The image of Julie Kuragina. Arranged marriages (based on the novel L
These two, in many respects similar, women are opposed by ladies of high society, such as Helen Kuragina, Anna Pavlovna Scherer, Julie Kuragina. These women are similar in many ways. At the beginning of the novel, the author says that Helen, "when the story made an impression, looked back at Anna Pavlovna and immediately assumed the same expression that was on the face of the maid of honor." The most characteristic sign of Anna Pavlovna is the static nature of words, gestures, even thoughts: “The restrained smile that constantly played on Anna Pavlovna’s face, although it did not go to her obsolete features, expressed, like in spoiled children, the constant consciousness of her sweet shortcoming, from which she did not wants, cannot, does not find it necessary to get rid of. Behind this characteristic lies the author's irony and dislike for the character.
Julie is the same secular lady, "the richest bride in Russia", who received a fortune after the death of her brothers. Like Helen, who wears a mask of decency, Julie wears a mask of melancholy: “Julie seemed disappointed in everything, told everyone that she did not believe in friendship, or in love, or in any joys of life and expects calm only “there”. Even Boris, preoccupied with the search for a rich bride, feels the artificiality, the unnaturalness of her behavior.
So, women close to natural life, folk ideals, such as Natasha Rostova and Princess Marya Bolkonskaya, find family happiness after going through a certain path of spiritual and moral quest. And women who are far from moral ideals cannot experience real happiness because of their selfishness and commitment to the empty ideals of secular society.
1.1. "I'm still the same ... But there is another in me, .."
The novel "Anna Karenina" was created in the period 1873-1877. Over time, the idea has undergone great changes. The plan of the novel changed, its plot and compositions expanded and became more complicated, the characters and their very names changed. Anna Karenina, as millions of readers know her, bears little resemblance to her predecessor from the original editions. From edition to edition, Tolstoy spiritually enriched his heroine and morally elevated her, making her more and more attractive. The images of her husband and Vronsky (in the first versions he had a different surname) changed in the opposite direction, that is, their spiritual and moral level decreased.
But with all the changes that Tolstoy made to the image of Anna Karenina, and in the final text, Anna Karenina remains, in Tolstoy's terminology, both a "lost herself" and an "innocent" woman. She stepped back from her sacred duties as a mother and wife, but she had no other choice. Tolstoy justifies the behavior of his heroine, but at the same time, her tragic fate turns out to be inevitable.
In the image of Anna Karenina, the poetic motifs of "War and Peace" develop and deepen, in particular, they affected the image of Natasha Rostova; on the other hand, at times the harsh notes of the future Kreutzer Sonata are already breaking through in it.
Comparing "War and Peace" with "Anna Karenina", Tolstoy noted that in the first novel he "loved folk thought, and in the second - family thought." In "War and Peace" the immediate and one of the main subjects of the narrative was precisely the activities of the people themselves, who selflessly defended their native land, in "Anna Karenina" - mainly the family relations of the characters, taken, however, as derived from general socio-historical conditions. As a result, the theme of the people in Anna Karenina received a peculiar form of expression: it is given mainly through the spiritual and moral quest of the characters.
The world of goodness and beauty in Anna Karenina is much more closely intertwined with the world of evil than in War and Peace. Anna appears in the novel "seeking and giving happiness". But the active forces of evil stand in her way to happiness, under the influence of which, in the end, she dies. Anna's fate is therefore full of deep drama. The whole novel is also permeated with intense drama. The feelings of a mother and a loving woman experienced by Anna are shown by Tolstoy as equivalent. Her love and maternal feeling - two great feelings - remain unconnected for her. With Vronsky, she has an idea of herself as a loving woman, with Karenin - as an impeccable mother of their son, as a once faithful wife. Anna wants to be both at the same time. In a semi-conscious state, she says, turning to Karenin: “I am still the same ... But there is another in me, I am afraid of her - she fell in love with that one, and I wanted to hate you and could not forget about the one that was before. But not me. Now I'm real, I'm all." "All", that is, both the one that was before the meeting with Vronsky, and the one that she became later. But Anna was not yet destined to die. She had not yet had time to experience all the suffering that fell to her lot, she also had not had time to try all the roads to happiness, to which her life-loving nature was so eager. She could not become Karenin's faithful wife again. Even on the verge of death, she understood that it was impossible. She was also no longer able to endure the position of "lie and deceit".
Leo Tolstoy in the article “A few words about the book “War and Peace”” says that the names of the epic characters are consonant with the names of real people, because he “felt awkward” using the names of historical figures next to fictitious ones. Tolstoy writes that he "would be very sorry" if readers thought that he was deliberately describing the characters of real people, because all the characters are fictitious.
At the same time, there are two characters in the novel, to whom Tolstoy "unwittingly" gave the names of real people - Denisov and M. D. Akhrosimova. He did this because they were "characteristic faces of the time". Nevertheless, in the biographies of other characters in War and Peace, one can notice similarities with the stories of real people, which probably influenced Tolstoy when he worked on the images of his characters.
Prince Andrei Bolkonsky
Nikolay Tuchkov. (wikimedia.org)
The hero's surname is consonant with the surname of the Volkonsky princely family, from which the writer's mother came, however, Andrei is one of those characters whose image is more fictional than borrowed from specific people. As an unattainable moral ideal, Prince Andrei, of course, could not have a definite prototype. Nevertheless, in the facts of the character's biography, one can find a lot in common, for example, with Nikolai Tuchkov. He was a lieutenant general and, like Prince Andrei, was mortally wounded in the Battle of Borodino, from which he died in Yaroslavl three weeks later.
Nikolai Rostov and Princess Marya - the writer's parents
The scene of the wounding of Prince Andrei in the Battle of Austerlitz is probably borrowed from the biography of Staff Captain Fyodor (Ferdinand) Tizenhausen, Kutuzov's son-in-law. He, with a banner in his hands, led the Little Russian Grenadier Regiment in a counterattack, was wounded, captured and died three days after the battle. Also, the act of Prince Andrei is similar to the act of Prince Peter Volkonsky, who, with the banner of the Phanagoria regiment, led the brigade of grenadiers forward.
It is possible that Tolstoy gave the image of Prince Andrei the features of his brother Sergei. At least this applies to the story of the failed marriage of Bolkonsky and Natasha Rostova. Sergei Tolstoy was engaged to Tatyana Bers, the elder sister of Sophia Tolstaya (the writer's wife). The marriage never took place, because Sergei had been living with the gypsy Maria Shishkina for several years, whom he eventually married, and Tatyana married lawyer A. Kuzminsky.
Natasha Rostova
Sophia Tolstaya is the writer's wife. (wikimedia.org)
It can be assumed that Natasha has two prototypes at once - Tatyana and Sofya Bers. In the comments to War and Peace, Tolstoy says that Natasha Rostova turned out when he "reworked Tanya and Sonya."
Tatyana Bers spent most of her childhood in the writer's family and managed to make friends with the author of War and Peace, despite the fact that she was almost 20 years younger than him. Moreover, under the influence of Tolstoy, Kuzminskaya herself took up literary work. In her book “My Life at Home and in Yasnaya Polyana”, she wrote: “Natasha - he directly said that I didn’t live with him for nothing, that he was writing me off.” This can be found in the novel. The episode with Natasha's doll, which she offers Boris to kiss, is really written off from the real case, when Tatyana offered her friend to kiss Mimi's doll. She later wrote: "My big Mimi doll got into a novel!" The appearance of Natasha Tolstoy also wrote from Tatiana.
For the image of the adult Rostova - wife and mother - the writer probably turned to Sophia. Tolstoy's wife was devoted to her husband, gave birth to 13 children, she herself was engaged in their upbringing, housekeeping, and indeed rewrote War and Peace several times.
Rostov
In the drafts of the novel, the family's surname is first the Tolstoys, then the Simples, then the Plokhovs. The writer used archival documents to recreate the life of his family and depict it in the life of the Rostov family. There are similarities in names with Tolstoy's paternal relatives, as in the case of the old Count Rostov. This name hides the writer's grandfather Ilya Andreevich Tolstoy. This man, in fact, led a rather wasteful lifestyle and spent enormous sums on entertainment events. Leo Tolstoy in his memoirs wrote about him as a generous but limited person who constantly arranged balls and receptions on the estate.
Even Tolstoy did not hide the fact that Vasily Denisov is Denis Davydov
And yet this is not the good-natured Ilya Andreevich Rostov from War and Peace. Count Tolstoy was the governor of Kazan and a bribe taker known throughout Russia, although the writer recalls that his grandfather did not take bribes, and his grandmother took them secretly from her husband. Ilya Tolstoy was removed from his post after the auditors discovered the theft of almost 15 thousand rubles from the provincial treasury. The reason for the shortage was called "lack of knowledge in the position of the governor of the province."
Nikolai Tolstoy. (wikimedia.org)
Nikolai Rostov is the father of the writer Nikolai Ilyich Tolstoy. There are more than enough similarities between the prototype and the hero of War and Peace. Nikolai Tolstoy at the age of 17 voluntarily joined the Cossack regiment, served in the hussars and went through all the Napoleonic wars, including the Patriotic War of 1812. It is believed that the descriptions of military scenes with the participation of Nikolai Rostov were taken by the writer from the memoirs of his father. Nikolai inherited huge debts, he had to get a job as an educator in the Moscow military orphanage department. To remedy the situation, he married the ugly and withdrawn Princess Maria Volkonskaya, who was four years older than him. The marriage was arranged by the relatives of the bride and groom. Judging by the memoirs of contemporaries, the arranged marriage turned out to be very happy. Maria and Nikolai led a solitary life. Nikolai read a lot and collected a library on the estate, was engaged in farming and hunting. Tatyana Bers wrote to Sofya that Vera Rostova was very similar to Lisa Bers, Sophia's other sister.
Sisters Bers: Sophia, Tatyana and Elizabeth. (tolstoy-manuscript.ru)
Princess Mary
There is a version that the prototype of Princess Marya is the mother of Leo Tolstoy, Maria Nikolaevna Volkonskaya, by the way, also the full namesake of the book heroine. However, the writer's mother died when Tolstoy was less than two years old. There were no portraits of Volkonskaya, and the writer studied her letters and diaries in order to create her image for himself.
Unlike the heroine, the writer's mother had no problems with the sciences, in particular with mathematics and geometry. She learned four foreign languages, and, judging by Volkonskaya's diaries, she had a fairly warm relationship with her father, she was devoted to him. Maria lived for 30 years with her father in Yasnaya Polyana (Bald Mountains from the novel), but never married, although she was a very enviable bride. She was a closed woman and rejected several suitors.
Dolokhov's prototype probably ate his own orangutan
Princess Volkonskaya even had a companion - Miss Hanessen, somewhat similar to Mademoiselle Bourienne from the novel. After the death of her father, the daughter began to literally give away property. She gave part of the inheritance to her companion's sister, who had no dowry. After that, her relatives intervened in the matter, arranging the marriage of Maria Nikolaevna with Nikolai Tolstoy. Maria Volkonskaya died eight years after the wedding, having managed to give birth to four children.
Old Prince Bolkonsky
Nikolay Volkonsky. (wikimedia.org)
Nikolai Sergeevich Volkonsky - an infantry general who distinguished himself in several battles and received the nickname "King of Prussia" from his colleagues. In character, he is very similar to the old prince: proud, self-willed, but not cruel. He left the service after the accession of Paul I, retired to Yasnaya Polyana and took up raising his daughter. For days on end he improved his household and taught his daughter languages and sciences. An important difference from the character from the book: Prince Nikolai perfectly survived the war of 1812, and died nine years later, a little before reaching seventy. In Moscow, he had a house at Vozdvizhenka, 9. Now it has been rebuilt.
The prototype of Ilya Rostov is Tolstoy's grandfather, who ruined his career
Sonya
The prototype of Sonya can be called Tatyana Yergolskaya - the second cousin of Nikolai Tolstoy (the writer's father), who was brought up in his father's house. In their youth, they had an affair that never ended in marriage. Not only Nikolai's parents opposed the wedding, but Yergolskaya herself. The last time she rejected a marriage proposal from her cousin was in 1836. The widowed Tolstoy asked for the hand of Yergolskaya so that she would become his wife and replace the mother of five children. Ergolskaya refused, but after the death of Nikolai Tolstoy, she really took up the education of his sons and daughter, devoting the rest of her life to them.
Leo Tolstoy appreciated his aunt and maintained a correspondence with her. She was the first to collect and store the writer's papers. In his memoirs, he wrote that everyone loved Tatyana and “her whole life was love,” but she herself always loved one person - the father of Leo Tolstoy.
Dolokhov
Fedor Tolstoy is an American. (wikimedia.org)
Dolokhov has several prototypes. Among them, for example, lieutenant general and partisan Ivan Dorokhov, the hero of several major campaigns, including the war of 1812. However, if we talk about character, then Dolokhov has more similarities with the writer's cousin Fyodor Ivanovich Tolstoy, nicknamed "The American". He was famous in his time as a breter, gambler and lover of women. Dolokhov is also compared with officer A. Figner, who commanded a partisan detachment, participated in duels and hated the French.
Tolstoy is not the only writer to include the American in his work. Fedor Ivanovich is also considered the prototype of Zaretsky, Lensky's second from Eugene Onegin. Tolstoy got his nickname after he made a trip to America, during which he was put off the ship. There is a version that then he ate his own monkey, although Sergei Tolstoy wrote that this is not true.
Kuragins
In this case, it is difficult to talk about the family, because the images of Prince Vasily, Anatole and Helen are borrowed from several people who are not related by kinship. Kuragin Sr. is undoubtedly Alexei Borisovich Kurakin, a prominent courtier during the reigns of Paul I and Alexander I, who made a brilliant career at court and made a fortune.
Alexey Borisovich Kurakin. (wikimedia.org)
He had three children, exactly like those of Prince Vasily, of whom his daughter brought him the most trouble. Alexandra Alekseevna really had a scandalous reputation, especially her divorce from her husband made a lot of noise in the world. Prince Kurakin in one of his letters even called his daughter the main burden of his old age. Looks like a character from War and Peace, doesn't it? Although Vasily Kuragin spoke a little differently.
On the right is Alexandra Kurakina. (wikimedia.org)
Prototypes of Helen - the wife of Bagration and the mistress of a classmate of Pushkin
Anatoly Lvovich Shostak, the second cousin of Tatiana Bers, who courted her when she came to St. Petersburg, should be called the prototype of Anatol Kuragin. After that, he came to Yasnaya Polyana and annoyed Leo Tolstoy. In the draft notes of War and Peace, Anatole's surname is Shimko.
As for Helen, her image is taken from several women at once. In addition to some similarities with Alexandra Kurakina, she has much in common with Ekaterina Skvaronskaya (Bagration's wife), who was known for her careless behavior not only in Russia, but also in Europe, where she left five years after the wedding. At home, she was called the "Wandering Princess", and in Austria she was known as the mistress of Clemens Metternich, the empire's foreign minister. From him, Ekaterina Skavronskaya gave birth - of course, out of wedlock - a daughter, Clementine. Perhaps it was the "Wandering Princess" that contributed to the entry of Austria into the anti-Napoleonic coalition.
Another woman from whom Tolstoy could borrow Helen's traits is Nadezhda Akinfova. She was born in 1840 and was very famous in St. Petersburg and Moscow as a woman of scandalous reputation and riotous temper. She gained wide popularity thanks to an affair with Chancellor Alexander Gorchakov, a classmate of Pushkin. By the way, he was 40 years older than Akinfova, whose husband was the Chancellor's great-nephew. Akinfova also divorced her first husband, but she already married the Duke of Leuchtenberg in Europe, where they moved together. Recall that in the novel itself, Helen never divorced Pierre.
Ekaterina Skavronskaya-Bagration. (wikimedia.org)
Vasily Denisov
Denis Davydov. (wikimedia.org)
Every schoolchild knows that the prototype of Vasily Denisov was Denis Davydov - a poet and writer, lieutenant general, partisan. Tolstoy used the works of Davydov when he studied the Napoleonic Wars.
Julie Karagina
There is an opinion that Julie Karagina is Varvara Alexandrovna Lanskaya, the wife of the Minister of Internal Affairs. She is known exclusively for the fact that she had a long correspondence with her friend Maria Volkova. From these letters Tolstoy studied the history of the war of 1812. Moreover, they almost completely entered War and Peace under the guise of correspondence between Princess Marya and Julie Karagina.
Pierre Bezukhov
Peter Vyazemsky. (wikimedia.org)
Pierre has no obvious prototype, since this character has similarities both with Tolstoy himself and with many historical figures who lived during the time of the writer and during the Patriotic War.
However, some similarities can be seen with Peter Vyazemsky. He also wore glasses, received a huge inheritance, and participated in the Battle of Borodino. In addition, he wrote poetry, published. Tolstoy used his notes in his work on the novel.
Marya Dmitrievna Akhrosimova
In Akhrosimov's novel, she is the guest that the Rostovs are waiting for on Natasha's name day. Tolstoy writes that all of St. Petersburg and all of Moscow knows Marya Dmitrievna, and for her frankness and rudeness they call her "le terrible dragon."
The similarity of the character can be seen with Nastasya Dmitrievna Ofrosimova. This is a lady from Moscow, the niece of Prince Volkonsky. Prince Vyazemsky wrote in his memoirs that she was a strong, powerful woman who was very respected in society. The Ofrosimovs' estate was located in Chisty lane (Khamovniki district) in Moscow. It is believed that Ofrosimova was also the prototype of Khlestova in Griboyedov's Woe from Wit.
Estimated portrait of N. D. Ofrosimova by F. S. Rokotov. (wikimedia.org)
Lisa Bolkonskaya
Tolstoy wrote the appearance of Lisa Bolkonskaya from Louise Ivanovna Truson, the wife of his second cousin. This is evidenced by Sophia's signature on the back of her portrait in Yasnaya Polyana.
In Tolstoy's novel "War and Peace" a huge number of images pass before the reader. All of them are excellently depicted by the author, alive and interesting. Tolstoy himself divided his heroes into positive and negative, and not only into secondary and main ones. Thus, positivity was emphasized by the dynamism of the character's character, while static and hypocrisy indicated that the hero was far from perfect.
In the novel, several images of women appear before us. And they are also divided by Tolstoy into two groups.
The first includes female images that lead a false, artificial life. All their aspirations are aimed at achieving one single goal - a high position in society. These include Anna Scherer, Helen Kuragina, Julie Karagina and other representatives of high society.
The second group includes those who lead a true, real, natural way of life. Tolstoy emphasizes the evolution of these heroes. These include Natasha Rostova, Marya Bolkonskaya, Sonya, Vera.
The absolute genius of social life can be called Helen Kuragina. She was beautiful like a statue. And just as soulless. But in fashion salons, no one cares about your soul. The most important thing is how you turn your head, how gracefully you smile when you greet, and what an impeccable French accent you have. But Helen is not just soulless, she is vicious. Princess Kuragina is not marrying Pierre Bezukhov, but for his inheritance.
Helen was a master at luring men by tapping into their baser instincts. So, Pierre feels something bad, dirty in his feelings for Helen. She offers herself to anyone who is able to provide her with a rich life, full of secular pleasures: "Yes, I am a woman who can belong to anyone, and to you too."
Helen cheated on Pierre, she had a well-known affair with Dolokhov. And Count Bezukhov was forced, defending his honor, to shoot himself in a duel. The passion that clouded his eyes quickly passed, and Pierre realized what a monster he was living with. Of course, the divorce turned out to be a boon for him.
It is important to note that in the characterization of Tolstoy's favorite heroes, their eyes occupy a special place. The eyes are the mirror of the soul. Ellen doesn't have one. As a result, we learn that the life of this heroine ends sadly. She is dying of illness. Thus, Tolstoy passes judgment on Helen Kuragina.
Tolstoy's favorite heroines in the novel are Natasha Rostova and Marya Bolkonskaya.
Marya Bolkonskaya is not distinguished by beauty. She has the appearance of a frightened animal due to the fact that she is very afraid of her father, the old prince Bolkonsky. She has a "sad, frightened expression that rarely left her and made her ugly, sickly face even more ugly ...". Only one feature shows us her inner beauty: “the eyes of the princess, large, deep and radiant (as if rays of warm light sometimes came out of them in sheaves), were so good that very often ... these eyes became more attractive than beauty.”
Marya devoted her life to her father, being his indispensable support and support. She has a very deep connection with the whole family, with her father and brother. This connection is manifested in moments of spiritual upheaval.
A distinctive feature of Marya, as well as of her entire family, is high spirituality and great inner strength. After the death of her father, surrounded by French troops, the princess, heartbroken, nevertheless proudly rejects the offer of the French general for patronage and leaves Bogucharov. In the absence of men in an extreme situation, she alone manages the estate and does it wonderfully. At the end of the novel, this heroine marries and becomes a happy wife and mother.
The most charming image of the novel is the image of Natasha Rostova. The work shows her spiritual path from a thirteen-year-old girl to a married woman, a mother of many children.
From the very beginning, Natasha was characterized by cheerfulness, energy, sensitivity, a subtle perception of goodness and beauty. She grew up in the morally pure atmosphere of the Rostov family. Her best friend was the meek Sonya, an orphan. The image of Sonya is written out not so carefully, but in some scenes (the explanation of the heroine and Nikolai Rostov), the reader is struck by a pure and noble soul in this girl. Only Natasha notices that in Sonya "something is missing" ... In her, indeed, there is no liveliness and fire characteristic of Rostova, but the tenderness and meekness, so loved by the author, excuse everyone.
The author emphasizes the deep connection between Natasha and Sonya with the Russian people. This is a great praise for the heroines from their creator. For example, Sonya fits perfectly into the atmosphere of Christmas divination and caroling. Natasha "knew how to understand everything that was in Anisya, and in Anisya's father, and in her aunt, and in her mother, and in every Russian person." Emphasizing the folk basis of his heroines, Tolstoy very often shows them against the backdrop of Russian nature.
Natasha's appearance, at first glance, is ugly, but her inner beauty ennobles her. Natasha always remains herself, never pretends, unlike her secular acquaintances. The expression of Natasha's eyes is very diverse, as well as the manifestations of her soul. They are “radiant”, “curious”, “provocative and somewhat mocking”, “desperately lively”, “stopped”, “begging”, “scared” and so on.
The essence of Natasha's life is love. She, despite all the hardships, carries it in her heart and, finally, becomes the embodiment of Tolstoy's ideal. Natasha turns into a mother who is completely dedicated to her children and her husband. In her life there are no interests other than family. So she became truly happy.
All the heroines of the novel, to one degree or another, represent the worldview of the author himself. Natasha, for example, is a beloved heroine, because she fully meets the needs of Tolstoy himself for a woman. And Helen is "killed" by the author for not being able to appreciate the warmth of the hearth.
La mort est secourable et la mort est tranquille
Ah! contre les douleurs il n "y a pas d" autre asile
Aliment de poison d "une âme trop sensible,
Toi, sans qui le bonheur me serait impossible,
Tendre melancolie, ah! viens me consoler,
Viens calmer les tourments de ma sombre retraite
Et mêle une douceur secrete
A ces pleurs, que je sens couler.
"Rural trees, your dark boughs shake off gloom and melancholy on me"
Death is saving, and death is peaceful.
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Be poor, yes if you get it
Souls of a thousand two tribal,
That and the groom.
Pushkin's heroine, Tatyana Larina, speaks with deep sorrow about her marriage:
Me with tears of spells
Mother prayed for poor Tanya
All the lots were equal ...
The same sad thoughts are expressed by Baroness Shtral, the heroine of the drama "Masquerade" by Lermontov:
What is a woman? Her from her youth
In the sale of benefits, as a victim, they are removed.
As you can see, the analogy is complete, with the only difference being that the heroines of the cited works act as victims of vile high-society morality, while in Tolstoy, the principles of Prince Vasily are fully professed by his daughter Helen.
Tolstoy shows that the behavior of the daughter of Prince Vasily is not a deviation from the norm, but the norm of life of the society to which she belongs. Indeed, does Julie Karagina behave differently, having, thanks to her wealth, a sufficient choice of suitors; or Anna Mikhailovna Drubetskaya, placing her son in the guard? Even in front of the bed of the dying Count Bezukhov, Pierre's father, Anna Mikhailovna does not feel compassion, but fear that Boris will be left without an inheritance.
Tolstoy also shows Helen in family life. Family, children do not play a significant role in her life. Helen finds Pierre's words funny that spouses can and should be bound by feelings of heartfelt affection and love. Countess Bezukhova thinks with disgust about the possibility of having children. With surprising ease, she leaves her husband. Helen is a concentrated manifestation of complete lack of spirituality, emptiness, vanity.
Excessive emancipation leads a woman, according to Tolstoy, to a misunderstanding of her own role. In the salon of Helen and Anna Pavlovna Scherer, there are political disputes, judgments about Napoleon, about the position of the Russian army. A sense of false patriotism makes them speak exclusively in Russian during the period of the French invasion. High-society beauties have largely lost the main features that are inherent in a real woman.
Helen Bezukhova is not a woman, she is a superbe animal. No novelist has yet met this type of harlot of the big world, who loves nothing in life but her body, lets her brother kiss her shoulders, and does not give money, cold-bloodedly chooses her lovers, like dishes on a map, and is not such a fool, to wish to have children; who knows how to maintain the respect of the world and even acquire a reputation as an intelligent woman thanks to her air of cold dignity and social tact. This type can only be developed in the circle where Helen lived; this adoration of one's own body can only develop where idleness and luxury give full play to all sensual impulses; this shameless calm - where a high position, providing impunity, teaches to neglect the respect of society, where wealth and connections provide every means to hide intrigue and shut up chatty mouths.
Another negative character in the novel is Julie Kuragina. One of the acts in the general chain of selfish aspirations and actions of Boris Drubetskoy was his marriage to the middle-aged and ugly, but rich Julie Karagina. Boris did not love her and could not love her, but the Penza and Nizhny Novgorod estates did not give him peace. Despite his disgust for Julie, Boris proposed to her. Julie not only accepted the offer, but, admiring the handsome, young groom, forced him to express everything that is said in such cases, although she was convinced of the complete insincerity of his words. Tolstoy notes that “she could demand this for the Penza estates and Nizhny Novgorod forests, and she got what she demanded” Tolstoy L.N. Full coll. cit.: [Jubilee edition 1828 - 1928]: In 90 volumes. Series 1: Works. T. 10: War and peace. - M.: Goslitizdat, 1953. - S. 314. .
The arguments on this issue by M.A. Volkova in a letter to her friend, V.I. Lanskoy: “Before you said that wealth is the last thing in marriage; if you meet a worthy person and fall in love with him, then you can be content with small means and be a thousand times happier than those who live in luxury. So you argued three years ago. How your views have changed since you lived in luxury and vanity! Is it impossible to live without wealth? Are all those who have fifteen thousand a year really unhappy? Vestnik Evropy. - 1874. - No. 9. - S. 150. .
And elsewhere: “I know young people who have more than 15 thousand a year, who did not dare to marry girls, also not without a fortune, but, in their opinion, not rich enough for them; that is, they believe that it is impossible to live with a family without having from eighty to one hundred thousand incomes ”Vestnik Evropy. - 1874. - No. 9. - S. 156. .
It was considered necessary to have a luxurious house with beautiful and expensive furnishings, approximately the same as D. Blagovo describes in his notes: “Until 1812, the house was decorated according to the then very well stucco figures; the interior of the count's house: piece floors, gilded furniture; marble tables, crystal chandeliers, damask tapestries, in a word, everything was in proper order...” Grandmother's stories, from the memoirs of five generations, recorded and collected by her grandson D. Blagovo. - St. Petersburg, 1885. - S. 283. .
The house was furnished properly, otherwise you could quickly drop the reputation of your family name. But it was not only about luxurious surroundings, expensive dinners or outfits. All this, perhaps, could not cause such colossal expenses. It was also about burning life, in a card game, as a result of which whole fortunes were lost overnight. Tolstoy does not exaggerate at all, putting sad words about his riotous son Anatole into the mouth of Prince Vasily: “No, you know that this Anatole costs me 40,000 a year ...” Tolstoy L.N. Full coll. cit.: [Jubilee edition 1828 - 1928]: In 90 volumes. Series 1: Works. T. 9: War and peace. - M.: Goslitizdat, 1953. - S. 8. .
M-lle Bourienne is exposed in the same unseemly light.
Tolstoy creates two significant episodes: Prince Andrei and m-lle Bourienne and Anatole and m-lle Bourienne.
Princess Mary's companion m-lle Bourienne, not without intent during the day, tries three times in secluded places to catch the eye of Prince Andrei. But, seeing the stern face of the young prince, without saying a word, he quickly leaves. The same m-lle Bourienne "conquers" Anatole in a few hours, finding herself in his arms at the first solitary meeting. This unseemly act of Princess Mary's fiancé is not at all an accidental or thoughtless step. Anatole, seeing an ugly, but rich bride and a pretty young Frenchwoman, “decided that here, in the Bald Mountains, it would not be boring. “Very stupid! - he thought, looking at her, - this demoiselle de compagnie (companion) is very pretty. I hope that she will take her with her when she marries me, he thought, la petite est gentille (little sweet) ”Tolstoy L.N. Full coll. cit.: [Jubilee edition 1828 - 1928]: In 90 volumes. Series 1: Works. T. 9: War and peace. - M.: Goslitizdat, 1953. - S. 270 - 271. .
Thus, we see that Tolstoy does not try to create ideals, but takes life as it is. We see that these are living women, that this is exactly how they should feel, think, act, and any other image of them would be false. In fact, there are no consciously heroic female natures in the work, like Turgenev's Marianne from the novel "Nov" or Elena Stakhova from "On the Eve". Needless to say, Tolstoy's favorite heroines are devoid of romantic elation? Women's spirituality does not lie in intellectual life, not in the passion of Anna Pavlovna Scherer, Helen Kuragina, Julie Karagina for political and other male issues, but exclusively in the ability to love, in devotion to the family hearth. Daughter, sister, wife, mother - these are the main life positions in which the character of Tolstoy's favorite heroines is revealed.
In general, Tolstoy painted a historically correct picture of the position of a noblewoman in the conditions of life of both high society and the estate nobility. But having duly condemned the former, he turned out to be unjust in his attempts to surround the latter with a halo of supreme virtue. Tolstoy was deeply convinced that a woman, wholly devoting herself to the family, raising children, performs work of great social importance. And in this he is certainly right. One cannot agree with the writer only in the sense that all the interests of a woman should be limited to the family.
The solution of the women's issue in the novel caused sharp critical judgments already among Tolstoy's contemporaries, S.I. Sychevsky wrote: “Now, from all of the above, we will try to determine the attitude of the author, as a person with a wonderful mind and talent, to the so-called women's issue. None of the women is completely independent in him, with the exception of the depraved Helen. All others are only suitable to complement a man. Not one of them interferes with civil activity. The brightest of all the women of the novel "War and Peace" - Natasha - is happy with the joys of family and personal life ... In a word, Mr. Tolstoy solves the women's issue in the most so-called backward, routine sense "Kandiev B.I. Epic novel by L.N. Tolstoy "War and Peace": Commentary. - M.: Enlightenment, 1967. - S. 334. .
But Tolstoy remained true to his point of view on the women's issue until the end of his life.
Conclusion
Thus, as a result of the work done, the following conclusions can be drawn.
In the work of Tolstoy, the world of heroes appears before us in all its versatility. Here is a place for the most diverse, sometimes opposite characters. The female images of the novel only confirm this. Together with his heroines, the writer discovers the meaning and truth of life, looking for a way to happiness and love. Tolstoy, a subtle psychologist with a rare gift to penetrate into the innermost depths of human experiences, managed to create different psychological individualities with amazing power. At the same time, Tolstoy's individualization of heroes carries a broad typification. Tolstoy perfectly captured the pattern of life, revealing the diverse world of human thoughts and aspirations. There is an undoubted connection between the moral image of a person in everyday life, his attitude towards family, friends, and how he manifests himself on the battlefield. People who are unscrupulous in everyday life are bad citizens of the state, unreliable defenders of the motherland.
The female theme occupies an important place in L.N. Tolstoy "War and Peace". This work is the writer's polemical response to supporters of women's emancipation. Female images are not a background for male images, but an independent system with its own laws. Tolstoy's favorite heroines live with their hearts, not their minds.
Marya Bolkonskaya, with her evangelical humility, is especially close to Tolstoy. And yet it is her image that embodies the triumph of natural human needs over asceticism. The princess secretly dreams of marriage, of her own family, of children. Her love for Nikolai Rostov is a high, spiritual feeling. In the epilogue of the novel, Tolstoy draws pictures of the Rostovs' family happiness, emphasizing that it was in the family that Princess Marya found the true meaning of life.
Love is the essence of Natasha Rostova's life. Young Natasha loves everyone: the resigned Sonya, and the mother countess, and her father, and Nikolai, and Petya, and Boris Drubetskoy. Rapprochement, and then separation from Prince Andrei, who made her an offer, makes Natasha suffer internally. An excess of life and inexperience is the source of mistakes, rash acts of the heroine (the story of Anatole Kuragin).
Love for Prince Andrei awakens with renewed vigor in Natasha. She leaves Moscow with a convoy, in which the wounded Bolkonsky ends up. Natasha is again seized by an exorbitant feeling of love, compassion. She is selfless to the end. The death of Prince Andrei deprives Natasha of meaning. The news of Petya's death makes the heroine overcome her own grief in order to keep her old mother from insane despair. Natasha “thought her life was over. But suddenly love for her mother showed her that the essence of her life - love - was still alive in her. Love woke up, and life woke up.
After marriage, Natasha renounces social life, from “all her charms” and completely devotes herself to family life. Mutual understanding of the spouses is based on the ability "with unusual clarity and speed to understand and communicate each other's thoughts in a way that is contrary to all the rules of logic." This is the ideal of family happiness. Such is Tolstoy's ideal of "peace."
Tolstoy's thoughts about the true destiny of a woman, I think, have not become outdated even today. Of course, a significant role in today's life is played by women who have devoted themselves to political or social activities. But still, many of our contemporaries choose what Tolstoy's favorite heroines have chosen for themselves. And is it really not enough to love and be loved?
List of used literature
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26. Kandiev B.I. Epic novel by L.N. Tolstoy "War and Peace": Commentary. - M.: Enlightenment, 1967. - 390 p.
27. Pictures of Russian life in the old days: From the notes of N.V. Sushkova // Raut for 1852: Sat. - M., 1852. - S. 470 - 496.
28. Kuzminskaya T.A. My life at home and in Yasnaya Polyana. - Tula, 1960. - 419 p.
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Application
Lesson plans in grade 10 based on the work of L.N. Tolstoy
Lesson 1. "What an artist and what a psychologist!" A word about a writer.
"This is a revelation for us young people, a whole new world," said Guy de Maupassant about Tolstoy. Life of L.N. Tolstoy is a whole era, almost the entire 19th century, which fit into his life and his works.
A lesson on the life and work of a writer can be done in two ways.
The first option is to draw up a detailed plan.
1. The secret of human happiness, the secret of the green stick is the main goal of L.N. Tolstoy.
2. Period of loss. Early death of parents. The role of Yasnaya Polyana in the life of a boy. Thoughts about life, a passionate dream of a feat. First love. On the way to creativity.
3. Admission to Kazan University. Finding Yourself: The Arab-Turkish Branch and the Dream of Diplomacy, Faculty of Law, Dropping Out of University. The desire to comprehend and understand the world is a passion for philosophy, the study of the views of Rousseau. own philosophical experiences.
4. Yasnaya Polyana. From extreme to extreme. Painful search for the meaning of life. progressive transformations. Pen test - the first literary sketches.
5. Where it is dangerous and difficult. Test of oneself. 1851 - a trip to the Caucasus to the war with the highlanders. War is the comprehension of the way of the formation of man.
6. Autobiographical trilogy: "Childhood" - 1852, "Boyhood" - 1854, "Youth" - 1857. The main question - what should one be? What to strive for? The process of mental and moral development of a person.
7. Sevastopol epic. Transfer to the Danube army, to the fighting Sevastopol (1854) after an unsuccessful resignation. Anger and pain for the dead, the curse of the war, cruel realism in "Sevastopol Tales".
8. Ideological searches of 50 - 60 years:
· The main evil is the miserable, plight of the peasants. "Morning of the landowner" (1856).
· Feeling of impending peasant revolution.
· Rebuking the ruling circles and preaching universal love.
· Worldview crisis of the writer.
· An attempt to find answers to disturbing questions while traveling abroad. "Lucerne".
· The idea of raising a new person. Pedagogical and educational activities. The opening of schools, the creation of the "ABC" and books for children.
· Attitude towards reform. Active participation in public life, the activity of a conciliator. Disappointment.
Changes in personal life. Marriage to Sofya Andreevna Bers.
1. The idea and creation of the novel "War and Peace" (1863 - 1869). The new genre is the epic novel. "People's Thought" in the novel.
2. "Family Thought" in the novel "Anna Karenina" (1877). Happiness is personal and happiness of the people. Family life and life in Russia.
3. Spiritual crisis of the 70s - 80s. Waiting for the revolution and disbelief in it. Renunciation of the life of the noble circle. "Confession" (1879 - 1882). The main thing is to protect the interests of the peasantry.
4. Intense reflections on the renewal of the reborn soul, on the movement from moral decline to spiritual rebirth. Protest against the lawlessness and lies of society - the novel "Resurrection" (1889 - 1899).
5. The cry of the soul - the article "I can not be silent" (1908). Protecting the people with a word.
6. Persecution by the government and the church. Widespread popularity.
7. The result of the tragedy is the departure from Yasnaya Polyana. Death at the Astapovo station.
The second option is to create a table. (The principle given in the book by I.A. Fogelson "Literature teaches" Fogelson I.A. Literature teaches grade 10 is used. - M .: Education, 1990. - S. 60 - 62.).
|
Periods of life |
internal state |
Diary entries |
Works reflecting this state |
|
I. 1828 - 1849Where does personality begin? Childhood, adolescence, youth. |
Formation of a sense of homeland under the impression of life in Yasnaya Polyana. The perception of beauty. The development of a sense of justice - the search for the "Green Stick". Heightened sense of self-consciousness in student years. What is moral and immoral? The main thing: to live for others, fight with yourself. |
"... I would be the unhappiest of people if I did not find a goal for my life - a common and useful goal ..." (1847). "1. The goal of every action should be the happiness of your neighbor. 2. Be content with the present. 3. Look for opportunities to do good..." Rules of correction: "Beware of idleness and disorder...". "Fear lies and vanity-glory...". "Memorize and write down all the information and thoughts received ...". "Do not believe in thoughts born in a dispute ...", etc. (1848). |
"Childhood". "Adolescence". "Youth". (1852 - 1856) "After the Ball" (188....) "War and Peace" (1863 - 1869). |
|
II. 1849 - 1851First independent steps. Yasnaya Polyana. Experience of independent life. |
Painful self-doubt, disappointment, dissatisfaction. Arguing with yourself. Great attention to self-education and self-education. Relations "master - man". The main thing: the search for the meaning of life. |
"Study the whole course of legal sciences necessary for the final examination at the university." "Study practical medicine and part of the theoretical." "Learn French, non-German, English, Italian and Latin." "Study agriculture ...". "Study history, geography and statistics...". "Study mathematics, gymnasium course". "Write a dissertation." "Achieve an average degree of perfection in music and painting, etc." (1849) |
"Youth". "Morning of the landowner". "Lucerne". "Prisoner of the Caucasus" |
|
III. 1851 - 1855World of War. Service. The other side of life. |
Awareness of the inhumanity of any war. Terrible and terrible sight. But salvation is in the Russian people, who is the main hero of military events and in whom the foundations of morality. The main thing is to do good to your neighbor. |
"The moral strength of the Russian people is great. Many political truths will come out and develop in the current difficult moments for Russia ..." When, when, finally, will I stop spending my life without purpose and passion, And feel a deep wound in my heart, And don’t know how to heal it. |
"Raid". "Marker Notes". "The novel of the Russian landowner". "Cutting down the forest". "Cossacks". "Prisoner of the Caucasus". "Hadji Murat". "Sevastopol stories". "War and Peace" |
|
IV. 60 - 70s.The search for sources - pedagogical and educational activities. Writer's fame. |
The desire to change the world through the development of education. The main thing is to educate the people. |
"I experienced important and difficult thoughts and feelings ... All the abominations of my youth with horror, the pain of repentance burned my heart. I suffered for a long time." (1878). |
"Anna Karenina". "ABC". Books for children. |
|
V. 80 - 90s.Refusal from the life of the noble circle. Un-reconciled-my pro-test. Tolstoy. |
Acceptance of people's life. Criticism of the state, corrupting the essence of luxury. A call to return to the simple life. The theory of non-resistance to evil by force. The main thing: the world according to the laws of justice. |
"The villains have gathered, having robbed the people, recruited soldiers, judges to guard their orgy, and are feasting." (1881) |
"Resurrection". "Confession". "Kreutzer Sonata". "Father Sergius". |
|
VI. 1900 - 1910Huge dating. Exodus. |
Intense spiritual work. Consciousness of the unfairness of the aristocratic life. An attempt to harmonize one's teaching with life. Refusal of property, departure from Yasnaya Polyana. The main thing is that something needs to be done. |
"72 years old. What do I believe in?" I asked. And sincerely answered that I believe in being kind: humble yourself, forgive, love..." (1900). "They say, go back to the church. But in the church I saw a gross, obvious and harmful deception." (1902). "More and more burdened by this life" (1910). |
"I can't be silent." |
You can finish the conversation about the life and work of Tolstoy with the thought that Count L.N. Tolstoy was close to the people, and the people remember this:
To Tolstoy, to Yasnaya Polyana! -
Tell the coachman:
I just look, I just look
What does a genius look like up close?
Here he sits, furrowing his brows,
At that famous table
Where in the word the heroes came to life,
Russia saved in the past.
How deftly mows with men
In a white shirt in front
And the famous sweatshirt
Hanging on a carnation, go.
That he is a count, forgetting
He goes with everyone to the spring.
And what is the glory of the world,
When he is close to a man.
And believing in worldly happiness,
To the displeasure of the authorities,
In his Yasnaya Polyana school
He teaches peasant children.
I would tell the coachman
Yes late:
Long time ago Tolstoy was gone.
But, as if he was recognized by the oncoming ones,
It's about to get back to the office.
And like rivers to the ocean
Roads run here.
To Tolstoy, to Yasnaya Polyana
The people of all the earth are striving.
Lesson 2. "As an epic writer, Tolstoy is our common teacher." The history of the creation of the novel "War and Peace". genre features.
"I want to get to the bottom of everything." With these words, B.L. Pasternak, you can start the first lesson about "War and Peace", because L.N. wanted to get to the very essence. Tolstoy, conceiving his grandiose epic. Tolstoy the writer has always been characterized by an ambivalent attitude towards life. In his work, life is given in unity, uniting the writer's interest in both the "history of the human soul" and "the history of a whole people."
Therefore, when in the mid-50s. the surviving Decembrists began to return from Siberia, the writer saw in this both a historical event and the state of a person who experienced this incredible event.
The formation of the idea was determined by himself
1856 - the beginning of the plan.
"In 1856, I began to write a story with a well-known direction and a hero who must be a Decembrist returning with his family to Russia."
1825 - the uprising of the Decembrists.
"Involuntarily, I passed from the present to 1825, the era of my hero's delusions and misfortunes."
1812 - war.
"In order to understand him, I had to go back to his youth, and his youth coincided with the glorious era of 1812 for Russia."
1805 - 1807 - foreign campaigns of the Russian army.
"I was ashamed to write about our triumph in the fight against Bonaparte France without describing our failures and our shame."
The novel reflects the problems of both the beginning of the century and its middle. Therefore, in the novel, as it were, two planes: the past and the present.
Problems of the beginning of the century:
1. "Most of all in the novel, I loved the thought of the people." The main problem is the fate of the people, the people are the basis of the moral and moral foundations of society.
2. "Who is the true hero?" - the social role of the nobility, its influence on the life of society and the country.
3. True and false patriotism.
4. The purpose of a woman is to preserve the family hearth.
Mid-Century Issues:
1. The fate of the people, the question of the abolition of serfdom - the reforms of the 60s.
2. The gradual departure of the nobility from the "arena" of struggle, the failure of the nobility, the beginning of the raznochinskoe movement.
3. The question of patriotism associated with the defeat in the Crimean War.
4. The question of the liberation of women, their education, women's emancipation.
The novel has 4 volumes and an epilogue:
Volume I - 1805.
Volume II - 1806 - 1811.
Volume III - 1812.
Volume IV - 1812 - 1813.
Epilogue - 1820.
Work with the class to identify the specifics of the epic novel genre:
1. Explanation of the concept of "epic novel". The epic novel is the largest and most monumental form of epic literature. The main feature of the epic is that it embodies the fate of peoples, the historical process itself. The epic is characterized by a broad, multifaceted, even comprehensive picture of the world, including historical events, and the appearance of everyday life, and a many-voiced human choir, and deep reflections on the fate of the world, and intimate experiences. Hence the large volume of the novel, often several volumes. (According to the "Dictionary of Literary Terms" edited by L.I. Timofeev).
2. Revealing the features of the epic in the novel "War and Peace".
· Pictures of Russian history (Battles of Shengraben and Austerlitz, Peace of Tilsit, war of 1812, Moscow fire, partisan movement).
· Events of social and political life (freemasonry, Speransky's legislative activities, the first organizations of the Decembrists).
· Relations between landowners and peasants (transformation of Pierre, Andrei; rebellion of the Bogucharov peasants, indignation of Moscow artisans).
· Display of various segments of the population (local, Moscow, St. Petersburg nobility; officials; army; peasants).
· A wide panorama of everyday scenes of noble life (balls, high society receptions, dinners, hunting, visiting the theater, etc.).
· A huge number of human characters.
Long duration (15 years).
· Wide coverage of space (Petersburg, Moscow, Lysyye Gory and Otradnoye estates, Austria, Smolensk, Borodino).
Thus, Tolstoy's idea required the creation of a new genre, and only an epic novel could embody all the author's conditions.
John Galsworthy wrote of "War and Peace": "If I had to name a novel that fits the definition so dear to the compilers of literary questionnaires:" the greatest novel in the world "- I would choose" War and Peace ".
How does the novel begin?
What is the originality of such a beginning?
What is the intonation of the first chapters? Is she justified?
How does the world of the novel change from one scene to another?
Conclusion. The main artistic techniques used by Tolstoy to create a panorama of Russian life are:
1. Reception of comparison and opposition.
2. "Tearing off all and sundry masks."
3. The psychologism of the narrative is an internal monologue.
Lessons 3 - 5. "To live honestly ...". Life quests of the heroes of the novel "War and Peace" by Andrei Bolkonsky and Pierre Bezukhov
At the beginning of the lesson, an excerpt from a letter from L.N. Tolstoy, explaining his life position:
"In order to live honestly, one must tear, get confused, fight, make mistakes, start and quit, and start again, and quit again, and always fight and lose. And peace is spiritual meanness." (From a letter from L.N. Tolstoy dated October 18, 1857).
Work in the lesson can be carried out in 4 groups:
Group 1 - "biographers" of Prince Andrei, they build the hero's life path.
Group 2 - "observers", they determine the author's techniques used to develop the image of Andrei Bolkonsky.
Group 3 - "biographers" of Pierre Bezukhov, they build the hero's life path.
Group 4 - "observers", they determine the author's techniques used to create and develop the image of Pierre.
In the course of working with the class, you can write down the main points in solving the problem of the lesson in the form of a table.
General conclusions of the lessons. The path of Tolstoy's favorite heroes is the path to the people. Only when they are on the Borodino field do they understand the essence of life - to be close to the people, because "there is no greatness where there is no simplicity, goodness and truth."
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General periods: |
Bolkonsky's life path."Road of Honor" |
Observers of the image of Andrei Bolkonsky. |
The life path of Pierre Bezukhov. "... see what a kind and nice fellow I am." |
Observers over the image of Pierre Bezukhov. |
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I. First acquaintance. attitude towards secular society. |
Evening in the salon of A.P. Scherer. Relationships with others. Why is he "alien" here? vol. 1. part 1. ch. III - IV. |
Portrait. Comparison with other heroes. Speech. |
Origin. Evening at A.P. She-rer. Attitude towards others. Where did it come from? How does he behave? vol. 1. part 1. ch. II-V. |
Portrait. Speech. Behavior. Comparison with other heroes. |
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II. "Life mistakes", erroneous dreams and actions - a crisis. |
Service in the army, in the headquarters of Kutuzov. Attitude towards officers and officers towards him. A secret dream of achievement. vol. 1. part 1. ch. III, XII. |
Portrait. Speech. Behavior. Comparison with other heroes. |
Revelry in the company of Anatol Kuragin. History with quarter-tal. Fight with yourself, with your conflicting impulses. v. 1 h. 1 ch. VI, part 3. ch. I - II. vol. 2. part 1. ch. IV - VI. Marriage to Helen Kuragina. Awareness of the madness of this step. Gradual conflict with the secular environment. vol. 2. part 2. ch. I. |
Portrait. Speech. Behavior. Internal mono-log. |
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Shengraben. Why does Prince Andrei go to Bagration's army? The purpose of the battle of Shengraben. Episode on the Tushin battery. |
Inner monologue. Speech. |
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Military council after the battle. Honest deed of the book. Andrew. Feeling that "all this is not right." vol. 1. part 2. ch. XXI. |
Behavior. |
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Austerlitz. The feat of the book. Andrew. Wound. "Meeting" with an idol, Napoleon. Feeling the insignificance of the pro-outgoing. vol. 1. part 3. ch. XVI - XIX. |
Inner monologue. Scenery. |
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III. Spiritual crisis. |
Return after injury. Death of a wife. Disappointment in ambitious dreams. The desire to move away from society, limiting himself to family problems (the upbringing of his son). vol. 2. part 2. ch. XI. |
Portrait (eye-for). Internal monologue - reasoning. |
spiritual crisis. |
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IV. Gradual awakening from the moral crisis and the desire to be useful to the Fatherland; disappointment; a crisis. |
Progressive transformations in estates. v. 2 h. 3 ch. I. |
Gradual "awakening" from the crisis. Striving for moral perfection; uv-treatment by Freemasonry. An attempt to reorganize the activities of Masonic lodges. vol. 2. part 2. ch. III, XI, XII, vol. 2, part 3, ch. VII. An attempt to benefit the peasants; transformation in the village. vol. 2. part 2. ch. x. Disappointment in both public undertakings and personal. vol. 2. part 5. ch. I. |
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Visit Otrad-nogo (estate of the Ros-tovs) on guardian-sky affairs. Meeting with oak. Conversation with Pierre on the ferry. vol. 2. part 3. ch. I-III. |
Portrait. Inner monologue. Scenery. |
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Participation in the legislative activity of Speransky and disappointment in it. vol. 2. part 3. ch. IV - VI, XVIII.Love for Natasha and a break with her. |
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V. Prince Andrei during the war of 1812. Rapprochement with the people, the rejection of ambitious dreams. |
Refusal to serve at headquarters. Relations with officers. vol. 3. part 1. ch. XI, part 2. ch. V, XXV.The attitude of the soldiers to the book. Andrew. What does the fact that he was called "our prince" say. How does Andrei talk about the defense of Smolensk? His reasoning about the French invaders. Participation in the Battle of Borodino, wounded. vol. 3. part 2. ch. IV - V, XIX - XXXVI. |
Portrait. Inner monologue. From wearing with other heroes. |
Pierre and the War of 1812. On the Borodino field. Mound Raevsky - observation of the fighters. Why is Pierre called "our barin"? The role of Borodin in the life of Pierre. The thought of killing Napoleon. Life in abandoned Moscow. vol. 3. part 1. ch. XXII, part 2. Ch. XX, XXXI - XXXII, part 3. ch. IX, XXVII, XXXIII - XXXV. |
Portrait. Internal mono-log. |
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VI. The last moments of life. Death of A. Bolkonsky. The further fate of Pierre Bezukhov. |
Meeting with Anato-lem Kuragin in the hospital - forgiveness. Meeting with Na-tasha - forgiveness. vol. 3. part 2. ch. XXXVII, vol. 3. part 3. ch. XXX-XXXII. |
Portrait. Inner monologue. |
The role of captivity in the fate of Pierre. Acquaintance with Platon Karataev. vol. 4. part 1. ch. X-XIII. |
Portrait. Comparison with other heroes. |
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VII. After the war with Napoleon. (Epilogue). |
The son of Andrei Bol-konsky is Niko-lenka. A conversation with Pierre, in which there is an assumption that Andrei would become a member of a secret society. Epilogue. part 1. ch. XIII. |
Portrait. Speech. |
The role of the family in Pierre's life. Love for Natasha and love for Natasha. Participation in secret societies. Epilogue. part 1. ch. v. |
Portrait. Speech. |
Lesson 6 Women's images in the novel "War and Peace"
The 20th-century poet Nikolai Zabolotsky had this to say about this problem:
What is beauty
And why do people deify her?
She is a vessel in which there is emptiness,
Or fire flickering in a vessel.
Features of L.N. Tolstoy in the depiction of the inner world of the heroes of N.G. Chernyshevsky called the "dialectics of the soul", meaning development based on internal contradictions. The female nature in the image of the writer is contradictory and fickle, but he appreciates and loves in her:
the keeper of the hearth, the basis of the family;
moral high principles: kindness, simplicity, disinterestedness, sincerity, connection with the people, understanding of the problems of society (patriotism);
naturalness;
the movement of the soul.
From these positions, he approaches his heroines, treating them ambiguously.
What can be said about the heroines of the novel by the author's attitude towards them?
Vocabulary work: To distribute these words, correlating them with different groups of heroines - these will be their main features.
Vanity, arrogance, love, mercy, hypocrisy, hatred, responsibility, conscience, disinterestedness, patriotism, generosity, careerism, dignity, modesty, posturing.
One should dwell on one image, examining it in detail, and give the rest in comparison with it.
For example, Natasha Rostova. "The essence of her life is love."
1. Acquaintance with Natasha during the name day (vol. 1. part 1. ch. 8, 9, 10, 16).
· Compare the portrait of Natasha, Sonya and Vera. Why in one the author emphasizes "ugly, but alive", in the other - "a thin miniature brunette", in the third - "cold and calm".
What does the comparison with a cat give for understanding the image of Sonya? "The kitty, glaring at him with her eyes, seemed every second ready to play and express all her feline nature."
In the story "Childhood" Tolstoy wrote: "One smile consists of what is called the beauty of the face: if a smile adds charm to the face, then the face is beautiful; if it does not change it, then it is ordinary; if it spoils it, then it is bad."
Watch how the characters smile:
Natasha: “laughed at something,” “everything seemed funny to her,” “she burst out laughing so loudly and loudly that everyone, even the prim guest, laughed against her will,” “through tears of laughter,” “bursted with her ringing laughter.”
Sonya: "her smile could not deceive anyone for a moment," "a feigned smile."
Julie: "entered into a separate conversation with the smiling Julie."
Faith: "But a smile did not adorn Vera's face, as is usually the case; on the contrary, her face became unnatural and therefore unpleasant."
Helen : "what was in the general smile that always adorned her face" (vol. 1. part 3 ch. 2).
· Compare the explanation of Sonya and Nikolai, Natasha and Boris.
How do the faces of Sonya and Natasha change when they cry?
Compare the behavior of A.M. Drubetskaya at the evening with A.P. Scherer, at the name day of the Rostovs and at the time of the death of Count Bezukhov (vol. 1. part 1. ch. 18, 19, 20, 21, 22).
· Compare Natasha Rostov and Princess Mary. What do they have in common? (vol. 1. part 1. ch. 22, 23). Why does the author draw them with love?
· Why does the author bring Sonya and Lisa Bolkonskaya closer in one line: Sonya is a cat, Liza is a "brutal, squirrel expression"?
· Remember the evening at A.P. Scherer. How do the characters behave there?
1. Natasha's behavior during the return of Nikolai (vol. 2. part 1. ch. 1).
· Compare the behavior of Sonya, Natasha and Vera.
How does the phrase "Natasha became in love from the very moment she entered the ball" reveal Natasha's condition? (vol. 2. part 1. ch. 12)?
· Watching the verbs in the scene "Evening at Yogel's", tell us about Natasha's condition (vol. 2. part 1. ch. 15).
1. Natasha in Otradnoe. Lunar night (vol. 2. part 3. ch. 2).
Compare the behavior of Sonya and Natasha.
What did Prince Andrei feel in Natasha?
1. Natasha's first ball (vol. 2. part 3. ch. 15 - 17).
What attracted Natasha to Prince Andrei?
What did he see and feel in her?
Why did Andrey connect his hopes for the future with her?
1. Natasha at her uncle's (vol. 2, part 4, ch. 7).
· The true beauty of the soul and the spirit of the people in the uncle's song and Natasha's dance. How is Natasha's character revealed in this episode?
1. An episode with Anatole and a break with Andrey.
· Compare Natasha's behavior in the theater with Helen's behavior at A.P.'s party. Scherer. (vol. 2. part 4. ch. 12-13).
How does Natasha change under the influence of Helen?
1. Natasha during a spiritual crisis (vol. 3, part 1, ch. 17).
What does the fact that Natasha has lost her cheerfulness mean?
What helps her come back to life? ( Prayer).
1. Condition during the war of 1812.
· What qualities of Natasha are revealed in the scene of handing over the cart to the wounded? (vol. 3. part 4. ch. 16).
· Why does Tolstoy connect Natasha and the wounded Andrey? (vol. 4. part 4. ch. 31-32).
· What spiritual strength is contained in Natasha, who helps her mother after Petya's death? (vol. 4. part 4. ch. 2).
1. Family happiness. (Epilogue part 1. ch. 10 - 12). How did Tolstoy's idea about the place of a woman in society come true in the image of Natasha?
Conclusion. Natasha, like other beloved heroes, goes through a difficult path of searching: from a joyful, enthusiastic perception of life, through seeming happiness from her engagement with Andrei, through life's mistakes - betrayal of Andrei and Anatole, through a spiritual crisis and disappointment in herself, through rebirth under the influence of necessity help relatives (mother), through high love for the wounded Prince Andrei - to comprehend the meaning of life in the family in the role of wife and mother.
A lesson on this topic may include numerous written works:
1. Observations of the dynamics of Natasha's portrait.
2. The search for the most characteristic details in the portraits of various heroines.
3. Comparison of heroines (Natasha Rostova - Princess Marya - Helen - Sonya).
4. External and internal features:
Is beautiful or ugly?
state of mind, ability to experience, fidelity, responsiveness, love, naturalness.
Lesson 7 The Rostov family and the Bolkonsky family
Tolstoy portrays the Rostov and Bolkonsky families with great sympathy, because:
They are participants in historical events, patriots;
they are not attracted by careerism and profit;
They are close to the Russian people.
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Rostov |
Bolkonsky |
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1. The older generation.Evening at A.P. Scherer. Compare: - relations between guests; - reasons for coming (external - high-society rout - and internal - personal interests). |
The Rostovs' parents are bread-and-salt, simple-hearted, simple, trusting, generous (an episode with money for A.M. Drubets-koy; Mitenka, Sonya, brought up in their family). Relations between parents - mutual respect, respect (conversions). The position of the mother is the position of the mistress of the house (name day). Attitude towards guests - hospitality to all without honoring the ranks (name day). |
Old Prince Nikolai Andreevich Bolkonsky is a stubborn and domineering old man who does not bow to anything. The general-en-chief under Paul I was exiled to the countryside. Although under the new reign he was already allowed to enter the capitals, he could not forgive the offense and continued to live in the Bald Mountains. He considered idleness and superstition to be vices, activity and intelligence to be virtues. "I was constantly busy writing my memoirs, then laying out of higher mathematics, then turning taba-kerks on a machine, then working in the garden and observing buildings." The main thing is honor. |
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2. Relationships in the family between adults and children. |
Credulity, purity and naturalness (Natasha's mother's stories about all her hobbies). Respect for each other, a desire to help without boring notations (the story of Nikolai's loss). Freedom and love, the absence of strict educational norms (Natasha's behavior during the name day; Count Rostov's dance). Loyalty to family relations (Nikolai did not refuse his father's debts). The main thing in a relationship is love, life according to the laws of the heart. |
Relationships without sentimentality. The father is an indisputable authority, although he "with the people around him, from his daughter to servants, ... was harsh and invariably demanding, and therefore, without being cruel, he aroused fear and respect for himself ". The attitude of respect towards the father, who himself was involved in the education of Mary, denying the norms of education in court circles. Hidden love of the father, male (the scene of the death of the prince - the last words about Princess Mary). The main thing is life according to the laws of the mind. |
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3. Children, relationships between them. Compare: the behavior of Ip-polit at the evening at A.P. Scherer, revelry of Anatole Kuragin and Dolokhov. |
Sincerity, naturalness, love, respect for each other (scenes of Sonya's explanation with Nikolai, Natasha with Boris). Interest in the fate of each other (Natasha - Sonya, Natasha - Nikolai). Occupations: passion for singing, dancing. The main thing in a relationship is the soul. |
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4. Proximity to nature. More often they live in estates - Otradny, Bald Mountains - than in the capitals. |
The ability to subtly feel nature (moonlight night in Otradnoye; hunting scene, riding at Christmas time). Feeling the harmony of man and nature. |
Permanent life in Otradny is a natural connection with nature for Princess Marya and the old prince. Comprehension of eternity and the greatness of nature by Prince Andrei (Austerlitz sky, description of an oak tree on the way to Otradnoe). |
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5. Attitude towards the people. |
The perception of the people is more on an emotional level (hunting scene, uncle's song, Natasha's dance). |
Reasonable perception of people's problems: reforms in the village of Bogu-charovo, aimed at improving the life of the peasants. Andrew's relationship with the soldiers. |
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6. Patriotism. attitude towards wars. Compare: - the attitude towards the war at the evening at A.P. Sherer, - behavior in the war Zherkov, Boris Drubetskoy, Anatole. |
Sincere patriotism, pain for their homeland. Nikolai is fighting in the war; Petya, still a boy, goes to war in 1812 with the consent of his parents and dies in the first battle. Natasha demands to give carts to the wounded. Rostovs leave their homes, like many residents. |
Deep patriotism of both father and children.Andrei fights during the war of 1805 - 1807, goes to the Bagrati-on detachment, in 1812 - leaves the headquarters, commands a regiment (the soldiers call him "our prince"). Old Bolkonsky himself is trying to defend his land. Princess Marya refuses the protection of the French and leaves the Bald Mountains, which are to be captured by the French. |
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7. Disadvantages. |
Kindness is sometimes external (Sonya's story). Sometimes the cruelty of Nicholas towards the peasants. Impracticality, prodigality of Father Rostov. |
The heavy, sometimes self-bad character of the old Bolkonsky (the story of Mademoiselle Bourienne). |
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Natasha is Tolstoy's favorite heroine, the ideal of a woman, embodied in the family. |
Princess Marya is also the ideal of a woman, according to Tolstoy, his favorite heroine, capable of being the keeper of the hearth. |
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