The image of Julie Kuragina. The relationship between the images of Julie Karagina and Marya Bolkonskaya

Essay on literature. Female images in the novel by L. N. Tolstoy "War and Peace"

The novel by L. N. Tolstoy “War and Peace” shows the life of Russian society at the beginning of the 19th century during the war of 1812. This is a time of active social activity of a variety of people. Tolstoy tries to comprehend the role of women in the life of society, in the family. To this end, he displays in his novel a large number of female images that can be divided into two large groups: the first includes women - the bearers of folk ideals, such as Natasha Rostova, Marya Bolkonskaya and others, and the second group includes women of high society, such as Helen Kuragina, Anna Pavlovna Scherer, Julie Kuragina and others.

One of the most striking female images in the novel is the image of Natasha Rostova. Being a master of depicting human souls and characters, Tolstoy embodied in the image of Natasha the best features of the human personality. He did not want to portray her as smart, prudent, adapted to life and at the same time completely soulless, as he made another heroine of the novel - Helen Kuragina. Simplicity and spirituality make Natasha more attractive than Helen with her intelligence and good secular manners. Many episodes of the novel tell how Natasha inspires people, makes them better, kinder, helps them find love for life, find the right solutions. For example, when Nikolai Rostov, having lost a large sum of money in cards to Dolokhov, returns home irritated, not feeling the joy of life, he hears Natasha singing and suddenly realizes that “all this: misfortune, and money, and Dolokhov, and anger, and honor - all nonsense, but she is real ... ".

But Natasha not only helps people in difficult life situations, she also simply brings them joy and happiness, gives them the opportunity to admire themselves, and does this unconsciously and disinterestedly, as in the episode of the dance after the hunt, when she “became, smiled solemnly, proudly and cunningly - fun, the first fear that gripped Nikolai and all those present, the fear that she would do something wrong, passed, and they were already admiring her.

Just like the people, Natasha is close to understanding the amazing beauty of nature. When describing the night in Otradnoye, the author compares the feelings of two sisters, closest friends, Sonya and Natasha. Natasha, whose soul is full of bright poetic feelings, asks Sonya to go to the window, peer into the extraordinary beauty of the starry sky, breathe in the smells that fill the quiet night. She exclaims: “After all, such a lovely night has never happened!” But Sonya cannot understand Natasha's enthusiastic excitement. There is no such inner fire in her that Tolstoy sang in Natasha. Sonya is kind, sweet, honest, friendly, she does not commit a single bad deed and carries her love for Nikolai through the years. She is too good and correct, she never makes mistakes from which she could draw life experience and get an incentive for further development.

Natasha, on the other hand, makes mistakes and draws the necessary life experience from them. She meets Prince Andrei, their feelings can be called a sudden unity of thoughts, they understood each other suddenly, felt something uniting them.

Nevertheless, Natasha suddenly falls in love with Anatole Kuragin, even wants to run away with him. The explanation for this can be the fact that Natasha is the most ordinary person, with her own weaknesses. Simplicity, openness, gullibility are inherent in her heart, she simply follows her feelings, not being able to subordinate them to her mind. But true love woke up in Natasha much later. She realized that the one whom she admired, who was dear to her, lived in her heart all this time. It was a joyful and new feeling that swallowed Natasha whole, brought her back to life. Pierre Bezukhov played an important role in this. His “childish soul” was close to Natasha, and he was the only one who brought joy and light to the Rostovs’ house when she was ill, when she was tormented by remorse, suffered, hated herself for everything that had happened. She did not see reproach or indignation in Pierre's eyes. He idolized her, and she was grateful to him for the fact that he is in the world. Despite the mistakes of youth, despite the death of a loved one, Natasha's life was amazing. She was able to experience love and hate, create a magnificent family, finding in her much-desired peace of mind.

In some ways she is similar to Natasha, but in some ways Princess Marya Bolkonskaya is opposed to her. The main principle to which her whole life is subordinated is self-sacrifice. This self-sacrifice, resignation to fate is combined in her with a thirst for simple human happiness. Submission to all the whims of her imperious father, a ban on discussing his actions and their motives - this is how Princess Mary understands her duty to her daughter. But she can show firmness of character if necessary, which is revealed when her sense of patriotism is offended. She not only leaves the family estate, despite the proposal of Mademoiselle Bourienne, but also forbids her companion to come to her when she finds out about her connections with the enemy command. But for the sake of saving another person, she can sacrifice her pride; this is evident when she asks forgiveness from Mademoiselle Bourrienne, forgiveness for herself and for the servant, who was attacked by the wrath of her father. And yet, raising her sacrifice into a principle, turning away from "living life", Princess Marya suppresses something important in herself. And yet, it was sacrificial love that led her to family happiness: when she met Nikolai in Voronezh, “for the first time, all this pure, spiritual, inner work that she had lived until now came out.” Princess Marya fully manifested herself as a person when circumstances prompted her to self-sufficiency in everyday life, which happened after the death of her father, and most importantly, when she became a wife and mother. Her diaries dedicated to children and her ennobling influence on her husband speak of the harmony and richness of the inner world of Marya Rostova.

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 peace 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, having gone 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.

The epic novel by L. N. Tolstoy “War and Peace” is a work grandiose not only in terms of the monumentality of the historical events described in it, deeply researched by the author and artistically processed into a single logical whole, but also in the variety of created images, both historical and fictional. In the depiction of historical characters, Tolstoy was more of a historian than a writer, he said: "Where historical figures speak and act, he did not invent and used materials." Fictional images are described artistically and at the same time are conductors of the author's thoughts. Female characters convey Tolstoy's ideas about the complexity of human nature, about the peculiarities of relationships between people, about family, marriage, motherhood, and happiness.

From the point of view of the system of images, the heroes of the novel can be conditionally divided into “living” and “dead”, that is, into developing, changing over time, deeply feeling and experiencing, and - in contrast to them - frozen, not evolving, but static. In both “camps” there are women, and there are so many female images that it seems almost impossible to specify all of them in an essay; perhaps it is wiser to dwell in more detail on the main characters and the characteristic minor characters who play a significant role in the development of the plot.

The “live” heroines in the work are, first of all, Natasha Rostova and Marya Bolkonskaya. Despite the difference in upbringing, family traditions, the atmosphere of the house, the stock of character, they eventually become close friends. Natasha, who grew up in a warm, loving, open, sincere family atmosphere, absorbed the carelessness, dashing, enthusiasm of the “Rostov breed”, wins hearts from her youth with her all-encompassing love for people and a thirst for reciprocal love. Beauty in the generally accepted sense of the word is replaced by the mobility of features, liveliness of the eyes, grace, flexibility; wonderful voice and ability to dance captivate many. Princess Mary, on the contrary, is clumsy, the ugliness of her face is only occasionally illuminated by "radiant eyes." The life without getting out in the village makes her wild and silent, communication with her is difficult. Only a sensitive and insightful person can notice purity, religiosity, even self-sacrifice hidden behind external isolation (after all, Princess Mary blames only herself for quarrels with her father, not recognizing his temper and rudeness). However, at the same time, the two heroines have much in common: a living, developing inner world, craving for high feelings, spiritual purity, and a clear conscience. Fate brings them both together with Anatole Kuragin, and only chance saves Natasha and Princess Mary from contact with him. Due to their naivety, the girls do not see Kuragin's low and selfish goals and believe in his sincerity. Due to the external difference, the relationship between the heroines is not easy at first, there is misunderstanding, even contempt, but then, knowing each other better, they become irreplaceable friends, forming an indivisible moral union, united by the best spiritual qualities of Tolstoy's favorite heroines.

In constructing a system of images, Tolstoy is far from schematism: the line between “living” and “dead” is permeable. Tolstoy wrote: "For an artist, there cannot and should not be heroes, but there must be people." Therefore, female images appear in the fabric of the work, which are difficult to definitely attribute to “alive” or “dead”. This can be considered the mother of Natasha Rostova, Countess Natalya Rostova. From the conversations of the characters, it becomes clear that in her youth she moved in the world and was a member and a welcome guest of the salons. But, having married Rostov, she changes and devotes herself to the family. Rostova as a mother is a model of cordiality, love and tact. She is a close friend and adviser of children: in touching conversations in the evenings, Natasha devotes her mother to all her secrets, secrets, experiences, seeks her advice and help. At the same time, at the time of the main action of the novel, her inner world is static, but this can be explained by a significant evolution in her youth. She becomes a mother not only for her children, but also for Sonya. Sonya gravitates toward the camp of the "dead": she does not have that seething cheerfulness that Natasha has, she is not dynamic, not impulsive. This is especially emphasized by the fact that at the beginning of the novel Sonya and Natasha are always together. Tolstoy endowed this generally good girl with an unenviable fate: falling in love with Nikolai Rostov does not bring her happiness, because for reasons of family well-being, Nikolai's mother cannot allow this marriage. Sonya is grateful to the Rostovs and focuses on her so much that she gets hung up on the role of the victim. She does not accept Dolokhov's proposals, refusing to advertise her feelings for Nikolai. She lives in hope, basically showing off and demonstrating her unrecognized love.

Help please!!! urgently need something in the image of Julie Kuragina from the novel War and Peace! and got the best answer

Answer from Elena Evdokimova[guru]
The image of Julie Karagina FROM Tolstoy's novel "War and Peace". This is a typical secular young lady. The old Prince Bolkonsky, with whose daughter she is corresponding, does not want Princess Mary to look like Julie, empty and false young ladies. Julie does not have her own opinion, evaluates people only as they are evaluated in the world (her opinion about Pierre) Her goal is to get married, and she never hides this. Nearly Sonya is jealous of Nikolai when he starts talking to her animatedly. Subsequently, she has a chance to arrange her fate when her two brothers die and she becomes a rich heiress. It was then that Boris Drubetskoy began to look after her. Barely hiding his disgust for Julie, he proposes to her, and she, knowing full well that he cannot love her, nevertheless forces her to say the right things (Togstoy ironically remarks that Karagina's estates were worth these false words of love).
Once again we see Julie, already Princess Drubetskaya, as she tries to flaunt her "patriotism" during the War of 1812. For example, her letters to Princess Mary are already different: “I am writing to you in Russian, my good friend,” Julie wrote, “because I have hatred for all the French, as well as for their language, which I cannot hear speak. ".. We are all enthusiastic in Moscow through enthusiasm for our adored emperor. My poor husband endures labor and hunger in Jewish taverns; but the news that I have inspires me even more. "Also "in the company of Julie, as in many societies of Moscow , it was supposed to speak only Russian, and those who made mistakes in speaking French words paid a fine in favor of the donation committee." Drubetskaya is one of the first to leave Moscow, even before the Battle of Borodino.
We don't see her anymore. But one more detail. Tolstoy does not describe her face in detail, saying only that it is red and sprinkled with powder. It immediately becomes clear how he relates to his heroine.

Answer from 3 answers[guru]

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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 trellises, 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. It is impossible to 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?

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31. Leo Tolstoy: Problems of Creativity / Editorial Board: M.A. Karpenko (responsible editor) and others - Kyiv: Vishcha school, 1978. - 310 p.

32. Lermontov M.Yu. Sobr. cit.: In 4 vols. T. 1. - M.-L.: Publishing House of the Academy of Sciences of the USSR, 1961. - 754 p.

33. Lesskis G. Leo Tolstoy (1852 - 1969): The second book of the cycle "Pushkin's way in Russian literature". - M.: OGI, 2000. - 638 p.

34. Leusheva S.I. Roman L.N. Tolstoy "War and Peace". - 2nd ed., revised. and additional - M., 1957. - 275 p.

35. Libedinskaya L. Living heroes. - M.: Children's literature, 1982. - 257 p.

36. Lomunov K.N. Leo Tolstoy in the modern world. - M.: Sovremennik, 1975. - 492 p.

37. Lomunov K.N. Leo Tolstoy: Essay on life and work. - 2nd ed., add. - M.: Det. literature, 1984. - 272 p.

38. Maymin E.A. Leo Tolstoy: The Way of a Writer. - M.: Nauka, 1978. - 190 p.

39. Mann T. Collected. cit.: At 10. t. - M., 1960. - T. 9. - 389 p.

40. Martin du Gard R. Memories // Foreign Literature. - 1956. - No. 12. - S. 85 - 94.

41. Merezhkovsky D.S. L. Tolstoy and Dostoevsky. Eternal Companions / Prepared. text, after M. Ermolova; Comment. A. Arkhangelskaya, M. Ermolaeva. - M.: Respublika, 1995. - 624 p.

42. Myshkovskaya L.M. Mastery of L.N. Tolstoy. - M.: Sov. writer, 1958. - 433 p.

43. Naumova N.N. L.N. Tolstoy at school. - L., 1959. - 269 p.

44. Odinokov V.G. Poetics of L.N. Tolstoy. - Novosibirsk: Science. Siberian. department, 1978. - 160 p.

45. The first illustrators of L.N. Tolstoy / Compiled by T. Popovkina, O. Ershova. - M., 1978. - 219 p.

46. Potapov I.A. Roman L.N. Tolstoy "War and Peace". - M., 1970.

47. Pudovkin V. Selected articles. - M., 1955.

48. Pushkin A.S. Poly. coll. cit.: In 10 vols. T. 3. - 2nd ed. - M., L.: Publishing House of the Academy of Sciences of the USSR, 1957. - 582 p.

49. Grandmother's stories, from the memoirs of five generations, recorded and collected by her grandson D. Blagovo. - St. Petersburg, 1885. - 319 p.

50. Rodionov N.S. The work of L.N. Tolstoy over the manuscripts of "War and Peace" // Yasnaya Polyana collection: Literary-critical articles and materials about the life and work of L.N. Tolstoy. Year 1955 / L.N. Tolstoy Yasnaya Polyana. - Tula: Prince. publishing house, 1955. - S. 73 - 85.

51. Roman L.N. Tolstoy "War and Peace" in Russian criticism: Sat. Art. / Comp. I.N. Dry. - L .: Publishing house Leningrad. un-ta, 1989. - 408 p.

52. Saburov A.A. "War and Peace" L.N. Tolstoy. Problematics and poetics. - M.: Publishing House of Moscow. un-ta, 1959. - 599 p.

53. Sverbeev D.N. Notes. T. 1. 1799 - 1826. - M., 1899. - 363 p.

54. Skaftymov A.P. Moral Quests of Russian Writers: Articles and Studies on Russian Classics / Compiled by E. Pokusaev. - M.: Artist. literature, 1972. - 541 p.

55. Skaftymov A.P. Articles about Russian literature. - Saratov: Prince. publishing house, 1958. - 389 p.

56. Tolstoy and about Tolstoy: Sat. 3 / Ed. N.N. Guseva, V.G. Chertkov. - M., 1927. - 219 p.

57. Troyat A. Leo Tolstoy: Per. from fr. - M.: Eksmo, 2005. - 893 p.

58. Fogelson I.A. Literature teaches. Grade 10. - M.: Enlightenment, 1990. - 249 p.

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62. Chicherin A.V. The emergence of the epic novel. - M.: Sov. writer, 1958. - 370 p.

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64. Shklovsky V.B. Artistic prose. Reflections and analysis. - M.: Sov. writer, 1959. - 627 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 - 1849 Where 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: "Fear 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 - 1851 First 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 - 1855 World 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 - 1910 Huge 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."

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.
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.
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.
	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.
	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.
	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.
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.
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.
	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.
	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.
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.
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.
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.

	Rostov	Bolkonsky
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.
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.
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.
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).
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.
6. Patriotism. attitude towards wars. Compare: - attitude to 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.
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).
	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.

During the classes

The essence of her life is love...
L.N. Tolstoy.

I.Orgmoment

(check readiness for the lesson).

II. Teacher's word.

Every person is a diamond that can purify and not purify itself. To the extent that it is purified, eternal light shines through it. Therefore, the business of man is not to try to shine, but to try to purify himself...

L. N. Tolstoy.

We can correlate these words with the heroes of the novel "War and Peace", with the best of them. The purity of their moral character is manifested in everything: both in family life and in everyday life.

Recall the topic of the previous lesson: "Life of the local nobility." Now, at the stage of doing homework, we will listen to the performance of the group. And you guys, write down in your notebook the most characteristic features of the Rostov family.

III. Implementation of homework.

Conversation (speech in groups).

A) Tell us what aspects of the life of the Rostovs are depicted by Tolstoy in the fourth part of the second volume? What is the main thing that Tolstoy emphasizes in the life of the local nobility?

And what does this great word "love" mean?

To do this, carefully look at the screen.

"Love" is a feeling of selfless, heartfelt affection.

We meet this interpretation in the “Dictionary of the Russian Language” by S.I. Ozhegov.

"Love" - the state of a lover, passion, affection.

And we see this in the "Explanatory Dictionary" by V.I. Dahl.

Let us follow the development of a great feeling in our heroes.

Students list scenes of hunting, Christmas entertainment, a trip to their uncle, scenes of his singing and Natasha's dance, the Rostovs' home way of life. In their family there is still cordiality, cordiality, sensitivity, naturalness, hospitality, purity of moral character. In all scenes, Tolstoy emphasizes the closeness of the local nobility to nature and the common people. This is what allows Tolstoy to see goodies in Rostov.

The hunting scene reflects the theme of “man and nature”, interestingly the author shows the similarities in the behavior of people and animals (“the hunter Danila gallops to the notch just like Karay (dog) - across the beast, choosing the only right direction).

Important for understanding the characters of the characters of the scene in the uncle's house. In uncle's singing and Natasha's dance, their closeness to the people, their understanding of the Russian spirit and temperament (but not as an understanding of the needs of the people) is reflected - “Where, how, when she sucked herself in from that Russian air that she breathed - this countess,. .-... and in the aunt, and in the mother, in every Russian person. “Uncle sang like the people sing…” Tolstoy solves the problem: is mutual understanding between different strata of society possible (“peace”, “cord” between them) - and answers that it is possible. "How fine he is, uncle!" - says Nikolai Rostov about him. Tolstoy repeats the words more than once: harmony, charm, happiness, good, excellent. That's why Natasha is happy because she felt her blood closeness with the people. “You know,” she suddenly said, “I know that I will never be so happy, so calm as now.”

B) Another theme, the resolution of which is included in the second volume, is the depiction of the love of heroes.

Not only the main characters: Andrey, Pierre, Natasha - experience a feeling of love at this time, but also minor characters: Dolokhov, Denisov, Nikolai Rostov, Sonya, Berg, B. Drubetskoy and others. There is no life without love.

- Does Helen have a "heart" (in Tolstoy's understanding)?

Helen Kuragina has never loved anyone, her heart is dead. She does not just get carried away and make mistakes, moving from admirer to admirer, but this is her conscious line of behavior. That is why depravity and evil appear, that she has no shame, but only base instincts. In the novel, Napoleon says of her: "This is a beautiful animal." The baseness of her behavior with Pierre, her connection with Dolokhov and B. Drubetsky, her ugly role in the story with Natasha and Anatole, her attempt to marry two husbands at once while Pierre was alive - all this creates the appearance of a depraved and prudent secular beauty. “Where you are, there is debauchery, evil,” Pierre said about her, and this exhausts her characterization. Remember Pierre's words to Anatole: "Oh, vile, heartless breed!"

- Berg and Vera Rostova. Does Berg love Vera?

It is not a matter of material calculation (Berg could have found a richer bride) and not only in the desire to intermarry with the counts. Berg loves Vera in his own way, because he finds his own soul in her. "And I love her, ... - who fully personified his dreams of happiness." The love of these heroes does not exalt them, it also does not come from the heart, because Berg does not have a heart, or he has it as neat and dry as he does.

- Tell us what led B. Drubetskoy's relationship with Julie Kuragina.

Adjacent to this turn of the theme of love in the novel is the story of the marriage of B. Drubetskoy, on the example of which the author once again emphasizes falsehood and self-interest in the relations of people of the world. Tolstoy shows how people of high society are guided when entering into marriages (Nizhny Novgorod forests, Penza estates, and not love).

- What is the charm of the pages dedicated to the beginning of the love of Natasha Rostova and Prince Andrei?

The charm of this love is created by its moral purity. Prince Andrei was attracted to Natasha by her poetry, her fullness of life, purity, and immediacy. The desire for happiness inherent in it awakens the strength of other people. Her singing gives Prince Andrei pleasure, he is struck by Natasha's sensitivity, the ability to guess someone else's mood, to understand everything from a half-word. And Natasha fell in love with Prince Andrei, felt his inner strength, nobility. The words of Prince Andrei: “The whole world is divided for me into two halves: one is she, and there is all happiness, hope, light; the other half - everything where it is not there, everything is dull and dark ... ”and Natasha:“ ... but this has never happened to me ”- convince of the strength and seriousness of their feelings.

How does Tolstoy describe the emergence and development of this love?

Ball scene. We feel the subtlest experiences of Natasha. When Prince Andrei invited Natasha, her smile seemed to tell him: "I have been waiting for you for a long time."

The arrival of Prince Andrei at the Rostovs' house after the ball is full of poetry, the way he listens to Natasha singing and answers the question of whether he likes her singing. “It never occurred to him that he was in love with Rostov,” but “his whole life seemed to him in a new light.”

The gentle, gentle expression on Prince Andrei's face and the bright light of Natasha's inner fire at the evening at the Bergs are a new step in this love. Their explanation, conversations, the departure of Prince Andrei - all this is remembered. The author follows all the shades of thoughts and feelings of his characters.

- Natasha's betrayal. How do you explain and evaluate this act?

The power of Natasha’s repentance is great, the moral consequences of her betrayal for her and others are heavy, the grief that she caused Prince Andrei is great, but Natasha’s passion for Anatole comes not from the corruption of her nature, but from youth, overflowing with life and inexperience. For her, this is not a habitual line of behavior, as for Helen, but a mistake that she will soon understand, but will not soon forgive herself.

- What place does love take in the life of heroes?

The female theme occupies an important place in L.N. Tolstoy "War and Peace" (1863-1869). The work is the writer's polemical response to supporters of women's emancipation. At one of the poles of artistic research are numerous types of high-society beauties, mistresses of magnificent salons in St. Petersburg and Moscow - Helen Kuragina, Julie Karagina, Anna Pavlovna Sherer. The cold and apathetic Vera Berg dreams of her own salon...

Secular society is immersed in eternal vanity. In the portrait of the beautiful Helen, Tolstoy draws attention to the “whiteness of the shoulders”, “the gloss of her hair and diamonds”, “a very open chest and back”, “an unchanging smile”. These details allow the artist to highlight

Inner emptiness, the insignificance of the "high society lioness". The place of genuine human feelings in luxurious living rooms is occupied by monetary calculation. The marriage of Helen, who chose the wealthy Pierre as her husband, is a clear confirmation of this. 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

The bed of the dying Count Bezukhov, Pierre's father, Anna Mikhailovna feels

A feeling of compassion, but the fear that Boris will be left without an inheritance.

Tolstoy also shows high-society beauties in “family life”. Family, children do not play a significant role in their lives. Helen finds Pierre's words funny that spouses can and should be bound by feelings of heartfelt affection and love. Countess Bezukhova with

Thinks with disgust about the possibility of having children. With amazing ease, she throws

Husband. Helen is a concentrated manifestation of a deadly lack of spirituality, emptiness,

Vanity. The insignificance of the life of the “socialite” is fully consistent with the mediocrity of her death.

Excessive emancipation, according to Tolstoy, leads a woman to a misunderstanding of her own role. In the salons of Helen and Anna Pavlovna Scherer, political disputes, judgments about Napoleon, about the position of the Russian army are heard ... Thus, high society beauties have lost the main features that are inherent in a real woman. On the contrary, in the images of Sonya, Princess Marya, Natasha Rostova, those features are grouped that make up the type of "woman in the full sense."

At the same time, Tolstoy does not try to create ideals, but takes life "as it is." In fact, we will not find in the work of “consciously heroic” female natures, like Turgenev’s Marianne from the novel “Nov” or Elena Stakhova “from “On the Eve”. The very method of creating female images of Tolstoy and Turgenev differs. Turgenev was a realist at the same time Let us recall the finale of the novel “The Nest of Nobles.” Lavretsky visits the remote monastery where Lisa has hidden. ... What did they think, what did both feel? Who will know? Who will say? There are such moments in life, such feelings ... You can only point at them - and pass by. "Is it necessary to say that Tolstoy's favorite heroines are deprived of romantic elation? Female spirituality lies not 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. This conclusion may raise doubts on a superficial reading of the novel. Indeed, we see the patriotism of Princess Marya and Natasha Rostova during the period of the French invasion, we see Marya Volkonskaya's unwillingness to take advantage of

The patronage of the French general and the impossibility for Natasha to stay in Moscow

With the French. However, the connection between female images and the image of war in the novel is more complex; it is not limited to the patriotism of the best Russian women. Tolstoy shows that it took the historical movement of millions of people so that the heroes of the novel - Marya Volkonskaya and Nikolai Rostov, Natasha Rostova and Pierre Bezukhov - could find their way to each other.

Tolstoy's favorite heroines live with their hearts, not their minds. All the best, cherished memories of Sonya are associated with Nikolai Rostov: common childhood games and pranks, Christmas time with fortune-telling and mummers, Nikolai's love impulse, the first kiss ... Sonya remains faithful to her beloved, rejecting Dolokhov's offer. She loves

Resignedly, but she is not able to refuse her love. And after the marriage of Nicholas

Sonya, of course, continues to love him. Marya Volkonskaya with her gospel

Humility is especially close to Tolstoy. And yet it is her image that personifies the triumph

Natural human needs over asceticism. The princess secretly dreams of

Marriage, about his own family, about children. Her love for Nikolai Rostov is 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 Nikolay 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, proof of this is the story of Anatole Kuragin.

Love for Prince Andrei awakens with renewed vigor in Natasha after leaving Moscow with a convoy, in which the wounded Bolkonsky also finds himself. The death of Prince Andrei deprives Natasha's life of meaning, but the news of Petya's death forces the heroine to 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

Wholeheartedly devoted 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 contrary to all the rules of logic." This is the ideal of family happiness. Such is Tolstoy's ideal of "peace."

It seems to me that Tolstoy's thoughts about the true destiny of a woman have not become outdated even today. Of course, a significant role in today's life is played by people who have dedicated themselves to

Political, social or professional activity. But still, many of our contemporaries chose Tolstoy's favorite heroines for themselves. And is it really not enough - to love and be loved?!
The famous novel by L.N. Tolstoy depicts many human destinies, different

Characters, good and bad. It is the opposition of good and evil, morality and recklessness that underlies Tolstoy's novel. In the center of the story are the fates of the writer's favorite characters - Pierre Bezukhov and Andrei Bolkonsky, Natasha Rostova and Marya Volkonskaya. All of them are united by a sense of goodness and beauty, they are looking for their way in the world, striving for happiness and love.

But, of course, women have their own special purpose, given by nature itself, she is, first of all, a mother, a wife. For Tolstoy, this is undeniable. The world of the family is the basis of human society, and the mistress in it is a woman. The images of women in the novel are revealed and evaluated by the author with the help of his favorite technique - the opposition of the internal and external image of a person.

We see the ugliness of Princess Marya, but "beautiful, radiant eyes" illuminate this face with an amazing light. Having fallen in love with Nikolai Rostov, the princess at the moment of meeting with him

She is transformed in such a way that Mademoiselle Bourienne almost does not recognize her: “chest, feminine notes” appear in her voice, grace and dignity appear in her movements. "For the first time, all that pure spiritual work that she had lived until now came out" and made the face of the heroine beautiful.

We do not notice any particular attractiveness in appearance with Natasha Rostova either. Eternally changeable, on the move, responding violently to everything that happens around Natasha can "dissolve her big mouth, becoming completely bad", "cry like a child", "just because Sonya is a jackal", she can grow old and unrecognizably change from grief after Andrew's death. It is this vital variability in Natasha that Tolstoy likes because her appearance is a reflection of

The richest world of her feelings.

Unlike Tolstoy's favorite heroines - Natasha Rostova and Princess Marya, Helen is

The embodiment of external beauty and at the same time a strange immobility, a fossil.

Tolstoy constantly mentions her "monotonous", "unchanging" smile and "ancient beauty of the body". She resembles a beautiful, but soulless statue. No wonder the author does not mention her eyes at all, which, on the contrary, in positive heroines always attract our attention. Helen is good on the outside, but she is the personification of immorality and depravity. For the beautiful Helen, marriage is the way to enrichment. She cheats on her husband all the time, the animal nature prevails in her nature. Pierre - her husband - is struck by her inner rudeness. Ellen is childless. "I'm not so stupid to have children" -

She speaks blasphemous words. Not being divorced, she solves the problem, for

Whom should she marry, unable to choose one of her two suitors. Mysterious

Helen's death is due to the fact that she is entangled in her own intrigues. Such is this heroine, her attitude to the sacrament of marriage, to the duties of a woman. But for Tolstoy,

That is the most important thing in assessing the heroines of the novel.

Princess Marya and Natasha become wonderful wives. Not everything is available to Natasha

Pierre's intellectual life, but with her soul she understands his actions, helps her husband in

Everyone. Princess Mary captivates Nicholas with spiritual wealth, which is not given to his uncomplicated nature. Under the influence of his wife, his unbridled temper softens, for the first time he realizes his rudeness towards the peasants. Marya does not understand the economic concerns of Nikolai, she is even jealous of her husband. But the harmony of family life lies in the fact that the husband and wife, as it were, complement and enrich each other, constitute one whole. Temporary misunderstanding, light conflicts are resolved here by reconciliation.

Marya and Natasha are wonderful mothers, but Natasha is more concerned about the health of her children (Tolstoy shows how she takes care of her youngest son), Marya surprisingly penetrates into the character of the child, takes care of spiritual and moral education. We see that the heroines are similar in the main, most valuable qualities for the author - they are given the ability to subtly feel the mood of loved ones, share someone else's grief, they selflessly love their family. A very important quality of Natasha and Marya is naturalness, artlessness. They are not able to play a role, do not depend on

A prying eye can violate etiquette. At her first ball Natasha

It is distinguished precisely by immediacy, sincerity in the manifestation of feelings. Princess

Marya, at the decisive moment of her relationship with Nikolai Rostov, forgets what she wanted

Be aloof and polite. She sits, thinking bitterly, then cries, and Nikolai, sympathizing with her, goes beyond the scope of secular conversation. As always with Tolstoy,

Ultimately, everything is decided by a look that expresses feelings more freely than the words: "and distant,

The impossible suddenly became close, possible and inevitable.

In his novel "War and Peace" the writer conveys to us his love for life, which appears in all its beauty and fullness. And, considering the female images of the novel, we are once again convinced of this.