What are the problems in war and peace? Problems, conflict, ideological meaning of the novel by L.N.
39. moral and philosophical issues of the novel “War and Peace”.Philosophical issues of the novel . Philosophical problems of the novel. The main philosophical themes of the novel: man and his place in the world, man’s place in history (the problem of personal free will and historical necessity: the problem of the role of the individual in history, the relationship between personal fate and historical perspective), the meaning of history (the root cause of historical events, in the first place wars; assessment of the activities of secret societies, including the Decembrists), existential problems (the meaning of human life), the concept of ethics: the definition of moral imperatives arising from such a picture of the world (heroes reflect on how to become “quite good” (whose expression is this?), how to find harmony in life). These problems in the novel are found at all levels of the plot (“war” and “peace”, private destinies and the fate of Russia, the thoughts and actions of fictional characters and the activities of real historical figures) and at the supra-plot level (Tolstoy’s philosophical reasonings). Since the novel constructs very clear ethical system, then at each of the above levels of the plot one can easily detect the negative and positive “poles” embodied in the heroes (Kutuzov and Napoleon, Natasha and the “evil” Vera, etc.). The world and man. Man's place in the world. World “all-unity”. It is useful to compare Tolstoy’s picture of the world with Dostoevsky’s picture of the world. Dostoevsky recreates the Christian person-centric model of the world: an individual person is equivalent to the whole world, a person is reunited with God through the God-man - Christ. The main character of Dostoevsky's work is a personality as such, the World is reflected in it. Therefore, Dostoevsky's heroes are, to some extent, symbolic figures who embody spiritual, metaphysical principles. Tolstoy recreates a pantheistic model of the world: man is only one of the elements of an endless evolutionary process, he is a grain of sand in a huge world-space. There is no concept of “God-man” here, and God is a philosophical synonym for the concepts “all life”, “nature”, “history”, “the world as a whole”, “unity”. So, the World comes first, then man. The formula heard by Pierre Bezukhov in his Moscow dream (“Life is everything. Life is God. Life is the continuous self-consciousness of the Divine”) refers to the Eastern religious and philosophical traditions (for Christianity, the world is not the continuous self-consciousness of God, but his one-time creation). We can say that Dostoevsky rather depicts “the world in man,” and Tolstoy depicts “man in the world.” Tolstoy's man is, first of all, a particle of the big World - family, people, humanity, nature, the invisible historical process. Let us note, for example, that in “Crime and Punishment” the comparison of humanity with an anthill implies a pejorative character, and in Tolstoy’s philosophical digressions the comparison of human communities with a swarm, hive or herd arises completely naturally and does not imply any negative meaning. If we compare two close in time writing the novel “Crime and Punishment” and “War and Peace”, then we will see similar problems, but examined from fundamentally different angles. Both names contain the idea of polarity, the antithesis of positive and negative principles, but the title of Dostoevsky’s novel indicates the individual inner world of the hero, and the title of Tolstoy’s novel indicates the global scale of what is depicted, the commonality and connection of many human destinies. The “Napoleonic” theme also looks differently in these novels: for Dostoevsky it is an ethical question addressed to an individual (“Do you have the right to be Napoleon?”), and for Tolstoy it is rather a historiosophical question addressed to humanity (“Did Was Napoleon a great man?" Therefore, Napoleon becomes Tolstoy’s character, and Dostoevsky never wrote anything like a historical novel. All this does not mean that Tolstoy belittles the value of the individual human personality: after all, it is understood that every person is a necessary part of the world, without which the world would be incomplete. In the novel Tolstoy often uses the symbolism of the part and the whole (the steps of the ladder and the links of the chain in Pierre’s “Masonic” monologue on the ferry in Bogucharovo; the harmonious fusion of musical voices in Petya Rostov’s vision; a water ball consisting of individual drops in Pierre’s dream, where the ball symbolizes the world, and the drops - human destinies; reasoning about the “personal” and “swarm” life of a person in one of the author’s philosophical digressions; metaphors associated with the hive, swarm, herd (find them in the text of the novel); reasoning that the invisible historical will consists of “billions of wills”). All these symbols express the idea of world “all-unity”, in Tolstoy’s understanding. Each element of the larger whole is integral. In accordance with this picture of the world, the novel examines the question of the role and place of the individual in history, nature, society, the state, the people, and the family. This is the philosophical problematic of the novel. The meaning of the historical process. The role of personality in history. This topic in the novel is first discussed in detail in the historiosophical discussion about the causes of the War of 1812 (the beginning of the second and the beginning of the third parts of the third volume). This reasoning is polemically directed against the traditional concepts of historians, which Tolstoy considers a stereotype that requires rethinking. According to Tolstoy, the start of the war cannot be explained by someone’s individual will (for example, the will of Napoleon). Napoleon was objectively involved in this event, just like any corporal going to war on that day. The war was inevitable, it began according to the invisible historical will, which consists of “billions of wills.” The role of personality in history is practically negligible. The more people are connected to others, the more they serve “necessity,” that is, their will becomes intertwined with other wills and becomes less free. Therefore, public and government figures are the least subjectively free. "The king is a slave of history." (How does this idea of Tolstoy manifest itself in the depiction of Alexander?) Napoleon is mistaken when he thinks that he can influence the course of events. “...The course of world events is predetermined from above, depends on the coincidence of all the arbitrariness of the people participating in these events, and... the influence of Napoleon on the course of these events is only external and fictitious” (Chapter XXVIII of the second part of the third volume). Kutuzov is right in that he prefers to strictly follow the objective process, rather than impose his line, “not interfere” with what is about to happen. The novel ends with the formula of historical fatalism: “... it is necessary to abandon non-existent freedom and recognize the imperceptible; We are dependent.” Attitude to war. The war turns out not to be a duel between Napoleon and Alexander or with Kutuzov, it is a duel of two principles (aggressive, destructive and harmonious, creative), which are embodied not only in Napoleon and Kutuzov, but also in characters appearing at other levels of the plot (Natasha, Platon Karataev and etc.). On the one hand, war is an event contrary to everything human, on the other hand, it is an objective reality, meaning personal experience for the heroes. Tolstoy's moral attitude towards war is negative (anti-war pathos was already felt in his early autobiographical war stories). For comparison:
Dostoevsky condemned only civil (“fratricidal”) war, but saw a positive meaning in international wars: the strengthening of patriotism, the heroic principle (see: F. M. Dostoevsky. “The Diaries of a Writer,” chapter “Paradoxalist”). Let us note that Dostoevsky, unlike Tolstoy, never personally took part in military events. In peaceful life, a kind of “war” also occurs: between “war” (aggressive beginning) and “peace” (positive, harmonious beginning). Heroes representing secular society, careerists - a kind of “little Napoleons” (Boris, Berg), as well as those for whom war is a place for realizing aggressive impulses (nobleman Dolokhov, peasant Tikhon Shcherbaty) are condemned. These heroes belong to the sphere of “war”, they embody the Napoleonic principle. “Personal” and “swarm” life of a person. It may seem that such a vision of the world is deeply pessimistic: the concept of freedom is denied, but then human life loses its meaning. Actually this is not true. Tolstoy separates the subjective and objective levels of human life: a person is in the small circle of his biography (microcosm, “personal” life) and in the large circle of universal history (macrocosm, “swarm” life). A person is subjectively aware of his “personal” life, but cannot see what his “swarm” life consists of. At the “personal” level, a person is endowed with sufficient freedom of choice and is able to be responsible for his actions. A person lives a “swarm” life unconsciously. At this level, he himself cannot decide anything; his role will forever remain the one that history has assigned to him. The ethical principle arising from the novel is the following: a person should not consciously relate to his “swarm” life, or put himself in any relationship with history. Any person who tries to consciously participate in the general historical process and influence it is mistaken. The novel discredits Napoleon, who mistakenly believed that the fate of the war depended on him - in fact, he was a toy in the hands of an inexorable historical necessity. In reality, he turned out to be only a victim of a process started, as he thought, by himself. All the heroes of the novel who tried to be Napoleons sooner or later give up this dream or end badly. One example: Prince Andrei overcomes the illusions associated with state activities in Speransky’s office (and this is correct, no matter how “progressive” Speransky is). People fulfill the law of historical necessity unknown to themselves, blindly, knowing nothing except their private goals, and only truly (and not in the “Napoleonic” sense) great people are able to renounce the personal, to be imbued with the goals of historical necessity, and this is the only way to become a conscious conductor of the higher will (example - Kutuzov). Ideal existence is a state of harmony, agreement with the world, i.e. a state of “peace” (in the sense: not war). To do this, personal life must be reasonably coordinated with the laws of “swarm” life. Wrong existence is enmity with these laws, a state of “war” when the hero opposes himself to people, tries to impose his will on the world (this is Napoleon’s path). Positive examples in the novel are Natasha Rostova and her brother Nikolai (harmonious life, taste for it, understanding of its beauty), Kutuzov (the ability to react sensitively to the course of the historical process and take his reasonable place in it), Platon Karataev (this hero has a personal life practically dissolves into the “swarm”, it seems that he does not have his own individual “I”, but only a collective, national, universal “We”). Prince Andrei and Pierre Bezukhov, at different stages of their life path, alternately become like Napoleon, thinking that they can influence the historical process with their personal will (Bolkonsky’s ambitious plans; Pierre’s passion first for Freemasonry and then for secret societies; Pierre’s intention to kill Napoleon and become the savior of Russia) , then they acquire a correct view of the world after deep crises, mental turmoil, and disappointments. Prince Andrei, after being wounded in the Battle of Borodino, died, having experienced a state of harmonious unity with the world. A similar state of enlightenment came to Pierre in captivity (note that in both cases, the heroes, along with simple, empirical experience, also receive mystical experience through a dream or vision). (Find this in the text.) However, it can be assumed that with ambitious plans to return to Pierre, he will become interested in secret societies, although Platon Karataev may not have liked this (see Pierre’s conversation with Natasha in the epilogue). In connection with the idea of “personal” and “swarm” life, Nikolai Rostov’s dispute with Pierre about secret societies is indicative. Pierre sympathizes with their activities (“Tugendbund is a union of virtue, love, mutual assistance; this is what Christ preached on the cross”), and Nikolai believes that “a secret society is therefore hostile and harmful, which can only give rise to evil,<...>If you form a secret society, if you begin to oppose the government, whatever it may be, I know that it is my duty to obey it. And Arakcheev told me now to go at you with a squadron and cut down - I won’t think for a second and I’ll go. And then judge as you wish.” This dispute does not receive an unambiguous assessment in the novel; it remains open. We can talk about “two truths” - Nikolai Rostov and Pierre. We can sympathize with Pierre along with Nikolenka Bolkonsky. The epilogue ends with Nikolenka’s symbolic dream on the topic of this conversation. Intuitive sympathy for Pierre's cause is combined with dreams of the hero's glory. This is reminiscent of Prince Andrei’s youthful dreams of “his Toulon,” which were once debunked. Thus, in Nikolenka’s dreams there is a “Napoleonic” element that is undesirable for Tolstoy - it is also in Pierre’s political ideas. In this regard, the dialogue between Natasha and Pierre in Chapter. XVI of the first part of the epilogue, where Pierre is forced to admit that Platon Karataev (the person with whom the main moral criteria are associated for Pierre) “would not approve” of his political activities, but would approve of “family life.” The true meaning of life. The final phrase in the novel provokes the reader to make a pessimistic conclusion about the meaninglessness of life. However, the internal logic of the plot of “War and Peace” (in which it is no coincidence that the entire diversity of human life experience is recreated: as A.D. Sinyavsky said, “the whole war and the whole world at once”) says otherwise. The meaning of life exists, but many do not understand it, continuing to live by inertia or setting themselves “Napoleonic” goals. The most intelligent, thinking characters of the novel (and together with them the author himself) say that the meaning of life is revealed under the condition of harmonious relations (unity, reconciliation) of a person with the world (with the people, with nature, with the “will of history”). The following example can be given: when Pierre tells Prince Andrei about Freemasonry and introduces him to the symbolism of “steps of the ladder”, “links of the chain”, etc. (conversation in Bogucharovo), Bolkonsky replies that this is just the book “teaching of Herder”, which is too abstract: “Life and death are what convinces.” One could object to Prince Andrei: what he says is also quite abstract. However, throughout the course of the plot, Tolstoy gives the reader the opportunity to understand what is meant by this expression of Bolkonsky. The point is that the meaning of life can be perceived spontaneously and directly, through specific life experiences. First of all, these are experiences associated with key moments of human life (“root situations of existence”) - love, birth, death. Thus, the death of his wife and the birth of his son, love for Natasha constitute an integral life experience for Prince Andrei, but the meaning of life is finally revealed to him only before death. Bolkonsky experienced the proximity of death twice - first near Austerlitz (and this also became an important milestone in his life), and then near Moscow. (Reread the chapters that talk about the last days of Prince Andrei’s life. Pay attention to the symbolism of the “door” and the comparison of death with “awakening” (the understanding of reality as a dream, and death as an awakening is characteristic primarily of Eastern religious and philosophical systems.) For many heroes, experiencing the proximity of death turns out to be an important milestone in personal growth (Nikolai Rostov’s first battle, Pierre’s stay at the Raevsky battery and in captivity). However, the moment of revelation is not necessarily associated with the proximity of death. Tolstoy shows all the drama of human experience and all its diversity: much is revealed in situations of everyday life (Nikolai Rostov’s card loss), when communicating with nature (remember the description of the hunt, the famous oak tree in Otradnoye, let’s also pay attention to frequent situations when the hero looks at the sky and reflects on the eternal: Pierre and the comet, Prince Andrei and the sky of Austerlitz, Natasha and the starry night in Otradnoye), when communicating with people (the life of Nikolai Rostov in the regiment). (Compare two storylines: the story of Prince Andrei’s disappointment in Napoleon and the story of Nikolai Rostov’s disappointment in Alexander. How do Bolkonsky and Rostov’s feelings differ in relation to the “idol”? How does each of them perceive himself? What thoughts do they have about their relatives and loved ones? How does disappointment happen? What are the psychological consequences of disappointment in the “idol” for each of the heroes? Draw conclusions about the characters of Bolkonsky and Rostov.) For people of the egocentric type, life ultimately depreciates and comes down to fussy serving their whims (an example of this is the Kuragin family). Some heroes are able to feel the fullness of being, the fullness of life with deep meaning in the simplest, everyday situations - first of all, these are Natasha and Nikolai Rostov (see description of the ball, hunting scenes). Other heroes come to such a feeling only through exceptional (extreme, crisis, “threshold”) situations, or, as Tolstoy writes, “radical situations of existence” (in the words of Prince Andrei: “Life and death - that’s what convinces”). For Prince Andrei, an example of such a meeting with “life and death” is Austerlitz, the death of his wife Lisa, and especially Borodino. For Pierre, this is a duel with Dolokhov, Borodino, and especially being in captivity after the execution of the arsonists, which struck the hero. It is by experiencing such difficult moments that Prince Andrei and Pierre begin to better understand the meaning of life, or, rather, to feel that life is full of meaning. "Napoleon's Way" Napoleon is the embodiment of voluntarism and extreme individualism. He seeks to impose his will on the world (i.e., the vast masses of people), but this is impossible. The war began in accordance with the objective course of the historical process, but Napoleon thinks that he started the war. Having lost the war, he feels despair and confusion. Tolstoy's image of Napoleon is not without grotesque and satirical shades. Napoleon is characterized by theatrical behavior (see, for example, the scene with the “Roman king” in Chapter XXVI of the second part of the third volume), narcissism, and vanity. The scene of Napoleon’s meeting with Lavrushka, wittily “conjectured” by Tolstoy based on historical materials, is expressive. Napoleon is the main emblem of the voluntaristic path, but many other heroes follow this path in the novel. They can also be likened to Napoleon (cf. “little Napoleons” - an expression from the novel). Vanity and self-confidence are characteristic of Bennigsen and other military leaders, the authors of all kinds of “dispositions” who accused Kutuzov of inaction. Many people in secular society are also spiritually similar to Napoleon, because they always live as if in a state of “war” (secular intrigue, careerism, the desire to subordinate other people to their own interests, etc.). First of all, this applies to the Kuragin family. All members of this family aggressively interfere in the lives of other people, try to impose their will, and use others to fulfill their own desires. Some researchers have pointed out the symbolic connection of the love plot (the invasion of the treacherous Anatole into Natasha’s world) with the historical one (Napoleon’s invasion of Russia), especially since the episode on Poklonnaya Hill uses an erotic metaphor (“And from this point of view, he [Napoleon] looked at lying in front of him, an eastern beauty [Moscow] that he had never seen before,<...>the certainty of possession excited and terrified him” - ch. XIX of the third part of the third volume). True and false in human life. One of the important ideological confrontations for Tolstoy in the novel “War and Peace” is Truth and Lies. The contrast between the true (genuine, natural) and the false (imaginary, artificial) is the running theme of the novel. This opposition has the following important aspects. True and false communication between people. True communication presupposes naturalness and spontaneity (“simplicity”). This is characteristic primarily of the Rostov family, as well as some other characters (Denisov, Marya Dmitrievna, Captain Tushin, Kutuzov, etc.). “Simplicity” brings them closer to the people. False communication implies artificiality, it is communication according to rules, it is feigned, theatrical, ultimately insincere and hypocritical. This is how it is customary to communicate in high society (Anna Pavlovna Sherer’s salon, the Kuragin family) and in political circles (Speransky). Prince Andrei Bolkonsky is initially inclined to live by the rules of secular society, but gradually these rules depreciate for him. Pierre Bezukhov first thinks about the deceitfulness of secular society after his duel with Dolokhov. For him, the “depravity” and “evil” of the world are embodied in his wife Helen, daughter of Vasily Kuragin and sister of Anatole. Subsequently, the embodiment of “simplicity, goodness and truth” for him becomes the peasant soldier Platon Karataev, whom Pierre met in captivity. True and false patriotism. Tolstoy debunks traditional emblems of patriotism (for example, “banners”), which imply the identification of the homeland with the state and its official policy. Rastopchin’s pseudo-patriotic rhetoric does not evoke sympathy: this character is contrasted with the reservedly wise Kutuzov, who does not say beautiful words about Moscow and Russia, but is really seriously thinking about how to “drive out” the French as quickly as possible. True and false beauty. Here the main opposition is living (natural, “warm”) and deathly (artificial, “cold”) beauty. Another important contrast is internal (spiritual) and external (physical) beauty. Let's look at Helen's portrait. Depicting the “beauty,” Tolstoy uses metaphors that refer to inanimate matter (“marble” shoulders, on which there was like varnish from glances, etc.). She is contrasted with Natasha, whose beauty is natural and therefore good (in addition, Natasha combines external charm and inner, spiritual beauty). Pay attention also to the portrait of Princess Marya (“ugly face”, but “radiant eyes”) and to the portrait of Kutuzov (physical weakness, but at the same time inner strength of spirit). In general, it seems that Tolstoy does not highly value external (physical) beauty, as if he does not trust it. It is noteworthy that Natasha Rostova in the epilogue of the novel loses her girlish vivacity, but the author stubbornly admires her. This attitude to the topic of beauty is associated with the conflict of ethical and aesthetic principles, the ideals of Beauty and Goodness, which was important for Tolstoy. Dostoevsky’s statement that “beauty will save the world” is impossible in Tolstoy. We recommend reading Tolstoy’s late article “What is Art?”, in which the writer, from his ethical perspective, analyzes the history of the concept of beauty in European culture and philosophy. True and false greatness. This topic arises in connection with Napoleon. “For us, with the measure of good and bad given to us by Christ, there is nothing immeasurable. And there is no greatness where there is no simplicity, goodness and truth.”
The novel “War and Peace” is a kind of research novel that touches on important topics that concern any person. The problems of the novel “War and Peace” are still the cause of heated debates between historians and writers. The author tried to reflect in the work all the problems existing at that time in Russia. Among which we can highlight the problem of family and marriage, everyday problems, false and true patriotism, problems associated with war, the pompous life of aristocrats covered with false gloss.
Family problem
The problem of family relationships deeply worried Tolstoy. Using the example of several families, the author expressed his point of view about what a home should ideally be like, where love, warmth and care for each other reign.
Kuragin family
Nothing is sacred to these people. Support and care for each other is alien to them. They don't care about the problems of others, everyone thinks only about themselves. Looking at them you wouldn’t think they were a family. Anger, envy and their own selfishness are too clearly expressed in them. Vile, low people who can easily strike, exposing a loved one. They will do anything to achieve their goals, but they can mislead strangers, creating the appearance of well-being and harmony in the family.
Rostov and Bolkonsky
The Rostovs and Bolkonskys are the complete opposite of the Kuragins. In the Rostov family, everything is imbued with love. There is harmony and respect for every family member in the house. They are used to solving problems together, sincerely caring for each other. The Bolkonsky family evokes Tolstoy's obvious sympathy. The three generations described in the novel sacredly honor family traditions. Honor, dignity, and courage are not empty words for them. Using the example of these two families, Tolstoy showed that only those families are happy in which there is no malice and falsehood. Others will not see happiness. The upbringing of children and the moral principles of parents play a significant role.
The problem of the people and the individual
The problem of the people is of leading importance for Tolstoy. He valued kindness, sincerity, and honesty in people. Only then does a person’s life have value when he is together with the people, and not separately from them.
During the war, people had to unite. Common grief brings people together. It is in adversity that the best qualities of a person are revealed. It doesn’t matter what class a person belonged to, what gender, a great love for the Motherland could find a place in everyone’s soul. People confirmed their love not with empty words and beautiful phrases, but with real actions, risking their own lives.
Tolstoy raised the problem of patriots and false patriots who took advantage of the current situation for their own benefit. While others were shedding blood on the battlefield, false patriots were rubbing their pants to holes at headquarters, thinking only about one thing: how to climb the career ladder and pin another order on the lapel of their uniform.
The Problem of Human Action
It was as if Tolstoy deliberately led the heroes of the novel through thorns on the path to happiness. A clear example is Pierre Bezukhov. Troubles one after another. Eternal clashes with his wife, rejection of the lifestyle they lead, mental distress after the duel with Dolokhov. Pierre thought about why he lives, what he strives for, what is good and what is bad. The Masonic figure helped Bezukhov find himself, guiding him in the right direction. Doing good is the way out. By bringing benefit to people, you feel important. Having done many good deeds, Pierre began to live in harmony with his conscience, and the feeling of the correctness of his actions gave him confidence in life.
The problem of personality. Her influence on the course of history
Tolstoy was firmly convinced that the course of history does not depend on one person. The masses do it. An example of this is Kutuzov and Napoleon. Kutuzov, unlike Napoleon, lived in the interests of the soldiers and the people. Napoleon never lived in the interests of the army. He was vain and selfish. According to Tolstoy, a person can influence the course of history if his interests coincide with the interests of the people.
The problem of real life.
The problem of family as a natural form of unification of people.
The problem of the people as the driving force of history.
The problem of personality in history, true and false greatness.
Condemnation of war and any separation of people.
Showing the special nature of the War of 1812 as a people's war.
The problem of true and false heroism and patriotism.
Condemnation of the artificial life of aristocrats.
War and Peace” is a world-famous epic written by Lev Nikolaevich Tolstoy. The plot of the book is inextricably linked with the time of the country's confrontation with Napoleon. In particular, the book describes in some detail the main events that took place during the War of 1805 and the Patriotic War of 1812. The novel is not just one storyline, but hundreds of smaller narratives that allow you to get a much broader understanding of events from the point of view of different people. Another feature is the completeness of most of the small narratives, so this work can also be called historical. Little subplots are sprinkled like gems throughout the story. Somewhere you find a Sapphire, and somewhere an Emerald. You always enjoy new and interesting discoveries in the plot.
Historians and writers often argue about the problems of this novel. In his large-scale work, Tolstoy managed to touch on almost all the problems that were present in Russia at that time. These are philosophical problems related to war, and problems of happiness, love, and even purely everyday problems. You can also find attempts to understand the problems of family relationships. Historians and scientists agree on only one thing: the philosophy of the novel itself boils down to the fact that success is achieved through the efforts of the people as a whole, and not through the efforts of any one person, even a genius.
The plot of the novel “War and Peace” cannot be retold. Leo Tolstoy was once asked what the novel Anna Karenina was about, he answered: in order to tell what the novel was about, he needed to write it again. The same can be said about War and Peace: it would take a lot of space to retell the plot of the novel. The novel contains several plot lines related to the history of the noble families of the Rostovs, Bolkonskys, and Kuragins. Along with this, the novel presents a broad picture of important events for the history of Russia: the wars of 1805-1807 and 1812, Speransky’s reforms, Masonic societies and much more. There is a huge number of both historical and fictional characters.
I think that it is also impossible to unambiguously determine the conflict of the novel. Like human life, Tolstoy's novel cannot be reduced to one conflict. The global conflict is indicated in the title: war and peace. Human society is at war and in peacetime. Tolstoy has a negative attitude towards war as such: war brings death and destruction. The unnaturalness of war is shown by Tolstoy in contrast with the eternal calm and beauty of nature. Describing the crush and panic when crossing the Enns River, Tolstoy cannot help but remember and write about what peaceful life was like. The description of the Battle of Borodino begins with a description of a beautiful summer morning, when, it seems, nature itself is telling people that there is no need to fight. But this conflict was also resolved ambiguously. The writer has a different attitude towards the Patriotic War of 1812. This is a people's war, the entire people are rising up against the invaders, all classes of Russia are drawn into the war: peasants, merchants, philistines, nobility. Tolstoy believes that even the civilian population (in the way they treat the French) contributes to the fact that the invasion suffocated: the lady who leaves Moscow long before Napoleon entered it, the merchant Ferapontov, who gives away his property, the partisan peasants, the residents of Moscow . A peculiar conflict arises between different wars in the novel - the war of 1805-1807
(“the era of our shame and defeat” - L. Tolstoy)
and the War of 1812 (the era of glory and greatness). The conflict is resolved by Tolstoy in this way: the war can be won only when the soldiers, officers (the entire army) and the entire civilian population understand and accept the goals of the war. The shame of Austerlitz and the glory of Borodin prove this.
The conflict in the depiction of two commanders (Kutuzov and Napoleon) is resolved in a unique way, although the commanders do not meet each other, but their confrontation is the confrontation of two great people: a man who, according to Tolstoy, thinks himself great (Napoleon) and the truly people's commander Kutuzov.
In developing the images of the main and beloved characters of the novel, Pierre and Andrei, the writer depicts the conflict of these people with the life they live. High spiritual demands do not allow them to stop in their development; they sometimes painfully search for the truth. Therefore, Tolstoy shows, as it were, the milestones of their development. For example, Prince Andrei’s selfish dreams of glory, the desire to live for the sake of his son, love for Natasha, activities in the Speransky commission, the break with Natasha, the Battle of Borodino, comprehension of the high meaning of death. Pierre goes through the same painful path of searches, falls and ascents. For people like Tolstoy's favorite heroes, there is always a question
“How to be good?”
Natasha Rostova also goes through a painful conflict in her development. The surprising thing is that this girl, according to Tolstoy, managed to absorb everything truly Russian.
War divides people. Tolstoy shows how war and the attitude towards war divides the noble society of Russia. The conflict between the true patriotism of Moscow and the false patriotism of St. Petersburg, the patriotism of soldiers and officers and the false patriotism of the top military leadership is aggravated by the war. Tolstoy shows how true patriots win in a truly people's war: contrary to his attitude, under the pressure of general opinion in the army, Alexander 1 is forced to appoint Kutuzov as commander of the army. Denisov's partisan detachment is created precisely because it reflects the general mood of the people.
Tolstoy's novel "War and Peace" is called an epic. The globality of the plot and conflicts of this work serve as proof of this.
Transcript
1 ARGUMENTS for an essay from Leo Tolstoy’s novel “War and Peace”
2 1 The problem of hypocrisy. The problem of careerism. The problem of spiritual emptiness Tolstoy does not accept and harshly condemns people whose goals are career, wealth, selfish politicking, power, cruelty and the ability to kill. He attributes these people to the world of war. To expose them, he develops his own method of “tearing off all and every mask.” So, outwardly we see grace, intelligence, tact, and high political interests in the salon. But internally these are fake people, their conversations and behavior are hypocritical. For example, Prince Vasily, discussing high political topics, thinks only about his son’s future. Hiding selfish intentions, he speaks “like a wound clock,” “like an actor speaking the words of an old play.”
3 For all the guests, “the smile merged with the non-smile.” The constantly heard French speech emphasizes the isolation of the nobility from the people, their interests, culture, and language. Tolstoy compares the owner of the salon with the owner of a spinning workshop, emphasizing the automatism of everything that happens, the lack of sincerity and simple human feelings.
4 Helen Kuragina never loved anyone, her heart is dead. She doesn’t just get carried away and make mistakes, moving from admirer to admirer, this is her conscious line of behavior. That is why discord and evil appear, because she has no heart, there are only base instincts. The baseness of her behavior with Pierre, her connection with Dolokhov and Boris Drubetsky, her ugly role in the story with Natasha and Anatole, her attempt to marry two husbands at once while Pierre was alive, all create the image of a depraved and calculating social beauty. Pierre says about the Kuragins: “Oh, vile, heartless breed!”
5 2 The problem of consumer attitude to life, the desire for profit. The problem of the goal and the means to achieve it. The problem of false values in life People of “war” can be dangerous if they need to protect their selfish interests. This is manifested in the episodes of the struggle for the inheritance of the old Count Bezukhov. In the struggle for the will (for the mosaic briefcase), the true face of Prince Vasily is revealed, which is expressed through the portrait description: “His cheeks began to twitch nervously, giving his face an unpleasant expression that was never shown on his face when he was in the living rooms.” Pierre sees “the embittered face of the princess, having lost all decency.” The masks are torn off, the essence is exposed.
6 3 The problem of real life. The Rostovs' sincerity is contrasted with the artificial life of light. The two receptions (at Scherer’s and at the name days of the two Natalias) are different in everything. In the salon there is a ritual of greeting a useless aunt; the Rostovs have “gratitude to everyone without exception.” Naturalness, absence of falsehood, purity of the inner world, closeness to the people is manifested in a number of scenes. For example, Natasha Rostova is the personification of naturalness, happiness, falling in love, sincerity and self-will. She is distinguished by her cordial responsiveness (she cries with Sonya). And at the same time she does “God knows what,” something that is forgiven in childhood, but can bring trouble as she grows up (kisses Boris, loudly asks what kind of cake it will be).
7 There is another way to get away from the empty, hypocritical life of light. This is a measured, meaningful life of the mind and soul. This is how the Bolkonskys live in Bald Mountains. This is a “special breed” of people. All of them are distinguished by the similarity of their eyes, which glow with intelligence and kindness, with an “unusual brilliance”; Princess Marya’s is “radiant.” They are connected by deep work of thought, high intelligence, a penchant for mental activity, depth of spiritual peace, pride, aristocracy.
8 4 The problem of true and false heroism How to distinguish true from false? For this, Tolstoy has two criteria: the true comes from the depths of a person’s soul and is expressed simply, without posture and “playing for the public.” The false, on the contrary, is generated by the base side of human nature and is always focused on external effect. What does Tolstoy mean by the concept of “false heroism”? While a person wants to accomplish a feat primarily in order to be noticed, and dreams of a feat that is certainly beautiful, this, according to Tolstoy, is not yet real heroism. True heroism arises when a person thinks not about himself, but about the common cause and does not care about how he looks from the outside.
9 Captain Tushin is shown as the true hero in the battle. There is nothing heroic in his appearance. Before the battle, he says that he is afraid of death, but in battle “Tushin did not experience the slightest feeling of fear, and the thought that he could be killed or painfully wounded did not occur to him.” He makes decisions on his own: “No one ordered Tushin where and with what to shoot, he decided that it would be good to set the village on fire.” As a result, it was he and his battery who stopped the French movement in the center of the battle. The courage, heroism, dedication of Tushin and his batteries are shown as the natural behavior of true heroes in war.
10 5 False heroism Zherkov is brave before his superiors, but cowardly in battle. He was sent to Tushin’s battery to convey the order to retreat: “Zherkov, briskly, without taking his hand from his cap, touched his horse and galloped off. But as soon as he drove away from Bagration, his strength failed him. An insurmountable fear came over him, and he could not go where it was dangerous.” Dolokhov is also a false hero, for whom war is a way to regain his rank after he was demoted to the rank and file. In the scene of the review of troops, he turns to Kutuzov: “Please give me a chance to make amends for my guilt and prove my devotion to the Emperor and Russia.” In battle, he shows courage, pursuing the same selfish, career goals: “I captured an officer. I stopped the company. Please remember, Your Excellency. Wounded by a bayonet, I remained at the front.”
11 True heroism is shown in war, first of all, by ordinary people - soldiers, Captain Tushin, Captain Timokhin and others. “Simplicity, goodness and truth” are the main criteria for distinguishing true from false in “War and Peace.”
12 Striving for glory, Prince Andrei accomplishes a feat during the Battle of Austerlitz. With a banner in his hands, he raises the soldiers to attack: “Here it is! thought Prince Andrei, grasping the flagpole and hearing with pleasure the whistle of bullets, obviously aimed at him... He ran forward with undoubted confidence that the entire battalion would run after him. Indeed, he ran just a few steps alone The entire battalion shouted “Hurray!” ran forward and overtook him.”
13 The wounded Bolkonsky sees Napoleon in front of him and understands that a man who is guilty of the death of thousands of people cannot be great. He understands that his previous desire for glory is insignificant: “And his hero himself seemed so petty to him, with this petty vanity and the joy of victory.” This is how disappointment in Napoleon comes, an understanding of the insignificance of the feat accomplished in the name of personal glory.
14 6 The problem of moral insight. The problem of finding truth. The problem of a person’s ability to abandon erroneous ideas about life. The problem of the influence of nature on man Before the eyes of Prince Andrei, a clear, high sky opens up - a symbol of truth: “How quiet, calm and solemn, not at all the way I ran,” thought Prince Andrei, “not the way we ran, screamed and fought. .. this is not how the clouds crawl across this high endless sky. How come I haven’t seen this high sky before? And how happy I am that I finally recognized it. Yes! Everything is empty, everything is a deception, except this endless sky."
15 What does Prince Andrey include in this “everything”? (Vanity, lies, the struggle of vanities, the meaninglessness of war, passion for Napoleon.) Instead of his former idol, he acquires high and eternal values that he did not know before: the happiness of simply living, the opportunity to breathe, to see the sky, to be.
16 7 The problem of finding the meaning of life. The problem of the purpose of life (What goal should a person set for himself?) Pierre Bezukhov and Andrei Bolkonsky have a common goal to discover the meaning of human life and humanity as a whole. For them, the path of doubt, severe crises, revivals and new catastrophes is the path of self-knowledge and at the same time the path to other people. Pierre goes through a great evolution from the affirmation of Napoleon's progressiveness to the recognition of the people's truth and practical participation in the secret Decembrist society in the name of just ideas and goals. His path is the path to the people's peace, to the truth.
17 8 The problem of moral self-improvement. (Should a person struggle with his own shortcomings? Should a person work on himself?) Through delusions, mistakes, bitter disappointments, he seeks his place in life. Already in Part 1 of Volume 1, it becomes clear that Pierre’s internal motivations and the objective result of his actions contradict each other. For example, giving his word to Bolkonsky that he will stop communicating with the company of Kuragin and Dolokhov, he immediately, breaking his promise, goes to this company and participates in revelry, suffering from this contradiction himself. The test of wealth and an idle life lead him to another delusion - marrying Helen Kuragina. Pierre's blinding by Helen's outer beauty, with inattention to her spiritual emptiness, shows the victory in him of the sensual principle over the spiritual and moral. He considers himself guilty that he married without loving, that he lied when he told Helen: “I love you.” He is guilty of connecting himself with a world alien to him.
18 Pierre struggles with internal vices (Pierre's diary). He strives to change the lives of his peasants, for which he makes a trip to the Kyiv province. His activities do not bring results, because, as the author writes, “Pierre did not have that practical tenacity that would give him the opportunity to directly get down to business.” All this activity brings him deep satisfaction, as he tells Andrei Bolkonsky in the meeting scene on the ferry: “I lived for myself and ruined my life. And only now, when I live for others, only now do I understand all the happiness of life.”
19 9 The problem of guilt. The problem of repentance Seeing the “dead reproachful face of his wife,” Bolkonsky suddenly realizes that he was cruel and unfair to his wife, demanding more from her than she was given. Aware of his guilt, he felt that something had been torn away from his soul. Prince Andrei condemns the cold, proud person in himself, and this is a new step in the moral quest of the hero.
20 10 The Problem of True Friendship Andrei Bolkonsky returned home from the war, ready for “peace,” but he was overwhelmed by the grief of his wife’s death and the fact that he felt guilty. Now he has a “dull, dead look.” He is immersed in caring for his son and decides never to serve in the army again. “I lived for others, and not almost, but completely ruined my life. And since then I have become calmer, as if I live only for myself,” he tells Pierre. Meeting Pierre helped him return to life. He sees the sky again, a desire appears to live life to the fullest, to enjoy it.
21 “The meeting with Pierre was for Prince Andrei the era from which his new life began, although in appearance it was the same, but in the inner world.” There is an absolute value in this conversation, independent of any future results, losses, defeats, a moment of exciting intensity and completeness of human communication, a subtle interaction of thoughts and souls, an open exchange between them. Standing on a ferry while moving from one village to another, two people, having forgotten about everything, solve eternal life issues.
22 11 The problem of the unity of man with nature Tolstoy talks about nature, spiritualizing it, endowing it with human traits (hands, fingers, old sores). Prince Andrey identifies himself with the diseased tree (the pronouns “we” and “our” sound). “There is no spring, no sun, no happiness.” “Tolstoy’s internal monologues are uttered not only by people, but also by trees. The famous oak tree, which Andrei Bolkonsky meets twice, is proof of this. “Spring, and love, and happiness! as if this oak tree was speaking. And how can you not get bored.” There is a spiritual rapprochement between Prince Andrei and the oak tree, a rapprochement between the two worlds of man and nature. One at the edge of the road; the other is on the edge of a life not yet lived.”
23 Thoughts of Prince Andrei at the sight of an oak tree
24 Episode of a moonlit night in Otradnoye. Natasha Rostova lives by emotions, feelings, it’s easy for her, so she feels the desire to squat down and hug her knees and fly. Merging with nature inspires it and “raises” Bolkonsky towards spring. Thanks to Natasha and him, it’s now “easy.” A harmonious connection with nature gives Natasha a feeling of happiness.
25 12 The problem of attitude towards aging loved ones. The problem of relationships between people of different generations Many episodes of the novel show how despotic and strict the old Prince Nikolai Bolkonsky is with his daughter, loving her in his own way and wishing her well. He strives to give his daughter a serious education, giving her lessons himself. Princess Marya meekly submits to her eccentric and despotic father, not only out of fear, but also out of a sense of duty as a daughter who has no moral right to judge her father. At first glance, she seems timid and downtrodden. But in her character there is hereditary Bolkon pride, an innate sense of self-esteem. The firmness and strength of character of this modest, shy girl is revealed with particular force during the Patriotic War of 1812. When the French companion promised Princess Marya, who found herself in a difficult situation, the protection of her compatriots, she stopped communicating with her and left Bogucharovo, as her patriotic feeling was offended. When her father suffers a blow, Princess Marya devotedly looks after him
26 Petya, Natasha Rostova’s brother, dies. Her mother almost went crazy, and Natasha spends all her time with her. “She alone could keep her mother from insane despair. For three weeks Natasha lived hopelessly with her mother, slept in a chair in her room, gave her water, fed her and talked to her without ceasing, talking because her gentle, caressing voice alone calmed the countess.” After the death of her son, the Countess turned from a blooming, cheerful woman into an old woman. Natasha touchingly takes care of her mother. The girl finds the strength to help her in everything. Love for her mother makes Natasha gather herself internally. “Love has awakened, and life has awakened.” Natasha does not spare herself, gives all her strength, and readily makes sacrifices for the sake of those she loves.
27 13 The problem of patriotism Old Prince Bolkonsky gathers militias, arms them, preparing to defend himself to the last. And only illness stopped him (paralyzed, he was taken to Bogucharovo). He feels pain for Russia: “Russia is lost! Ruined! Princess Marya, in a difficult moment of life associated with the death of her father, is united in her patriotic sentiments with her father, with her brother, with the Russian people. She refuses Bourrienne's offer to surrender to the French because "she felt like a representative of her late father and Prince Andrei."
28 The Rostovs are distinguished by sincere patriotism and pain for their Motherland. Nicholas fights in the war; Petya, still just a boy, goes to war in 1812 with the consent of his parents and dies in the first battle. Natasha demands that the carts be given to the wounded. The Rostovs are leaving their home, like many residents. In the scene of the Rostovs’ departure, when, at Natasha’s insistence, the carts will be given to the wounded and the property will be abandoned; again the general feeling appears (we are not some kind of Germans).
29 Andrei Bolkonsky refuses to serve at headquarters. He no longer strives to get into the higher spheres. Now he knows for sure that the fate of the Motherland is not decided there. Prince Andrei remains among the most needed people in the war, soldiers and officers of the active army. Dreams of personal glory no longer bother him. We see the unity of soldiers, militia in white shirts, officers and the commander-in-chief in the prayer scene, where the oath of allegiance to the Russian land is sung.
30 14 The problem of heroism Through a description of the panorama of the Battle of Borodino, Tolstoy reveals the greatness of the battle and the inhumanity of the war. In the center of the description of the battle are scenes on the Raevsky battery. These people are busy with ordinary things. Tolstoy shows their unnoticed heroism as hard work in war. They are united by friendship, brotherhood, the ability to defend the Motherland, support each other with jokes, and serious businesslike behavior. Under the influence of the common actions of the soldiers of this battery, Pierre becomes an assistant in the common cause, gets close to the people, and they recognize him as one of their own (“our master”). Pierre admires the soldiers because they are simple and do not talk in vain, but do the deed. This simplicity with which Russian soldiers perform immortal feats arouses Pierre's awe.
31 15 The problem of forgiveness (Do you need to forgive those who have offended you? Do you need to forgive the enemy?) Andrei Bolkonsky is experiencing a new mental crisis after being wounded. He forgives Anatoly Kuragin in the hospital. “He remembered Natasha, and love and tenderness for her awakened in his soul even more vividly and stronger than ever.” Thoughts about universal forgiveness are born along with a stormy surge of religious feelings and faith in a wise Creator. A new understanding of the meaning of life is revealed to him: “Compassion, love for brothers, for those who love, love for those who hate us, love for enemies, yes, the love that God preached on earth, which Princess Mary taught me and which I did not understand; That’s why I felt sorry for life, that’s what was still left for me if I were alive. But now it's too late. I know it!"
32 A person must be merciful to his enemies, even though they kill your loved ones. An example of this is Kutuzov, who will show mercy and compassion to the French fleeing Russia. He understands that they acted on orders from Napoleon and did not dare to contradict him. Therefore, in the scene of Kutuzov’s speech to the soldiers of the Preobrazhensky Regiment, we see that they are united not only by a feeling of hatred for the enemy, but also by pity for the defeated, insignificant enemy: “It’s difficult for you, but still you are at home; and they see what they have come to. Worse than the last beggars.”
33 16 The problem of the inhumanity of war Tolstoy condemns the cruelty and inhumanity of war. In the scenes of the Borodino battle, using his favorite artistic technique of antithesis, he contrasts the “cheerfully beautiful” field (before the battle) with a field strewn with dead bodies, the ground soaked in blood. Nature itself, interfering with the rain in the terrible deeds of people, calls: “Enough, enough, people. Stop it, come to your senses, what are you doing?”
35 17 The problem of the cult of individuals Tolstoy opposes the cult of individual great people, because such a cult of a great man automatically gives him power over other people, and Tolstoy adhered to the principle of complete equality of people. Tolstoy consciously emphasizes Kutuzov’s external decrepitude, obesity, and old age: “The old man’s physical strength was leaving him. Several times his head dropped low, as if falling, and he dozed off"; "Kutuzov became even stouter, flabby and swollen with fat... He, heavily blurred and swaying, sat on his cheerful horse." By this he rejects the false cult of the superhuman hero.
36 Napoleon is the commander of an army of robbers, marauders and murderers, “the most insignificant instrument of history, a man with a darkened conscience.” His image shows a complete manifestation of the cult of personality, delusions of grandeur, narcissism, arrogance, vanity, hypocrisy, falsehood, and posturing.
37 18 The problem of the role of personality in history. What influence does personality have on the course of history? In the novel “War and Peace” L. Tolstoy reflects on the role of the personality of commander Kutuzov in history and in the war of 1812. The role of that individual in history who, together with his people, defends the freedom and national independence of his country is great. Kutuzov's strength and greatness are manifested in his ability to feel sorry for and save people, in the inseparability of a commander and a modest person, in the merging of politics and morality. Tolstoy sees the greatness of Kutuzov in the people's spirit of “simplicity, goodness and truth.”
38 19 The problem of the strength of human relationships Devotion involves providing assistance in difficult life circumstances, the desire to protect from harm. The heroes of Leo Tolstoy's novel "War and Peace", Andrei Bolkonsky and Pierre Bezukhov, are decent, noble people. Each of them goes through their own path of moral quest. They are honest and frank with each other, they support each other in difficult times. At first, Prince Andrei supports Pierre and tries to protect his friend from the harmful influence of Dolokhov’s company. Then Pierre (remember the scene on the ferry) comes to Bogucharovo and helps Bolkonsky return to life after Austerlitz and the death of his wife. The highest manifestation of devotion to a friend is raising his son. In the family of Pierre and Natasha Rostova, the formation of Nikolenka Bolkonsky takes place after the death of Prince Andrei.
39 20 The problem of a person’s loyalty to his duty (What helps a person not to deviate from the intended path?) Kutuzov, the hero of L. Tolstoy’s novel “War and Peace,” is faithful to his duty. Let us remember the scene of the council in Fili. This episode shows that the decision made by Kutuzov to leave Moscow is the only way to save the army, on which future victory depends. Tolstoy admires the wisdom and foresight of the commander-in-chief, his ability to understand the situation, use his power and make an unpopular, but courageous and good decision. This is where the discontent of the official authorities with Kutuzov begins, which will result in his resignation as soon as the French are expelled from the country. Resignation will result in a tragedy of loneliness and death for Kutuzov. He accomplished his difficult and great feat: the military campaign of the years is not yet over, but the people's war is over: the Fatherland is free. The voice of the narrator sounds sublimely and dispassionately: “The representative of the people’s war had no choice but death. And he died.”
40 sources Methodological manual on literature by G. Obernikhina Compiler of the presentation, teacher of Russian language and literature MBOU Secondary School 8, Mozdok RNO-Alania Pogrebnyak N.M.
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“War and Peace” is an epic novel by Leo Nikolaevich Tolstoy. Today the book is 150 years old. In his work, the writer touched upon and highlighted all the problems not only of Russian society, but also of the state as a whole. Relying on historical facts, the author describes in detail military actions - battles, the mood of the people and soldiers.
The problem between a man and a woman can be illustrated using the example of Andrei Bolkonsky and Natasha Rostova and Pierre Bezukhov and Natasha Rostova.
Andrei Bolkonsky is a widowed prince, disillusioned with love. Natalya Rostova is a young girl who was distinguished by her simplicity and openness from an early age. Natasha resembles a scarlet flower that grew in love and care, protected from the influences of light.
When he meets a young beauty, Andrei seems to come to life, forgotten feelings awaken in him, giving him a new impetus in life. L. Tolstoy compares the prince to an old oak tree, which comes to life after a long time of “stagnation.” For Bolkonsky, Natasha's love. like living water, giving him new strength. But, unfortunately, this love is not destined to become eternal. A fleeting connection with Bolkonsky gave rise to the development of feelings towards Pierre Bezukhov. The young count was Prince Andrei's adviser and best friend. Natasha also turned to Bezukhov for help. After the death of the prince. The friendship between the count and countess turned into something more - into such an alliance as marriage. If you observe the characters throughout the novel, you will notice their similarity in outlook on life, they understood each other, we can say that Natasha and Pierre were kindred spirits. Using the example of his heroes, L.N. Tolstoy showed what true love is, how important mutual understanding between a man and a woman is.
Another, no less important problem is the problem of patriotism. A patriot is a person devoted to his homeland, his state. Andrei Bolkonsky and Pierre Bezukhov are two main characters who stood up for Russia in different ways. Prince Andrey repeatedly showed himself in battles, proving his love for his native land. An example is the case when a frightened army of soldiers rushed to retreat. Overcoming fear, Andrei rushed to the attack with a banner in his hands, which gave confidence to the soldiers. Isn't this a manifestation of patriotism? Bolkonsky's military service was intense; defending the honor of his country, Andrei dies. Pierre Bezukhov was not a participant in the hostilities, and all his attempts to bring benefits on the battlefield were crowned with failure. But is it just so fashionable to be useful? No, understanding this, Tolstoy not only gives his hero life, but also a faithful companion. During the War of 1812, Pierre participates in charity work. And then in December 1825 he defended the rights of the people. Isn't this patriotism? Despite his helplessness during hostilities, Pierre makes a significant contribution to the development of the state. He cares not only about the honor of his country, he cares primarily about its people (building schools). Using the example of these two completely opposite heroes, Lev Nikolaevich showed that Russia had its own defenders who were not obsessed with fame and power.
Leo Nikolaevich Tolstoy's novel “War and Peace” is a huge and invaluable treasure in Russian literature. It reflects the history of Russia, the morals of high society, the development of the state itself and its people.
Updated: 2019-10-12
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