Analysis of Pierre's sleep 4 vol. The composition "Prophetic Dream" Nikolenka in the epilogue of the novel "War and Peace

In 1869, Leo Tolstoy completed his work "War and Peace". The epilogue, a summary of which we will describe in this article, is divided into two parts.

First part

The first part tells about the following events. 7 years have passed since the war of 1812, described in the work "War and Peace". The heroes of the novel have changed both externally and internally. We will talk about this by analyzing the epilogue. In the 13th year, Natasha married Pierre Bezukhov. Ilya Andreevich, Count, died at the same time. old family fell apart with his death. The money affairs of the Rostovs are completely upset. However, Nikolai does not refuse the inheritance, as he sees an expression of reproach to the memory of his father in this.

The ruin of the Rostovs

The ruin of the Rostovs is described at the end of the work "War and Peace" (epilogue). Summary The events that make up this episode are as follows. For half the price, the estate was sold at auction, which covered only half of the debts. Rostov, in order not to end up in a debt hole, enters the soldier's service in St. Petersburg. He lives here in a small apartment with Sonya and his mother. Nikolai Sonya appreciates it very much, he believes that he is in unpaid debt to her, but he understands that he could not love this girl. The position of Nikolai is getting worse. However, he is disgusted by the thought of marrying a rich woman.

Meeting of Nikolai Rostov with Princess Marya

Princess Marya visits the Rostovs. Nikolai greets her coldly, showing with all his appearance that he does not need anything from her. After this meeting, the princess feels in an uncertain position. She wants to understand what Nikolai is covering up with such a tone.

He makes a return visit to the princess under the influence of his mother. Their conversation turns out to be strained and dry, but Marya feels that this is only an outer shell. The soul of Rostov is still beautiful.

Marriage of Nicholas, management of the estate

The princess finds out that he behaves this way out of pride, since he is poor, and Marya is rich. In the fall of 1814, Nikolai married the princess and together with her, Sonya and his mother went to live in the Bald Mountains estate. He devoted himself entirely to the household, in which the main thing is the male worker. Having become related to the peasants, Nikolai begins to skillfully manage the economy, which brings brilliant results. Men come from other estates with a request to buy them. Even after the death of Nicholas, the people keep the memory of his administration for a long time. Rostov is getting closer and closer to his wife, discovering new treasures of her soul every day.

Sonya is in Nikolai's house. For some reason, Marya cannot suppress her evil feelings towards this girl. Somehow Natasha explains to her why Sonya's fate is as follows: she is a "barren flower", something is missing in her.

How has Natasha Rostova changed?

The work "War and Peace" (epilogue) continues. Summary of it further developments such. There are three children in the Rostovs' house, and Marya is waiting for another addition. Natasha is staying with her brother with four children. The return of Bezukhov, who left for St. Petersburg two months ago, is expected. Natasha has gained weight, it is now difficult to recognize her former girl in her.

Her face has an expression of calm "clarity" and "softness". All who knew Natasha before marriage are surprised at the change that has taken place in her. Only the old countess, who understood with a maternal instinct that all the impulses of this girl pursued the goal only of getting married, starting a family, wonders why others do not understand this. Natasha does not take care of herself, she does not follow her manners. For her, the main thing is serving the house, children, and husband. Very demanding of her husband, this girl is jealous. Bezukhov submits completely to the requirements of his wife. He has the whole family in return. Natasha Rostova not only fulfills her husband's wishes, but also guesses them. She always shares the mindset of her husband.

Bezukhov's conversation with Nikolai Rostov

Pierre feels happy in marriage, seeing himself reflected in own family. Natasha misses her husband, and now he arrives. Bezukhov tells Nikolai about the latest political news, says that the sovereign does not delve into any matters, the situation in the country is tense to the limit: a coup is being prepared. Pierre believes that it is required to organize a society, possibly illegal, in order to benefit people. Nicholas disagrees. He says he took an oath. Different opinions are expressed about the future path of the country's development in the work "War and Peace" by the characters Nikolai Rostov and Pierre Bezukhov.

Nikolay discusses this conversation with his wife. He considers Bezukhov a dreamer. Nicholas has enough of his own problems. Marya notices some limitations of her husband, knows that he will never understand what she understands. From this, the princess loves him more, with a touch of passionate tenderness. Rostov, on the other hand, admires his wife's desire for the perfect, eternal and infinite.

Bezukhov is talking to Natasha about important things ahead of him. According to Pierre, Platon Karataev would approve of him and not his career, because he wanted to see peace, happiness and good looks in everything.

Dream of Nikolenka Bolkonsky

During the conversation between Pierre and Nikolai, Nikolenka Bolkonsky was present. The conversation made a deep impression on him. The boy adores Bezukhov, idolizes him. He also considers his father a kind of deity. Nikolenka sees a dream. He goes with Bezukhov in front of a large army and approaches the goal. Uncle Nikolai suddenly appears in front of them in a formidable pose, ready to kill anyone who moves forward. The boy turns around and notices that next to him is no longer Pierre, but Prince Andrei, his father, who caresses him. Nikolenka decides that his father was affectionate with him, approved of him and Pierre. They all want the boy to study and he will do it. And one day everyone will admire him.

Second part

Once again, Tolstoy talks about historical process. Kutuzov and Napoleon ("War and Peace") are two key historical figures in the work. The author says that history is not made by a person, but by the masses, who are subject to common interests. This was understood by the Commander-in-Chief Kutuzov ("War and Peace") described earlier in the work, who preferred the strategy of non-intervention to active actions. It was thanks to his wise command that the Russians won. In history, a person is important only to the extent that he accepts and understands popular interests. Therefore, Kutuzov ("War and Peace") - significant person in history.

The role of the epilogue in the composition of the work

In the composition of the novel, the epilogue is essential element in an ideological sense. It is he who carries a huge semantic load in the design of the work. Lev Nikolaevich sums up, touching on pressing topics such as family.

Family thought

The idea of the spiritual foundations of the family as an external form of uniting people received a special expression in this part of the work. As if the differences between spouses are erased in it, the limitations of souls are complemented in communication between them. The epilogue of the novel develops this idea. Such, for example, is the family of Marya and Nikolai Rostov. In it, in a higher synthesis, the principles of the Bolkonskys and the Rostovs are combined.

In the epilogue of the novel, a new family gathers, which combines Bolkon, Rostov, and through Bezukhov, traits that were heterogeneous in the past. As the author writes, several different worlds that merged into a harmonious whole.

It is no coincidence that this new family, which includes such interesting and different images("War and Peace"). It was the result of national unity born of the Patriotic War. In this part of the work, the connection between the general and the individual is affirmed in a new way. 1812 in the history of Russia brought more high level communication between people, having removed many class restrictions and barriers, led to the emergence of broader and more complex family worlds. In the Bald Mountain family, as in any other, disputes and conflicts sometimes arise. But they only strengthen relations, have a peaceful character. Women, Marya and Natasha, are the guardians of its foundations.

Folk thought

At the end of the epilogue are philosophical reflections the author, in which Lev Nikolaevich again discusses the historical process. In his opinion, history is not made by a person, but by the masses, who express common interests. Napoleon ("War and Peace") did not understand this, and therefore lost the war. This is what Leo Tolstoy thinks.

Ends the last part works "War and Peace" - an epilogue. We have tried to make it brief and concise. This part of the work sums up the entire large-scale creation of Leo Tolstoy. "War and Peace", the characteristics of the epilogue of which we have presented, is a grandiose epic, which was created by the author from 1863 to 1869.

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

60s XIX years centuries in Russia became the period of the highest activity of the peasant masses, the rise of the social movement. Central theme Literature of the 60s became the theme of the people. This topic, as well as contemporary problems of Tolstoy, are considered by the writer through the prism of history. Researchers of Tolstoy's work disagree on the question of what, in fact, Tolstoy meant by the word "people" - the peasants, the nation as a whole, the merchants, the bourgeoisie, the patriotic patriarchal nobility. Of course, all these layers are included in Tolstoy's understanding of the word "people", but only when they are the bearers of morality. Everything that is immoral is excluded by Tolstoy from the concept of "people".

2. Philosophy of history, images of Kutuzov and Napoleon

Tolstoy, in his work, affirms the decisive role of the masses in history. In his opinion, the actions of the so-called "great people" do not have a decisive influence on the course of historical events. The question of the role of the individual in history is raised at the beginning of the third volume (Part One, Chapter One):

In relation to the history of personality in more acts unconsciously rather than consciously;
Man is more free personal life than in public;
The higher a person stands on the steps of the social ladder, the more obvious is the predestination and inevitability in his fate;

Tolstoy concludes that "The Tsar is the slave of history." Tolstoy's contemporary historian Bogdanovich first of all pointed out the decisive role of Alexander the Great in the victory over Napoleon, and generally discounted the role of the people and Kutuzov. Tolstoy, on the other hand, set himself the task of debunking the role of the tsars and showing the role of the masses of the people and the popular commander Kutuzov. The writer reflects in the novel the moments of Kutuzov's inactivity. This is explained by the fact that Kutuzov cannot dispose of historical events at his own will. On the other hand, it is given to him to realize the actual course of events in the implementation of which he participates. Kutuzov cannot understand the world-historical meaning of the war of 1812, but he is aware of the significance of this event for his people, that is, he can be a conscious conductor of the course of history. Kutuzov himself is close to the people, he feels the spirit of the army and can manage this great power(Kutuzov's main task during the Battle of Borodino was to raise the spirit of the army). Napoleon is devoid of understanding of current events, he is a pawn in the hands of history. The image of Napoleon personifies extreme individualism and selfishness. The selfish Napoleon acts like a blind man. He is not great person, he cannot determine the moral meaning of the event due to his own limitations. Tolstoy's innovation consisted in the fact that he introduced a moral criterion into history (a polemic with Hegel).

3. "People's thought" and the forms of its implementation

The path of ideological and moral growth leads goodies to rapprochement with the people (not a break with one's own class, but moral unity with the people). Heroes are tested patriotic war. Independence privacy from the political game of the tops emphasizes the indissoluble connection of the heroes with the life of the people. The viability of each of the heroes is tested by the "thought of the people." She helps Pierre Bezukhov discover and show his best qualities; Andrei Bolkonsky is called "our prince"; Natasha Rostova takes out carts for the wounded; Marya Bolkonskaya rejects Mademoiselle Bourienne's offer to remain in Napoleon's power. Along with true nationality, Tolstoy also shows pseudo-nationality, a fake for it. This is reflected in the images of Rostopchin and Speransky (specific historical persons), who, although they try to assume the right to speak on behalf of the people, have nothing to do with it. Tolstoy did not need a large number images from the common people (one should not confuse nationality and common people). Patriotism is a property of the soul of any Russian person, and in this respect there is no difference between Andrei Bolkonsky and any soldier of his regiment. Close to the people is Captain Tushin, whose image combines "small and great", "modest and heroic". Often the participants of the campaign are not named by name at all (for example, “drummer-singer”). Subject people's war finds its vivid expression in the image of Tikhon Shcherbaty. The image is ambiguous (the murder of the "language", the "Razin" beginning). The image of Platon Karataev is also ambiguous, in the conditions of captivity he again turned to his origins (everything “superficial, soldierly” falls off him, remains peasant). Watching him, Pierre Bezukhov realizes that living life the world is beyond all philosophizing, and that happiness is in itself. However, unlike Tikhon Shcherbaty, Karataev is hardly capable of decisive action, his good looks lead to passivity.

In the scenes with Napoleon, Tolstoy uses the technique of satirical grotesque: Napoleon is overwhelmed with self-adoration, his thoughts are criminal, his patriotism is false (episodes with Lavrushka, awarding the soldier Lazarev with the Order of the Legion of Honor, a scene with a portrait of his son, a morning toilet in front of Borodin, waiting for the deputation of the "Moscow boyars") . An undisguised irony is also imbued with the depiction of the life of other people, also far from the people - regardless of their nationality (Alexander the First, Anna Pavlovna Sherer, the Kuragin family, Bergi, Drubetsky, etc.).

The path of heroes belonging to the aristocracy to spiritual unity with the people is depicted by Tolstoy in its inconsistency and ambiguity. The writer ironically describes the delusions and self-deception of the heroes (Pierre's trip to the southern estates, idealistic fruitless attempts at innovations; the peasants' revolt in Bogucharovo, Princess Mary's attempt to distribute the master's bread, etc.).

4. Historical and philosophical digressions

In the work, the artistic narrative proper is at times interrupted by historical and philosophical digressions, similar in style to journalism. Pathos philosophical digressions Tolstoy is directed against liberal-bourgeois military historians and writers. According to Tolstoy, "the world denies war" (for example, a description of the dam that Russian soldiers see during the retreat after Austerlitz - ruined and ugly, and comparing it in Peaceful time- immersed in greenery, neat and rebuilt). Tolstoy raises the question of the relationship between the individual and society, the leader and the masses (Pierre’s dream after Borodin: he dreams of the deceased Bazdeev (the freemason who introduced him to the lodge), who says: “War is the most difficult subordination of human freedom to the laws of God ... Nothing a person can own while he is afraid of death, and whoever is not afraid of it, everything belongs to him ... prayed for the icon. It seems to Pierre that there is no better life than to be a simple soldier and do business, and not reason like his former acquaintances, whom he also sees in a dream. Another dream is on the eve of his release from captivity, after the death of Karataev. The old teacher Geography shows Pierre a globe, which is a huge, oscillating ball: "The entire surface of the ball consisted of drops tightly compressed between each other. And all these drops moved, moved, and then merged from several into one, then from one they were divided into many. Every drop aspired... to seize greatest space... “Here is life,” said the old teacher ... “God is in the middle, and each drop seeks to expand in order to largest sizes reflect it...*). Tolstoy is not a fatalist historian. In his work, the question of the moral responsibility of a person is particularly acute - historical figure and every person - before history. According to Tolstoy, a person is the less free, the closer he is placed to power, but also private person not single. Tolstoy emphasizes that one must be able to go broke for the sake of defending the Fatherland, as the Rostovs do, to be ready to give everything, to sacrifice everything, as Pierre Bezukhov knows how, but eminent merchants and noble nobility who came to the building of the noble assembly do not know how.

Each person, with the onset of night, inevitably plunges into the power of dreams and dreams. Dreams are an integral part of our existence, the voice of our own “I”, which, at an unknown hour of the night, tries to explain what we see, feel, and experience in reality. In literary works, the dreams of heroes often anticipate the onset of turning points in the course of events.

In the novel by L.N. Tolstoy's "War and Peace" we see that dreams are inextricably linked with the life, soul and fate of the main characters - Andrei Bolkonsky and Pierre Bezukhov. These people are extremely wealthy. inner world, broad and receptive soul and, finally, exceptional fortitude. That is probably why the dreams of these people are very vivid and figurative, and, of course, they carry a certain symbolism.

Prince Andrei is seriously wounded on the Borodino field. From the novel we see how he suffers from pain and what physical torments he has to endure. But at the same time, despite all the suffering, the soul of Andrei Bolkonsky is occupied with thoughts about the true nature of happiness: “Happiness, which is outside the material forces, outside the material external influences on a person, the happiness of one soul, the happiness of love!”. The fruit of these reflections was Andrei's dream, more like delirium. In it, he saw how “a strange airy building of thin needles or splinters was erected above his face. He felt that he had to diligently keep his balance so that the building that was being erected would not collapse; but it still collapsed and slowly rose up again.

It seems to me that the building erected before the eyes of Prince Andrei is a symbol of love that awakens and grows in his soul. This love leads to a change in Bolkonsky's worldview, to his spiritual renewal, a deeper understanding of the meaning of life and himself. However, as we see from the description of the dream, Andrei's "building" of love is built of "needles" - it is still unstable, fragile and at the same time burdensome for him. In other words, the ideals of love and happiness have not yet fully established themselves in his soul and fluctuate under the influence of the torment and suffering that he endured, and in general under the influence of the circumstances of life.

One of the important symbols of this dream is the fly that hit the building. Depicting the new "world" of Andrei Bolkonsky as wavering, L.N. Tolstoy nevertheless speaks of its inviolability: "... hitting the very area of the building erected on its face, the fly did not destroy it." Compared to the magnificent “building” of love, everything else seems unimportant, small, insignificant, like the notorious fly.

There is another one in Bolkonsky's dream key moment- "the statue of the sphinx, which also crushed him." Of course, the sphinx is associated with the image of Natasha Rostova, which remains unsolved for Prince Andrei. At the same time, the sphinx personifies the incompleteness of their relationship, which internally burdened the prince, became unbearable for him.

Through images and visions, Andrei's dream confirmed understanding in his soul. true love: “To love everything is to love God in all manifestations ... Loving human love You can go from love to hate, but divine love cannot change.” Under the influence of sleep, Prince Andrei realized how much he loved Natasha, felt “the cruelty of his break with her,” and from that moment on, the “sphinx” stopped crushing him.

So we see what this dream symbolizes crucial moment in the life of Andrei Bolkonsky.

The path of his friend Pierre Bezukhov is also a path of discovery and disappointment, a complex and dramatic path. Like Andrei Bolkonsky, in Pierre's dreams the main milestones of his path are indicated. He is more impressionable, more subtle, has a more sensitive and receptive soul than his friend. He is constantly looking for the meaning of life and life truth which is reflected in his dreams.

After the Battle of Borodino, Pierre hears in a dream the voice of his Mason mentor: “Simplicity is obedience to God, you can’t get away from him. And they are simple. They don't talk, they do." By this moment, Pierre was already close to understanding who “they” were: “They were soldiers in Pierre’s concept - those who were on the battery, and those who fed him, and those who prayed to the icon.” When Bezukhov recalls his fear, he feels that he cannot connect with the soldiers and live the way they live: “But although they were kind, they did not look at Pierre, did not know him.” However, in a dream, a new truth is revealed to him: “It is not necessary to connect all this, but it is necessary to conjugate!”. To conjugate means to correlate, compare, compare oneself with those who in a dream were called the word “they”. This truth is what Pierre is striving for. From his dream we see that he discovers for himself one of the laws of being and becomes one step higher in his spiritual development.

Pierre sees his second dream after the murder of Karataev. It is obvious that it is connected with the previous dream, where the point in the spiritual search was still not set. After all, Pierre faced a new question: “How to match everything?”.

Pierre recalls Karataev's thoughts: “Life is everything. Life is God... To love life, to love God...”. In his second dream, Bezukhov sees an old geography teacher and an unusual globe - "a living, oscillating ball that has no dimensions." This globe is the personification of life, that is, God. The symbolism of this globe is deeply revealed in the words of the teacher: “In the middle, God and every drop strives ... to reflect him in the largest size and grows, merges ... goes into the depths and emerges again.” Here the idea is expressed that God is the basis of everything that exists, and people are just drops that seek to reflect it. The dream helps Pierre to understand that no matter how the drop people grow and grow, they will always be only a part of the great, a part of God.

This is, in my opinion, the symbolism of dreams in the novel by L.N. Tolstoy "War and Peace". With its help, the author managed to reveal the images of the characters more deeply, to show their internal dynamics. It seems to me that dreams unusually enliven the novel, make it more interesting.

In the light of this interrogative study of each other, it is important to note the development of the feeling sought the day before and named after the meeting with Bolkonsky "hidden warmth of patriotism." Bezukhov most closely studies how in the mass hero, for all his internal differentiation, a change in mood, assessments of events is manifested either implicitly or clearly and definitely, how mass inspiration, accumulating, passes into the energy of action. “More and more often, brighter and brighter, flashed on the faces of all these people ... lightning of a hidden, flaring fire. Pierre did not look forward to the battlefield and was not interested in knowing what was happening there: he was all absorbed in contemplating this, more and more burning fire, which in the same way (he felt) flared up in his soul.

However, the initial discrepancy between value systems and skills military service, perhaps the most natural type of personality - peaceful or military, is concentrated here in Pierre's almost physical irrelevance on the battlefield:

“- Why does he ride in the middle of the battalion! - shouted at him one ";

“- What does this one drive in front of the line? - someone shouted at him again ”;

“Why did you come here, count? he told him with a smile. Are you all curious?

“The adjutant looked back at Pierre, as if not knowing what he should do with him now.

Don't worry, said Pierre. - I'll go to the barrow, - can I?

“The appearance of the non-military figure of Pierre in a white hat at first unpleasantly struck these people”;

"... a feeling of unfriendly bewilderment towards him began to turn into affectionate and playful participation."

The astonished misunderstanding of what is happening, the surprised discrepancy between Pierre and death games takes on an almost grotesque character:

“Why didn’t they bring it up? - Pierre began [about the murdered]”;

“- You, apparently, are not used to riding, count? asked the adjutant.

No, nothing, but something she jumps a lot, - Pierre said in bewilderment.

Eh! .. Yes, she is wounded ... ”;

But in the exaggeration of Pierre’s personal misunderstanding of the meaning and course of the massacre, the absurdity and unnaturalness of the war as such is exposed: “Suddenly something happened; the officer gasped and, curling up, sat down on the ground ... Everything became strange, unclear and cloudy in Pierre's eyes ”; “Pierre did not have time to understand what kind of people they were. He saw the senior colonel ... - and saw something else strange.

The strange situation developed into the mutual captivity of Pierre and the Frenchman, which reflects the lack of personal reasons for specific people to kill a stranger, which is repeated in any war, and the uncertainty, the duality of victory in the Battle of Borodino itself: “A few seconds they both frightened eyes looked at faces that were strangers to each other, and both were at a loss about what they had done and what they should do. "Am I taken prisoner, or is he taken prisoner by me?" thought each of them.

Pierre had many questions about what was happening on the Borodino field (as well as about the war in general, discussed yesterday with Bolkonsky, as well as about the right to kill, rechecked throughout his life), and only one answer broke through: “No, now they will leave it, now they will be horrified at what they have done!” This is the answer to war: “No!”.

But another answer of the hero is also important. From the ruined family circle» barrow battery Pierre will enter new circle- evening party on the side of the Mozhaisk road - and Borodin will end the day with another answer that determines the movement of his future destiny. "Well, did you find yours?" The answer is not verbally manifested, but the context reads, if not a convinced "yes", then the certainty of the direction of the search for "ours". One can agree with A.A. Saburov that from that moment on, the question that arose before Pierre back in Torzhok and which confronted him with even greater certainty on the eve of 1812 begins to degenerate into an answer: the solution of a personal question (“Where can I go?”) is achieved by participation in common cause. Let's add: in a common cause, but only a genuine one, dictated by life itself, and not by the games of the mind or ambition. This issue has been resolved in deeds, not in words. Evidence of finding “ours” is not only communication “for you”, but also the feeling of internal equality of people, manifested in the answer to oneself: “We must give them!” thought Pierre, taking hold of his pocket. “No, don’t,” a voice told him. By the way, even at the beginning of this scene around the fire, the movement of Bezukhov’s answers to soldier questions draws our attention back to psychological features his communication. Pierre's freedom from the dictates of form and the unconditionality, the truth of his tact are especially clearly manifested here.

“Which one are you from? one of the soldiers suddenly turned to Pierre, obviously meaning by this question what Pierre thought, namely: if you want to eat, we will give, just tell me, are you an honest person?

I? me? .. - said Pierre, feeling the need to minimize his social status to be closer and more understandable for the soldiers. We have already noticed how independent Bezukhov is from the situation, he does not “correct” with social stereotypes, he is ready to be inappropriate and funny. It was precisely because of his freedom from form that he gave a close answer a day earlier: “Are you one of the doctors? - No, I am. The manifestation of Pierre's tact is also important as "the ability to instantly navigate in microsituations, mental focus on the other and an instant reaction in his favor." That is, Bezukhov's true tact is based on the impulse to "give" and not "take", as in the manipulations of the secular tact of Elea or Drubetskoy. Even more important is the absolute manifestation of this ability, its focus on anyone, and not on the chosen one, i.e. for a profitable one. Pierre feels "The need to belittle his social position in order to be closer and more understandable to the soldiers."

This is an orientation towards the interest of the interlocutor, but it also mirrors the internal movement towards simplicity that has begun (“they are simple” - the main impression about Borodin’s soldiers, which will appear in Pierre’s dream), also reflects the impulse to spiritual unity with them as “The desire to radically update one’s cognitive skill". Simplicity becomes a kind of measure of truth. Karataev is not yet in Bezukhov’s life, and the search for “Karataevshchina” has already begun. The hero strives for what is naturally given, for example, to Tolstoy's Kutuzov and Natasha - to have a connection with the general, it is natural to build in the personal (Natasha's dance). This is probably why the question arises in Pierre’s Mozhaisk dream: “Enter common life whole being, to be imbued with what makes them so [solid, calm, simple]. But how to throw off everything superfluous, diabolical, all the burden of this external person? In this desire to lose a sense of isolation, painful pride and "bring one's will in line with the highest expediency and feel necessary in universal harmony," one of the central questions of life grows - about the relationship between freedom and necessity. The truth that eluded Pierre upon awakening will be the subject of analysis by the author himself in the epilogue, and later in the Confession. The idea of going beyond the limits of the “external”, egoistic person and life not by personal passions, but by the interests of other people, already arose in communication with the “benefactor”. Pierre “looks back” at his previous experience: “But he died? thought Pierre. - Yes, he died; but I didn't know he was alive..." Now the simplicity of the soldiers and Bazdeev's "ethically animated thought" are combined into "they" and are opposed to the world of secular noise. Always, according to the way of his thinking, uniting personal, social, world phenomena in one row (for example, calculation according to the Apocalypse), Pierre hears in a dream the desired answer: “To connect everything? Pierre said to himself. - No, do not connect. You can't combine thoughts, but match all these thoughts - that's what you need! Yes, need to match, need to match]". The dream that Pierre saw in Mozhaisk after communicating with those who "do not say, but do" reflects the hero's conviction in the need for "an intense spiritual search, a thirst for further reflection."

Probably, the conjugation of thought here can be understood as the conjugation of one's own intellectual experience and skill, the values of education and culture with the views and morality of people from the people; "The complexities and depths of spiritual life and consciousness with artless simplicity." This discovery of Pierre after Borodin, the answer that did not lend itself to final formulation, was, from the point of view of E.N. Kupreyanova, variant psychological decision the central issue in the work of L.N. Tolstoy - the question of the relationship between noble education and folk morality. "Match" - a worldview illuminated by the possibility of " spiritual revival his high intellect through his familiarization with the elements of folk morality.

IN AND. Kamyanov believes that this elusive "answer" of Pierre to himself also reflects the main subject of search for all the heroes of the epic - the law of conjugation of everything and himself with everything. Approximation to this desired is possible only in moments of crises and sharp moral shifts (regardless of the degree of development of the individual, such "initiation to the truth" is given to Prince Andrei, Petya Rostov, Natasha, Princess Marya). According to the researcher, the intense search for such a “conjugation” by many of Tolstoy’s heroes shows the desire of the writer himself to lead the reader away “From the equanimity of axiomatic thinking”, recalling the imperfection of any “fixed-rational schemes”, thus the writer invaded “traditional consciousness, more precisely, mass epistemological skill.

Among those requiring conjugation are life and death. What was seen on the field of Borodin and thought out, felt the day before, gives rise to an answer to yesterday's question about the strange carelessness of those going to death: “A person cannot own anything while he is afraid of death. And whoever is not afraid of her, everything belongs to him. Between "them" in this dream-response and Karataev in the next volume, there is a clear continuity. But acquaintance with the latter will lead to passive contemplation, and "they" will require an active conclusion: "Match!". The unambiguous understanding of this answer will slip away from Pierre along with his awakening, leaving the hero alone with despair: “No, I don’t want this, I don’t want to see and understand this, I want to understand what was revealed to me during sleep. One more second and I would understand everything. What am I to do? To match, but how to match everything? Not only in this episode, but in the whole novel, perhaps (from the point of view of V.I. Kamyanov and G.V. Krasnov), in the work and life of Tolstoy himself, this question “How to match everything?”, How to feel united with other people, whether the absolute unity is achievable for specific changing people, will remain open.

The "conjugating" answer must slip away, obviously, that's why he comes half asleep, restless, almost constantly interrupted by something. Several times approaching the solution of painful questions, the thought breaks off, never reaching the desired one. The very wording of the seemingly found explanation is provoked by the adjacent sounding “harness” coming through the slumber:

“- Yes, it is necessary to match, it's time to match.

It is necessary to harness, it is time to harness, Your Excellency!

As noted by A.A. Saburov, a random sound combination from real world obeys here the internal mental process, a form of manifestation, the disclosure of which is a dream in Tolstoy's text. (On the organizing and stimulating intrusion of external rhythm into the autocommunication of heroes literary works, including in dreams, wrote Yu.M. Lotman). On the same occasion, V.V. Vinogradov remarked: “L. Tolstoy sometimes peculiarly pushes the plan " internal monologue with the sound of external voices. Someone else's remark, involuntarily penetrating into the context inner speech, generates here its semantic echo. A peculiar apperception of strangers external words prepared by the entire previous course of inner thinking.

It is precisely in this way that in the analyzed episode, the impressions of the past day connected with a number of basic questions that concern the hero. In the dream, the work of thought continued, striving to combine new impressions with traditional moral conclusions. The “connection,” which Pierre has been thinking about for a long time, does not succeed, and a “pairing” that is polemical to him arises. G.Ya. Galagan emphasizes that it is the author himself who "opposes, introducing a problem the hero is not yet ready to solve." V.V. Yermilov very accurately described the role of the dreams of the epic characters as a concentration of conscious, semi-conscious and unconscious question-answer diversity: “... in Tolstoy, the heroes’ dreams are a bunch of topics associated with these heroes”, their aspirations and searches, not quite clear to themselves; and at the same time - a forecast of their future. Perhaps the author's choice of the external "harness" is due not only to consonance with the desired internal "conjugation", but also allows us to indicate the occurrence new topic in the development of the image of Bezukhov - the themes of labor and the road, the themes of overcoming.

About the features of dreams in the novel "War and Peace" it can be noted that this opportunity to look into the subconscious of the hero is given to the author and the reader, but the characters themselves, unlike those created by Dostoevsky, introspection of the subconscious, practically do not decipher their dreams, although development prospects, " the resources of movement” of the personality are revealed to them in a dream.

It is interesting that in this renewal, striving for the prospects of a renewing worldview and the skill of understanding the world, Pierre shows a multi-layered internal movements, in particular, a long-term visit to the house of the late Bazdeev V.I. Kamyanov calls " backtracking trends." Joyfully exciting at the beginning of 1812, the proximity coming catastrophe grew into a real test of the mind and soul, and therefore gave rise to nostalgia for conversations with the "benefactor". “Pierre left his home ... only because he was looking for peace from life's anxiety, and with the memory of Joseph Alekseevich, a world of eternal, calm and solemn thoughts was associated in his soul, completely opposite to the disturbing confusion into which he felt drawn” . V.I. Kamyanov: "He looks back at method, a chamber, "stationary" method of achieving spiritual harmony in a purely spiritual way, when ideas are consistent with ideas, ideas with ideas, outside of life's storms and faults. Pierre is attracted by the peaceful canon of achieving inner harmony, as well as the harmony of achieving spiritual ties with others. Graduate School of Consent with Open furious world he has not yet passed and subconsciously shy before her steep steps. Shy, looking around, but moving in line with the general wave of "warmth of patriotism." That is why he answers questions outwardly “out of place”, but internally - in accordance with the main personal interest, which coincides with the fundamental questions of the country's history. So he says to the Rostovs at the Sukharev tower:

“You were at the battle, did we hear?

Yes, I was... Tomorrow there will be another battle...”. The same thought leads him in reality when he is externally busy with the Mason's manuscripts:

"Would you like to release the driver?

Oh, yes, - Pierre said, waking up, getting up hastily ... - Listen, do you know that tomorrow there will be a battle? .. ". The desire to actively participate in opposing the invader is confirmed by the memories of " last days, in particular the Battle of Borodino and that irresistible feeling for him of his insignificance and deceit in comparison with the truth, simplicity and strength of that category of people who were imprinted in his soul under the name They", but the formal reason for this is sought "the idea of the cabalistic meaning of his name in connection with the name of Bonaparte." By the way, Natasha translates this idea from a dream into a program of action: “Are you staying? Oh, how good it is! - the thought flashed through his head that it would really be good ... to fulfill what was predetermined for him.

So the fate created by the author, for the second time, examines the “peaceful” nature of Bezukhov with the practical resolution of the right to kill declared in the first chapters of the novel. Easily given then, the answer once again “puts the question squarely” in practice. Researchers have said a lot about the author's concept of the image of Napoleon, and the ironic coloring of the episode of Pierre's "Napoleonic" plans to single-handedly decide the fate of the world by killing someone who seems to the author to be just a cog in the general structure of the movement of history was stated by many. Note that Tolstoy's conceptuality is most of all manifested in the parody of the remark of the madman Makar Bazdeev, who seized the Bezukhov pistol: “You Who? Bonaparte". Here the question-answer becomes a symbolic reflection of the author's concept of history.

crystal globe

Pierre Bezukhov from the novel "War and Peace" by Leo Tolstoy sees a crystal globe in a dream:

“This globe was a living, oscillating ball, without dimensions. The entire surface of the sphere 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 aspired to spread, to capture the largest space, but others, striving for the same, squeezed it, sometimes destroyed it, sometimes merged with it ... God is in the middle, and each drop seeks to expand in order to reflect him in the largest size. And it grows, and shrinks, and is destroyed on the surface, goes into the depths and emerges again.

Pierre Bezukhov

The aspiration of the drops to global merging, their readiness to contain the whole world - this is love, compassion for each other. Love as a complete understanding of all living things passed from Platon Karataev to Pierre, and from Pierre it should spread to all people. It became one of the innumerable centers of the world, that is, it became the world.

That is why Pierre laughs at the soldier guarding him with a rifle at the barn door: “He wants to lock me up, my infinite soul ...” This is what followed the vision crystal globe.

The epigraph of the novel about the need for the unity of all is not at all so banal. good people. The word "match", heard by Pierre in the second "prophetic" dream, is not accidentally combined with the word "harness". You have to harness it - you have to harness it. Everything that connects is the world; centers - drops, not striving for conjugation - this is a state of war, enmity. Enmity and alienation among people. It is enough to recall with what sarcasm Pechorin looked at the stars in order to understand what constitutes a feeling opposite to "conjugation".

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

Probably not without the influence of cosmology Tolstoy built later Vladimir Solovyov his metaphysics, where the Newtonian force of attraction was called "love", and the force of repulsion became known as "enmity".

War and peace, conjugation and decay, attraction and repulsion - these are two forces, or rather, two states of one space force, periodically overwhelming the souls of heroes Tolstoy. From state universal love(love for Natasha and the whole universe, all-forgiving and all-encompassing cosmic love at the hour of Bolkonsky's death) to the same general enmity and alienation (his break with Natasha, hatred and call to shoot prisoners before the Battle of Borodino). Such transitions are not characteristic of Pierre; he, like Natasha, is universal by nature. Fury against Anatole or Helene, the supposed assassination of Napoleon are superficial, without touching the depths of the spirit. Pierre's kindness is the natural state of his soul.

Pierre, Prince Andrei and Natasha Rostova at the ball

Pierre “saw” the crystal globe from the outside, that is, he went beyond the limits of the visible, visible space while still alive. He had a Copernican coup. Before Copernicus, people were in the center of the world, but here the universe turned inside out, the center became the periphery - many worlds around the "center of the sun". It is precisely this Copernican revolution that Tolstoy at the end of the novel:

“Since the law of Copernicus was found and proven, the mere recognition that it is not the sun that moves, but the earth, has destroyed the entire cosmography of the ancients ...

Just as for astronomy the difficulty of recognizing the movements of the earth was to renounce the immediate sense of the immobility of the earth and the same sense of the immobility of the planets, so for history the difficulty of recognizing the subjection of the individual to the laws of space, time and causes is to renounce the immediate sense of the independence of his personalities."

Pierre in a duel with Dolokhov

The ratio of unity to infinity is the ratio of Bolkonsky to the world at the moment of death. He saw everyone and could not love one. The relation of one to one is something else. This is Pierre Bezukhov. For Bolkonsky world disintegrated into an infinite number of people, each of whom was ultimately uninteresting to Andrei. Pierre in Natasha, in Andrei, in Platon Karataev, and even in a dog shot by a soldier, saw the whole world. Everything that happened to the world happened to him. Andrei sees countless soldiers - "meat for cannons." He is full of sympathy, compassion for them, but it is not his. Pierre sees one Plato, but the whole world is in him, and this is his.

The feeling of the convergence of the two sides of a diverging angle at a single point is very well conveyed in the "Confession" Tolstoy, where he very accurately conveys the discomfort of weightlessness in his sleepy flight, feeling somehow very uncomfortable in the infinite space of the universe, suspended on some kind of harness, until a sense of the center appeared, from where these aids come. This center, penetrating everything, was seen by Pierre in a crystal globe, so that, waking up from a dream, he could feel it in the depths of his soul, as if returning from a transcendental height.

So Tolstoy explained his dream in "Confessions" also after waking up and having also moved this center from the interstellar heights to the depths of the heart. The center of the universe is reflected in every crystal drop, in every soul. This crystal reflection is love.

War is someone else's, peace is ours. Pierre's crystal globe is preceded in the novel Tolstoy globe-ball, which is played by Napoleon's heir in the portrait. A world of war with thousands of accidents, really reminiscent of a game of bilbock. Globe - ball and globe - crystal ball - two images of the world. The image of a blind man and a sighted man, gutta-percha darkness and crystal light. A world obedient to the capricious will of one, and a world of unmerged, but united wills.

Pierre goes to watch the war

The artistic persuasiveness and integrity of such a cosmos does not require proof. The crystal globe lives, acts, exists as a kind of living crystal, a hologram that has absorbed the structure of the novel and the cosmos Lev Tolstoy.

"Light cobwebs - the reins of the Virgin", which connect people in prophetic dream Nikolenki, the son of Andrei Bolkonsky, will eventually unite in a single "center" of the crystal globe, somewhere out there, in space. Become a solid foundation for Tolstoy in his cosmic hovering over the abyss (a dream from "Confessions"). The tension of the "cosmic reins" - the feeling of love - is both the direction of movement and the movement itself. Tolstoy loved such simple comparisons as experienced rider, a lover of horseback riding and as a peasant following the plow. You wrote everything correctly, he will tell Repin about his painting “Tolstoy on Plowed Field”, only they forgot to give the reins in their hands.

Pierre at the battle of Borodino between the Russian army and Napoleon

In Pierre's crystal globe, the drops and the center are correlated in this way, in Tyutchev's style: "Everything is in me, and I am in everything."

IN late period the personality-unit was sacrificed to the "single" world. One can and should doubt the correctness of such a simplification of the world. Pierre's globe, as it were, grew dim, ceased to glow. Why do we need drops if everything is in the center? And where is the center reflected if there are no those crystal drops?

The cosmos of the novel "War and Peace" is the same unique and majestic structure as the cosmos " Divine Comedy» Dante and Faust Goethe. “Without the cosmology of the crystal globe, there is no romance,” says TO. Kedrov-Chelischev. This is something like a crystal casket in which the death of Koshchei is hidden. Here, everything in everything is the great principle of a synergistic double helix, diverging from the center and simultaneously converging towards it.

Pierre Reader

If Tolstoy portrayed dreams as a transformation of external impressions (for example, the dream of Pierre Bezukhov, who perceives the words of his wake-up servant “it’s time to harness” in a dream as a decision philosophical problem- "conjugate"), then Dostoevsky believed that in a dream the forgotten experiences of people emerge into spheres controlled by consciousness, and therefore through their dreams a person knows himself better. The dreams of heroes reveal their inner essence - one that their waking mind does not want to notice.