chapter XVI).

Without the figure of Kutuzov, Tolstoy would not have solved one of the main artistic tasks of his epic: to contrast the “false form of the European hero, supposedly controlling people, which history has come up with,” with the “simple, modest and therefore truly majestic figure” of the people’s hero, which will never settle into this "false form"

Natasha Rostova. If we translate the typology of epic heroes into the traditional language of literary terms, an internal pattern will naturally emerge. The world of everyday life and the world of lies are opposed by dramatic and epic characters. The dramatic characters of Pierre and Andrey are full of internal contradictions, always in motion and development; the epic characters of Karataev and Kutuzov amaze with their integrity. But in the portrait gallery created by Tolstoy in War and Peace, there is a character that does not fit into any of the listed categories. This is a lyrical character main character epic, Natasha Rostova.

Does she belong to the “life-wasters”? It is impossible to even imagine this. With her sincerity, with her heightened sense of justice! Does it relate to " ordinary people", like your relatives, Rostov? In many ways, yes; and yet it is not without reason that both Pierre and Andrei seek her love, are drawn to her, and stand out from the crowd. At the same time, you can’t call her a truth-seeker. No matter how much we re-read the scenes in which Natasha acts, we will not find anywhere a hint of the search for a moral ideal, truth, truth. And in the Epilogue, after marriage, she even loses the brightness of her temperament, the spirituality of her appearance; baby diapers replace what Pierre and Andrei give to reflection on the truth and the purpose of life.

Like the rest of the Rostovs, Natasha is not endowed sharp mind; when in chapter XVII of part four of the last volume, and then in the Epilogue we see her next to the emphatically intelligent woman Marya Bolkonskaya-Rostova, this difference is especially striking. Natasha, as the narrator emphasizes, simply “didn’t deign to be smart.” But she is endowed with something else, which for Tolstoy is more important than the abstract mind, more important even than truth-seeking: the instinct of knowing life through experience. It is this inexplicable quality that brings Natasha’s image very close to the “sages”, primarily to Kutuzov, despite the fact that in all other respects she is closer to ordinary people. It is simply impossible to “attribute” it to one particular category: it does not obey any classification, it breaks out beyond any definition.

Natasha, “dark-eyed, with a big mouth, ugly, but alive,” is the most emotional of all the characters in the epic; That’s why she is the most musical of all Rostovs. The element of music lives not only in her singing, which everyone around recognizes as wonderful, but also in Natasha’s voice itself. Remember, Andrei’s heart trembled for the first time when he heard Natasha’s conversation with Sonya on a moonlit night, without seeing the girls talking. Natasha's singing heals brother Nikolai, who falls into despair after losing 43 thousand, which ruined the Rostov family.

From the same emotional, sensitive, intuitive root grow both her egoism, fully revealed in the story with Anatoly Kuragin, and her selflessness, which is manifested both in the scene with carts for the wounded in burning Moscow, and in the episodes where she is shown caring for a dying man Andrey, how he cares for his mother, shocked by the news of Petya’s death.

A main gift, which is given to her and which raises her above all other heroes of the epic, even the best, is a special gift of happiness. They all suffer, suffer, seek the truth, or, like the impersonal Platon Karataev, affectionately possess it. Only Natasha unselfishly enjoys life, feels its feverish pulse and generously shares her happiness with everyone around her. Her happiness is in her naturalness; That’s why the narrator so harshly contrasts the scene of Natasha Rostova’s first ball with the episode of her meeting and falling in love with Anatoly Kuragin. Please note: this acquaintance takes place in the theater (volume II, part five, chapter IX). That is, where play and pretense reign. This is not enough for Tolstoy; he forces the epic narrator to “descend” down the steps of emotions, use sarcasm in descriptions of what is happening, and strongly emphasize the idea of ​​​​the unnatural atmosphere in which Natasha’s feelings for Kuragin arise.

It is not without reason that the most famous comparison"War and Peace". At that moment when Pierre, after a long separation, meets Rostova together with Princess Marya, he does not recognize Natasha, - and suddenly “the face, with attentive eyes, with difficulty, with effort, like a rusty door opening, - smiled, and from this open door suddenly it smelled and doused Pierre with forgotten happiness... It smelled, enveloped and absorbed him all” (volume IV, part four, chapter XV).

But Natasha’s true calling, as Tolstoy shows in the Epilogue (and unexpectedly for many readers), was revealed only in motherhood. Having gone into children, she realizes herself in them and through them; and this is no coincidence: after all, the family for Tolstoy is the same cosmos, the same holistic and saving world, like the Christian faith, like the life of the people.