The heroes of the work are war and peace. Peter Volkonsky survived

See also War and Peace The image of a person's inner world in one of the works of Russian literature of the 19th century (based on the novel by Leo Tolstoy "War and Peace") Option 2 The image of a person's inner world in one of the works of Russian literature of the 19th century (based on the novel by Leo Tolstoy "War and Peace") Option 1 War and peace characterization of the image of Akhrosimova Marya Dmitrievna

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

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

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

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

In accordance with this tough opposition, Tolstoy's heroes are "distributed" into several types, into several groups.

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

Those who, from the point of view of the author, are the farthest from a correct understanding of the world order, we will agree to call the burners of life. Those who, like Napoleon, think that they are in control of history, we will call leaders. They are opposed by sages who have comprehended the main secret of life, have understood that a person must submit to the invisible will of Providence. Those who simply live, listening to the voice of their own heart, but do not particularly strive for anywhere, we will call ordinary people. Those favorite Tolstoyan heroes! - who is painfully seeking the truth, we define as truth-seekers. And, finally, Natasha Rostova does not fit into any of these groups, and this is fundamental for Tolstoy, which we will also talk about.

So, who are they, the heroes of Tolstoy?

Burners of life. They are busy only with chatting, arranging their personal affairs, serving their petty whims, their egocentric desires. And at any cost, regardless of the fate of other people. This is the lowest of all ranks in the Tolstoyan hierarchy. The heroes related to him are always of the same type; to characterize them, the narrator demonstratively uses the same detail from time to time.

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

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

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

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

The only character in the epic belonging to this group who is endowed with a mobile, lively character is Fedor Dolokhov. “The Semyonovsky officer, a well-known player and breaker,” he is distinguished by an extraordinary appearance - and this alone makes him stand out from the general row of life-makers.

Moreover: Dolokhov is languishing, bored in that whirlpool of worldly life, which sucks in the rest of the "burners". That is why he goes all out, gets into scandalous stories (the plot with the bear and the quarter in the first part, for which Dolokhov is demoted to the rank and file). In battle scenes we become witnesses of Dolokhov's fearlessness, then we see how tenderly he treats his mother ... But his fearlessness is aimless, Dolokhov's tenderness is an exception to his own rules. And hatred and contempt for people becomes the rule.

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

Dolokhov's rebellion against the world (and this is also "peace"!) Of the burners of life turns out that he himself burns out his life, lets it into a spray. And this is especially offensive to be aware of the narrator, who, by distinguishing Dolokhov from the general row, seems to give him a chance to break out of the terrible circle.

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

The main "generic" quality of the whole family is cold egoism. He is especially characteristic of his father, Prince Vasily, with his court identity. It is not without reason that for the first time the prince appears before the reader "in a courtly, embroidered uniform, in stockings, in shoes, with the stars, with a bright expression of a flat face." Prince Vasily himself does not calculate anything, does not plan ahead, we can say that instinct works for him: when he tries to marry Anatole's son to Princess Marya, and when he tries to deprive Pierre of his inheritance, and when, having suffered an involuntary defeat along the way, imposes on Pierre his daughter Helen.

Helene, whose "unchanging smile" emphasizes the unambiguity, the one-dimensionality of this heroine, as if froze for years in the same state: a static deathly sculptural beauty. She, too, does not specifically plan anything, she also obeys an almost animal instinct: bringing her husband closer and removing him, making lovers and intending to convert to Catholicism, preparing the ground for divorce and starting two novels at once, one of which (any) must be crowned with marriage.

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

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

Leaders. The lowest "category" of heroes - the burners of life in the Tolstoy epic corresponds to the upper category of heroes - leaders. The way they are portrayed is the same: the narrator draws attention to a single trait of character, behavior or appearance of the character. And every time the reader meets this hero, he stubbornly, almost annoyingly points out this feature.

The burners of life belong to the "world" in the worst of its meanings, nothing in history depends on them, they revolve in the emptiness of the salon. Leaders are inextricably linked with war (again in the bad sense of the word); they are at the head of historical collisions, separated from mere mortals by an impenetrable veil of their own greatness. But if the Kuragin really draw the surrounding life into the worldly whirlpool, then the leaders of the peoples only think that they are drawing humanity into the historical whirlpool. In fact, they are only toys of chance, pitiful instruments in the invisible hands of Providence.

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

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

Only having mastered this iron and irrevocable rule, we will be able to move on.

So, discussing the lowest category of the heroes of War and Peace, we came to the conclusion that it has its own mass (Anna Pavlovna Sherer or, for example, Berg), its own center (Kuraginy) and its own periphery (Dolokhov). According to the same principle, the highest category is organized, arranged.

The chief of the leaders, and therefore the most dangerous, the most deceitful of them, is Napoleon.

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

And another image is a character acting on the pages of the epic and shown through the eyes of the narrator and the heroes who suddenly collide with him on the battlefields. Napoleon first appears as a character in War and Peace in the chapters on the Battle of Austerlitz; first it is described by the narrator, then we see it from the point of view of Prince Andrew.

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

The narrator, on the other hand, in the Austerlitz chapters, in the Tilsit and Borodino chapters, invariably emphasizes the ordinariness and comic insignificance of a person's appearance, whom the whole world adores and hates. "Plump, short" figure, "with wide, thick shoulders and involuntarily thrust forward belly and chest had that representative, dignified appearance that forty-year-old people living in the hall have."

In the novel image of Napoleon, there is not even a trace of the power that lies in his legendary image. For Tolstoy, only one thing matters: Napoleon, who imagined himself to be the engine of history, is in fact pathetic and especially worthless. Impersonal fate (or the unknowable will of Providence) made him an instrument of the historical process, and he imagined himself the creator of his victories. This refers to Napoleon the words from the historiosophical finale of the book: “For us, with the measure of good and bad given to us by Christ, there is no immeasurable. And there is no greatness where there is no simplicity, goodness and truth. "

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

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

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

The narrator seems extremely objective, he does not show his personal attitude to the actions of the mayor, does not comment on them. But at the same time he consistently opposes the “metallic-ringing” indifference of the “leader” to the uniqueness of a separate human life. Vereshchagin is described in great detail, with obvious compassion ("bryancha with shackles ... pressing the collar of a sheepskin coat ... with a submissive gesture"). But Rostopchin does not look at his future victim - the narrator repeats several times on purpose, with pressure: "Rostopchin did not look at him."

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

The images of Napoleon and Rostopchin stand at opposite poles of this group of heroes in War and Peace. And the main "mass" of leaders here is formed by all sorts of generals, chiefs of all stripes. All of them, as one, do not understand the inscrutable laws of history, they think that the outcome of the battle depends only on them, on their military talents or political abilities. It does not matter which army they serve in this case - French, Austrian or Russian. And the personification of all this mass of generals becomes in the epic Barclay de Tolly, a dry German in Russian service. He does not understand anything in the spirit of the people and, together with other Germans, believes in the scheme of the correct disposition.

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

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

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

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

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

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

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

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

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

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

The narrator, however, with his attitude for the time being remains in a deep shadow. He only says through clenched teeth at the beginning of the third volume: “The Tsar is the slave of history,” but refrains from direct assessments of the personality of Alexander I until the end of the fourth volume, when the Tsar directly collides with Kutuzov (chapters X and XI, part four). Only here, and even then for a short while, does the narrator show his restrained disapproval. After all, we are talking about the resignation of Kutuzov, who has just won, together with the entire Russian people, a victory over Napoleon!

And the result of the "Alexander" line of the plot will be summed up only in the Epilogue, where the narrator will do his best to preserve justice in relation to the king, bring his image closer to the image of Kutuzov: the latter was necessary for the movement of peoples from west to east, and the first - for the return movement peoples from east to west.

Ordinary people. Both the burners and the leaders in the novel are opposed to "ordinary people" led by the lover of truth, the Moscow lady Marya Dmitrievna Akhrosimova. In their world, she plays the same role that the Petersburg lady Anna Pavlovna Sherer plays in the world of the Kuragin and Bilibins. Ordinary people did not rise above the general level of their time, their era, did not know the truth of people's life, but instinctively live in conditional agreement with it. Although they sometimes act incorrectly, human weaknesses are inherent in them to the full.

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

Such is the generally hospitable Moscow family of the Rostovs, mirroring the opposite of the Petersburg Kuragin clan.

The old Count Ilya Andreevich, the father of Natasha, Nikolai, Petit, Vera, is a weak-willed person, allows the managers to rob him, suffers at the thought that he is ruining the children, but he cannot do anything about it. Departure for a village for two years, an attempt to move to St. Petersburg and get a job change little in the general state of affairs.

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

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

Ilya Andreevich's wife, Countess Rostov, is also not distinguished by a special mind - that abstract, learned mind, to which the narrator treats with obvious distrust. She is hopelessly behind modern life; and when the family is completely ruined, the countess is not even able to understand why they should abandon their own carriage and cannot send a carriage for any of her friends. Moreover, we see the injustice, sometimes the cruelty of the countess in relation to Sonya - completely innocent of the fact that she is a dowry.

And yet, she, too, has a special gift of humanity, which separates her from the crowd of life-makers, brings her closer to the truth of life. It is the gift of love for one's own children; love instinctively wise, deep and selfless. The decisions that she makes in relation to children are dictated not simply by the desire to benefit and save the family from ruin (although to her too); they are aimed at making the life of the children themselves in the best possible way. And when the Countess learns about the death of her beloved younger son in the war, her life, in essence, ends; barely avoiding insanity, she instantly grows old and loses active interest in what is happening around.

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

The youngest, Petya, who has completely absorbed the atmosphere of the Rostov house, is especially touching. Like his father and mother, he is not too smart, but he is extremely sincere and sincere; this soulfulness is expressed in a special way in his musicality. Petya instantly surrenders to a heartfelt impulse; therefore, it is from his point of view that we look from the Moscow patriotic crowd at Tsar Alexander I and share his genuine youthful enthusiasm. Although we feel: the narrator does not treat the emperor as unambiguously as the young character. The death of Petya from an enemy bullet is one of the most poignant and memorable episodes of the Tolstoyan epic.

Just as there is a center for the burners of life, for the leaders, so there is also for ordinary people inhabiting the pages of "War and Peace". This center is Nikolai Rostov and Marya Bolkonskaya, whose life lines, divided over three volumes, in the end still intersect, obeying the unwritten law of affinity.

"A short, curly-haired young man with an open expression," he is distinguished by "swiftness and enthusiasm." Nikolai, as usual, is shallow (“he had that common sense of mediocrity, which told him what was due,” the narrator says bluntly). But on the other hand, he is very emotional, impetuous, cordial, and therefore musical, like all Rostovs.

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

And yet it is not for nothing that Nikolai likes it so much in the army and is so uncomfortable in ordinary life. A regiment is a special world (another world in the middle of a war) in which everything is arranged logically, simply, unambiguously. There are subordinates, there is a commander and there is a commander of commanders - the sovereign emperor, whom it is so natural and so pleasant to adore. And civilian life all consists of endless intricacies, of human sympathies and antipathies, the clash of private interests and common goals of the estate. Coming home on vacation, Rostov either gets entangled in his relationship with Sonya, then splashes out to Dolokhov, which puts the family on the brink of a monetary catastrophe, and in fact flees from ordinary life to the regiment, like a monk to his monastery. (He doesn't seem to notice that the army is in the same order; when he has to solve complex moral problems in the regiment - for example, with officer Telyanin, who stole a wallet - Rostov is completely lost.)

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

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

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

Pierre, at the cost of new moral torment, new mistakes and new searches, is drawn into another turn of the big history: he becomes a member of the early pre-Decembrist organizations. Nikolenka is completely on his side; it is easy to calculate that by the time of the uprising on Senate Square he will be a young man, most likely an officer, and with such a heightened moral sense he will be on the side of the rebels. And sincere, respectable, dull-witted Nikolai, who stopped in development once and for all, knows in advance that if something happens he will shoot at the opponents of the legitimate ruler, his beloved sovereign ...

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

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

But it is here that it turns out that they become truth-seekers against their will. Neither one nor the other is going to seek the truth, they do not strive for moral perfection, and at first they are sure that the truth was revealed to them in the image of Napoleon. They are prompted to an intense search for truth by external circumstances, and perhaps by Providence itself. It's just that the spiritual qualities of Andrei and Pierre are such that each of them is able to respond to the challenge of fate, to respond to her dumb question; only because they ultimately rise above the general level.

Prince Andrew. Bolkonsky is unhappy at the beginning of the book; he does not love his sweet but empty wife; is indifferent to the unborn child, and even after his birth does not show any special paternal feelings. The family "instinct" is as alien to him as the secular "instinct"; he cannot get into the category of "ordinary" people for the same reasons that he cannot be among the "burners of life." On the other hand, he could not only break into the number of the elected "leaders", but he would very much like to. Napoleon, we repeat again and again, is a life example and a reference point for him.

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

How it ended, you already know, we analyzed the scene with the eternal sky of Austerlitz in detail. The truth is revealed to Prince Andrey herself, without any effort on his part; he does not gradually come to the conclusion that all narcissistic heroes are insignificant in the face of eternity - this conclusion appears to him immediately and in its entirety.

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

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

It would seem that he anticipates the path along which Nikolai Rostov will go at the end of the fourth volume together with Andrei's sister Princess Marya. Compare the descriptions of the economic concerns of Bolkonsky in Bogucharov and Rostov in Lysyh Gory on your own. You will be convinced of the non-coincidental similarity, you will find another plot parallel. But the difference between the “ordinary” heroes of “War and Peace” and the truth-seekers is that the former stop where the latter continue their unstoppable movement.

Bolkonsky, who has learned the truth of the eternal heaven, thinks that it is enough to give up personal pride in order to find peace of mind. But in fact, village life cannot accommodate his unspent energy. And the truth, received as a gift, not personally suffered, not acquired as a result of a long search, begins to elude him. Andrei languishes in the village, his soul seems to be drying up. Pierre, who arrived in Bogucharovo, was struck by the terrible change that had taken place in his friend. Only for a moment a happy feeling of belonging to the truth awakens in the prince - when, for the first time after being wounded, he pays attention to the eternal sky. And then a veil of hopelessness again obscures his life horizon.

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

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

“Probably ten times older than the birches that made up the forest, it was ten times thicker and twice the height of each birch. It was a huge oak, in two girths, with broken off, long visible, bitches and with broken off bark, overgrown with old sores. With his huge clumsy, asymmetrically spread out gnarled hands and fingers, he stood between the smiling birch trees as an old, angry and contemptuous freak. Only he alone did not want to submit to the charm of spring and did not want to see either spring or the sun. "

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

A feeling of love is latently awakening in Andrei's heart (although the hero himself does not yet understand this). As a character in a folk tale, he seems to be sprinkled with living water - and on the way back, already at the beginning of June, the prince again sees an oak that personifies himself, and recalls the Austerlitz sky.

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

Ho Tolstoy builds the plot in such a way that the reader feels something not quite right from the very beginning; Andrei sees in Speransky a hero, and the narrator sees another leader.

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

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

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

It is no coincidence that Tolstoy uses the folkloric principle of the threefold test of the hero: after all, unlike Napoleon and Speransky, Kutuzov is truly close to the people, makes one whole with them. Until now, Bolkonsky was aware that he was worshiping Napoleon, guessed that he was secretly imitating Speransky. And the hero does not even suspect that he follows Kutuzov's example in everything. The spiritual work of self-education takes place in him hidden, latent.

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

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

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

“Oh, my soul, lately it has become hard for me to live. I see that I have begun to understand too much. And it is not good for a person to partake of the tree of the knowledge of good and evil ... Well, not for long! he added. "

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

Andrei has a new meeting with Natasha ahead; last date. And here, too, the folklore principle of threefold repetition "works". For the first time, Andrei hears Natasha (without seeing her) in Otradnoye. Then he falls in love with her during the first Natasha's ball (volume II, part three, chapter XVII), explains to her and proposes. And here is the wounded Bolkonsky in Moscow, near the Rostovs' house, at the very moment when Natasha orders to give the carts to the wounded. The point of this wrap-up meeting is forgiveness and reconciliation; having forgiven Natasha, reconciled with her, Andrei finally grasped the meaning of love and therefore is ready to part with earthly life ... His death is portrayed not as an irreparable tragedy, but as a solemnly sad result of the earthly career he has traversed.

It is not without reason that it is here that Tolstoy carefully introduces the theme of the Gospel into the fabric of his narrative.

We are already accustomed to the fact that the heroes of Russian literature of the second half of the 19th century often pick up this main book of Christianity, which tells about the earthly life, teachings and resurrection of Jesus Christ; just remember Dostoevsky's novel Crime and Punishment. However, Dostoevsky wrote about his modernity, while Tolstoy turned to the events of the beginning of the century, when educated people from high society turned to the Gospel much less often. For the most part, they read poorly in Church Slavonic, and rarely resorted to the French version; it was only after the Patriotic War that work began on translating the Gospel into living Russian. It was headed by the future Metropolitan of Moscow Filaret (Drozdov); the release of the Russian Gospel in 1819 influenced many writers, including Pushkin and Vyazemsky.

Prince Andrew is destined to die in 1812; nevertheless, Tolstoy committed a decisive violation of chronology, and in Bolkonsky's dying reflections he placed quotations from the Russian Gospel: “The birds of heaven do not sow, do not reap, but your Father feeds them ...” Why? Yes, for the simple reason that Tolstoy wants to show: the gospel wisdom entered Andrei's soul, it became part of his own reflections, he reads the Gospel as an explanation of his own life and his own death. If the writer “forced” the hero to quote the Gospel in French or even in Church Slavonic, this would immediately separate the inner world of Bolkonsky from the Gospel world. (In general, in the novel, the heroes speak French the more often, the further they are from the public truth; Natasha Rostova generally utters only one remark in French over the course of four volumes!) , with the theme of the gospel.

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

This circle at the beginning of the epic is immeasurably wide, almost like Pierre himself - "a massive, fat young man with a bobbed head and glasses." Like Prince Andrey, Bezukhov does not feel himself to be a truth-seeker; he, too, considers Napoleon a great man and is content with the widespread notion that history is ruled by great people, heroes.

We get to know Pierre at the very moment when, out of an excess of vitality, he takes part in revelry and almost robberies (the story of the quarter). Vitality is his advantage over the deathly light (Andrei says that Pierre is the only “living person”). And this is his main misfortune, since Bezukhov does not know what to apply his heroic strength to, she is aimless, there is something Nozdrev in her. Special emotional and mental needs are inherent in Pierre from the very beginning (that is why he chooses Andrey as his friend), but they are scattered, not clothed in a clear and precise form.

Pierre is distinguished by energy, sensuality, reaching the level of passion, extreme ingenuity and myopia (literally and figuratively); all this condemns Pierre to rash steps. As soon as Bezukhov becomes the heir to a huge fortune, the "burners of life" immediately entangle him with their nets, Prince Vasily marries Pierre to Helene. Of course, family life is not set; Pierre cannot accept the rules by which high society "burners" live. And now, having parted with Helen, he for the first time consciously begins to seek an answer to his tormenting questions about the meaning of life, about the purpose of man.

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

And here on his life path he meets the old Mason-mentor Osip Alekseevich. (Masons were called members of religious and political organizations, "orders", "lodges", which set themselves the goal of moral self-improvement and intended to transform society and the state on this basis.) The metaphor of the life path is the road along which Pierre travels; Osip Alekseevich himself approaches Bezukhov at the post station in Torzhok and starts a conversation with him about the mysterious destiny of man. From the genre shadow of the family novel, we immediately move into the space of the novel of education; Tolstoy barely perceptibly stylizes the "Masonic" chapters to resemble novels of the late 18th - early 19th centuries. So, in the scene of Pierre's acquaintance with Osip Alekseevich, much makes us remember about the "Journey from St. Petersburg to Moscow" by AN Radishchev.

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

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

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

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

It is not by chance that immediately after the scene of the explanation with Natasha Tolstaya through the eyes of Pierre, he shows the famous comet of 1811, which foreshadowed the beginning of the war: "It seemed to Pierre that this star fully corresponded to what was in his soul, which blossomed into a new life, softened and emboldened." The theme of the nationwide test and the theme of personal salvation merge in this episode.

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

The views that Bezukhov professed at the beginning of War and Peace are overturned; before he saw in Napoleon the source of historical movement, now he sees in him the source of suprahistorical evil, the embodiment of the Antichrist. And I am ready to sacrifice myself for the salvation of mankind. The reader should understand: Pierre's spiritual path has been traversed only to the middle; the hero has not yet "matured" to the point of view of the narrator, who is convinced (and convinces the reader) that it is not Napoleon at all, that the French emperor is just a toy in the hands of Providence. Ho the experiences that befell Bezukhov in French captivity, and most importantly, the acquaintance with Platon Karataev, will complete the work that has already begun in him.

During the execution of the prisoners (a scene refuting Andrey's cruel arguments during the last Borodino conversation) Pierre himself is aware of himself as an instrument in the hands of others; his life and his death do not really depend on him. And communication with a simple peasant, a "roundish" soldier of the Absheron regiment, Platon Karataev, finally reveals to him the perspective of a new life philosophy. The purpose of a person is not to become a bright personality, separate from all other personalities, but to reflect in oneself the life of the people in its entirety, to become a part of the universe. Only then can you feel truly immortal:

“- Ha, ha, ha! - Pierre laughed. And he spoke aloud to himself: - The soldier did not let me in. Caught me, locked me up They hold me captive. Who me? Me? Me - my immortal soul! Ha, ha, ha! .. Ha, ha, ha! .. - he laughed with tears appearing in his eyes ... Pierre looked into the sky, into the depths of the departing, playing stars. “And all this is mine, and all this is in me, and all this is me! ..” (volume IV, part two, chapter XIV).

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

The soldier did not let me in.
Caught me, locked me up
They hold me captive.
Who me? Me?

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

But nothing is definitive in Tolstoy's epic. Remember, we said that Pierre's storyline only seems circular, that if you look into the Epilogue, the picture will change somewhat? Now read the episode of Bezukhov's arrival from St. Petersburg and especially the scene of the conversation in the office with Nikolai Rostov, Denisov and Nikolenka Bolkonsky (chapters XIV-XVI of the first part of the Epilogue). Pierre, the same Pierre Bezukhov, who has already grasped the fullness of the truth of the whole people, who renounced personal ambitions, again speaks about the need to correct social ill-being, about the need to counteract the mistakes of the government. It is not hard to guess that he became a member of the early Decembrist societies and that a new thunderstorm began to swell on the historical horizon of Russia.

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

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

No, I would not approve, ”said Pierre, thinking. “What he would approve of is our family life. He so wished to see goodness, happiness, tranquility in everything, and I would proudly show us us. "

So what happens? The hero began to shy away from the truth he had acquired and suffered through suffering? And the “average”, “ordinary” man Nikolai Rostov is right when he speaks with disapproval of the plans of Pierre and his new comrades? Does this mean that Nikolai is now closer to Platon Karataev than Pierre himself?

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

Pierre is much closer than Rostov to this nerve of history; among other things, Karataev taught him by his example to submit to circumstances, to accept them as they are. Entering a secret society, Pierre moves away from the ideal and, in a sense, returns in his development a few steps back, but not because he wants it, but because he cannot deviate from the objective course of things. And, perhaps, having partially lost the truth, he cognizes it even deeper in the final of his new path.

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

Sages. You and I have spoken about the burners of life, about leaders, about ordinary people, about truth-seekers. But there is another category of heroes in War and Peace, opposite to the leaders. These are the sages. That is, characters who have comprehended the truth of public life and are an example for other heroes looking for the truth. These are, first of all, staff captain Tushin, Platon Karataev and Kutuzov.

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

"A little stooped man," the commander of an artillery battery, Tushin from the very beginning makes a very favorable impression on the reader; external awkwardness only sets off his undoubted natural mind. No wonder, characterizing Tushin, Tolstoy resorts to his favorite method, draws attention to the eyes of the hero, this is a mirror of the soul: "Silently and smiling, Tushin, stepping from bare feet to foot, looked questioningly with big, intelligent and kind eyes ..." (Vol. I, part two, chapter XV).

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

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

The narrator shows this little man in close-up: “... His own fantastic world was established in his head, which constituted his pleasure at that moment. In his imagination, the hostile cannons were not cannons, but pipes, from which an invisible smoker blew smoke in rare puffs. " At this moment, it is not the Russian and French armies that are opposing each other; little Napoleon, who imagines himself great, and little Tushin, who has risen to true greatness, are opposed to each other. The staff captain is not afraid of death, he is only afraid of his superiors, and is immediately shy when a staff colonel appears at the battery. Then (Chapter XXI) Tushin cordially helps all the wounded (including Nikolai Rostov).

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

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

Pierre meets Plato at a difficult moment in his life - in captivity, when his fate hangs in the balance and depends on many accidents. The first thing that catches his eye (and in a strange way soothes) is the roundness of Karataev, a harmonious combination of external and internal appearance. In Plato, everything is round - both the movements, and the way of life that he builds around him, and even the homely smell. The narrator, with his usual persistence, repeats the words "round" and "round" as often as in the scene on the Austerlitz field he repeated the word "sky."

During the battle of Shengraben, Andrei Bolkonsky was not ready to meet with "his own Karataev", staff captain Tushin. By the time of the events in Moscow, Pierre had matured to learn a lot from Plato. And above all, a true attitude towards life. That is why Karataev "remained forever in Pierre's soul the most powerful and dear memory and the personification of everything Russian, kind and round." Indeed, even on the way back from Borodino to Moscow, Bezukhov had a dream, during which he heard a voice:

“War is the most difficult submission of human freedom to the laws of God,” said the voice. - Simplicity is obedience to God, you cannot get away from Him. And they are simple. They don't speak, but they do. The spoken word is silver, and the unsaid is golden. A person cannot possess anything while he is afraid of death. And whoever is not afraid of her, that belongs to everything ... To connect everything? - Pierre said to himself. - No, don't connect. It is impossible to connect thoughts, but to combine all these thoughts - that's what you need! Yes, you need to pair, you need to pair! " (volume III, part three, chapter IX).

Platon Karataev is the embodiment of this dream; everything in him is precisely linked, he is not afraid of death, he thinks in proverbs that summarize the age-old folk wisdom - it is not for nothing that in his sleep Pierre hears the proverb "The spoken word is silver, and the unsaid is golden."

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

Karataev does not have a "special" love for people - he treats all living beings equally lovingly. And to the master Pierre, and to the French soldier who ordered Plato to sew a shirt, and to the bent-legged dog that nailed to him. Not being a person, he does not see individuals around him, everyone he meets is the same particle of a single universe, like himself. Death or separation is therefore irrelevant to him; Karataev is not upset when he learns that the person with whom he became close suddenly disappeared - after all, nothing changes from this! The eternal life of the people continues, and in every new encounter its unchanging presence will be revealed.

The main lesson that Bezukhov draws from communication with Karataev, the main quality that he seeks to adopt from his "teacher" is voluntary dependence on the eternal life of the people. Only she gives a person a real feeling of freedom. And when Karataev, having fallen ill, begins to lag behind the column of prisoners and is shot like a dog, Pierre is not too upset. The individual life of Karataev is over, but the eternal, national life, in which he is involved, continues, and there will be no end to it. That is why Tolstoy ends the storyline of Karataev with the second dream of Pierre, who saw the captive Bezukhov in the village of Shamshevo:

And suddenly Pierre introduced himself as a living, long forgotten, meek old teacher who taught Pierre geography in Switzerland ... he showed Pierre a globe. This globe was a living, vibrating ball without dimensions. The entire surface of the sphere consisted of drops tightly compressed together. And these drops all moved, moved and then merged from several into one, then from one they were divided into many. Each drop tried to spill out, to capture the largest space, but others, striving for the same, squeezed it, sometimes destroyed it, sometimes merged with it.

Here is life, - said the old teacher ...

In the middle is God, and each drop seeks to expand in order to reflect Him to the greatest extent ... Here he is, Karataev, here he spilled over and disappeared ”(volume IV, part three, chapter XV).

In the metaphor of life as a "liquid vibrating ball" made up of separate drops, all the symbolic images of "War and Peace" that we spoke about above are combined: the spindle, the clockwork, and the anthill; a circular movement connecting everything with everything - this is Tolstoy's idea of ​​the people, of history, of the family. The meeting of Platon Karataev brings Pierre very close to comprehending this truth.

From the image of the captain Tushin, we went up a step, to the image of Platon Karataev. Ho and from Plato in the space of the epic one more step leads upward. The image of the people's field marshal Kutuzov is raised here to an unattainable height. This old man, gray-haired, fat, treading heavily, with a disfigured face, rises above Captain Tushin and even Platon Karataev. The truth of the nationality, perceived by them instinctively, he consciously grasped and elevated to the principle of his life and his military leadership.

The main thing for Kutuzov (unlike all the leaders headed by Napoleon) is to deviate from a personal proud decision, to guess the right course of events and not interfere with their development according to God's will, in truth. We first meet with him in the first volume, in the scene of the review near Brenau. Before us is an absent-minded and cunning old man, an old campaigner, who is distinguished by "the affectation of piety." We immediately understand that the mask of a non-judgmental campaigner, which Kutuzov puts on when approaching the ruling persons, above all the tsar, is just one of the many ways of his self-defense. After all, he cannot, must not allow the real interference of these self-righteous persons in the course of events, and therefore must kindly evade their will, without contradicting it in words. So he will evade the battle with Napoleon during the Patriotic War.

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

And the main secret that Kutuzov comprehended, as he is depicted in War and Peace, is the secret of maintaining the people's spirit, the main force in the struggle against any enemy of the Fatherland.

That is why this old, weak, voluptuous person personifies Tolstoy's idea of ​​an ideal politics, which has comprehended the main wisdom: a person cannot influence the course of historical events and must renounce the idea of ​​freedom in favor of the idea of ​​necessity. Tolstoy "instructs" Bolkonsky to express this idea: watching Kutuzov after his appointment as commander-in-chief, Prince Andrei reflects: "He will not have anything of his own ... He understands that there is something stronger and more significant than his will - this is an inevitable course of events. ... And most importantly ... that he is Russian, despite the Zhanlis novel and French sayings ”(volume III, part two, chapter XVI).

Without the figure of Kutuzov, Tolstoy would not have solved one of the main artistic tasks of his epic: to oppose the “deceitful form of the European hero, who supposedly controls people, which history has invented,” the “simple, modest and therefore truly majestic figure” of the folk hero, who will never settle into this "Deceitful form".

Natasha Rostova. If we translate the typology of the heroes of the epic into the traditional language of literary terms, then by itself an internal regularity will be revealed. The world of the ordinary and the world of lies are opposed by dramatic and epic characters. The dramatic characters of Pierre and Andrei are full of internal contradictions, are always in motion and development; the epic characters of Karataev and Kutuzov are striking in their integrity. But in the portrait gallery created by Tolstoy in War and Peace, there is a character that does not fit into any of the listed categories. This is the lyrical character of the main heroine of the epic, Natasha Rostova.

Does she belong to the "burners"? It is impossible to even think about it. With her sincerity, with her heightened sense of justice! Does she belong to "ordinary people" like her relatives, the Rostovs? In many ways, yes; and yet it is not for nothing that both Pierre and Andrei are looking for her love, reaching out to her, singling out from the general row. At the same time, you cannot call her a truth-seeker. No matter how much we reread the scenes in which Natasha acts, we will not find anywhere a hint of a search for a moral ideal, truth, truth. And in the Epilogue, after marriage, she even loses the brightness of temperament, the spirituality of her appearance; baby diapers replaces the fact that Pierre and Andrei are given reflections on the truth and on the purpose of life.

Like the rest of the Rostovs, Natasha is not endowed with a sharp mind; when in chapter XVII of part four of the last volume, and then in the Epilogue, we see her next to the emphatically intelligent woman Marya Bolkonskaya-Rostova, this difference is especially striking. Natasha, as the narrator emphasizes, simply "did not deign to be smart." But she is endowed with something else, which for Tolstoy is more important than an abstract mind, more important than even the search for truth: the instinct of experiencing life. It is this inexplicable quality that brings the image of Natasha very close to the "wise men", first of all to Kutuzov, while in all other respects she is closer to ordinary people. It is simply impossible to "attribute" it to any one category: it does not obey any classification, breaks out of any definition.

Natasha, “black-eyed, with a big mouth, ugly, but alive,” the most emotional of all the characters in the epic; therefore she is the most musical of all the Rostovs. The element of music lives not only in her singing, which everyone around recognizes as wonderful, but also in the very voice of Natasha. Remember, Andrei's heart fluttered for the first time when he heard Natasha's conversation with Sonya on a moonlit night, not seeing the girls talking. Natasha's singing heals his brother Nikolai, who comes to despair after losing 43 thousand, which ruined the Rostov family.

From one emotional, sensitive, intuitive root, her egoism, which was fully revealed in the story with Anatol Kuragin, and her selflessness, which is manifested both in the scene with carts for the wounded in burning Moscow, and in episodes showing how she is shown caring for the dying grows Andrey, how he cares about his mother, shocked by the news of Petya's death.

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

It is not for nothing that the most famous comparison of "War and Peace" is attributed to the lyric heroine, Natasha. At the moment when Pierre, after a long separation, meets Rostova with Princess Marya, he does not recognize Natasha, and suddenly “a face with attentive eyes with difficulty, with effort, as a rusted door opens, smiled, and from this open door suddenly it smelled and doused Pierre with forgotten happiness ... It smelled, enveloped and swallowed him all "(Volume IV, Part Four, Chapter XV).

Ho Natasha's true vocation, as Tolstoy shows in the Epilogue (and unexpectedly for many readers), was revealed only in motherhood. Having gone into children, she realizes herself in them and through them; and this is not accidental: after all, the family for Tolstoy is the same cosmos, the same integral and saving world as the Christian faith, as the life of the people.

Introduction

Leo Tolstoy in his epic portrayed more than 500 characters typical for Russian society. In War and Peace, the heroes of the novel are representatives of the upper class of Moscow and St. Petersburg, key statesmen and military leaders, soldiers, people from the common people, and peasants. The depiction of all strata of Russian society allowed Tolstoy to recreate an integral picture of Russian life at one of the turning points in Russian history - the era of the wars with Napoleon in 1805-1812.

In War and Peace, the characters are conventionally divided into main characters - whose fates are woven by the author into the plot narration of all four volumes and the epilogue, and minor characters - who appear sporadically in the novel. Among the main characters of the novel, one can single out the central characters - Andrei Bolkonsky, Natasha Rostova and Pierre Bezukhov, around whose destinies the events of the novel unfold.

Characteristics of the main characters of the novel

Andrey Bolkonsky- "a very handsome young man with definite and dry features", "small stature." The author introduces Bolkonsky to the reader at the beginning of the novel - the hero was one of the guests at Anna Scherer's evening (where many of the main characters of Tolstoy's novel War and Peace were also present).

According to the plot of the work, Andrei was tired of high society, he dreamed of glory, no less than the glory of Napoleon, and therefore goes to war. The episode that turned Bolkonsky's worldview was a meeting with Bonaparte - Andrei, wounded on the field of Austerlitz, realized how insignificant Bonaparte and all his glory really were. The second turning point in Bolkonsky's life is his love for Natasha Rostova. The new feeling helped the hero return to a full life, to believe that after the death of his wife and everything he had endured, he can continue to live fully. However, their happiness with Natasha was not destined to come true - Andrei was mortally wounded during the Battle of Borodino and died soon after.

Natasha Rostova- a cheerful, kind, very emotional and loving girl: “black-eyed, with a big mouth, ugly, but alive”. An important feature of the image of the central heroine of "War and Peace" is her musical talent - a beautiful voice, which fascinated even people who were inexperienced in music. The reader meets Natasha on the girl's birthday, when she turns 12 years old. Tolstoy depicts the heroine's moral maturation: love experiences, going out, Natasha's betrayal of Prince Andrei and her experiences because of this, her search for herself in religion and the turning point in the heroine's life - the death of Bolkonsky. In the epilogue of the novel, Natasha appears before the reader completely different - we are more likely to see the shadow of her husband, Pierre Bezukhov, and not the bright, active Rostova, who a few years ago danced Russian dances and "won" carts for the wounded from her mother.

Pierre Bezukhov- "a massive, fat young man with a bobbed head, glasses." "Pierre was somewhat larger than the other men in the room," he had "an intelligent and at the same time timid, observant and natural look that distinguished him from everyone in this living room." Pierre is a hero who is in constant search of himself through knowledge of the world around him. Each situation in his life, each life stage became a special life lesson for the hero. Marriage to Helene, passion for Freemasonry, love for Natasha Rostova, presence on the battlefield of Borodino (which the hero sees through Pierre's eyes), French captivity and acquaintance with Karataev completely change Pierre's personality - a purposeful and self-confident man with own views and goals.

Other important characters

In War and Peace, Tolstoy conventionally identifies several blocks of characters - the Rostov, Bolkonsky, Kuragin families, as well as the characters who are part of the social circle of one of these families. The Rostovs and Bolkonskys, as positive heroes, carriers of a truly Russian mentality, ideas and spirituality, are contrasted with the negative characters of the Kuragin, who had little interest in the spiritual aspect of life, preferring to shine in society, weave intrigues and choose friends according to their status and wealth. A brief description of the heroes of "War and Peace" will help to better understand the essence of each main character.

Graph Ilya Andreevich Rostov- a kind and generous man, for whom the most important thing in his life was family. The count sincerely loved his wife and four children (Natasha, Vera, Nikolai and Petya), helped his wife in raising children and did his best to maintain a warm atmosphere in the Rostovs' house. Ilya Andreevich cannot live without luxury, he liked to arrange magnificent balls, receptions and evenings, but his profligacy and inability to manage household affairs ultimately led to the critical financial situation of the Rostovs.
Countess Natalya Rostova is a 45-year-old woman with oriental features, who knows how to make an impression in high society, the wife of Count Rostov, and the mother of four children. The Countess, like her husband, loved her family very much, trying to support the children and bring up the best qualities in them. Due to excessive love for children, after the death of Petya, the woman almost goes crazy. In the countess, kindness to those close to her was combined with prudence: wishing to improve the financial situation of the family, the woman was trying with all her might to upset Nikolai's marriage to the “unprofitable bride” Sonya.

Nikolay Rostov- "a short, curly-haired young man with an open expression." This is an innocent, open, honest and benevolent young man, brother of Natasha, the eldest son of the Rostovs. At the beginning of the novel, Nikolai appears as an admired young man who wants military glory and recognition, but after participating first in the Battle of Shengrabesk, and then in the Battle of Austerlitz and the Patriotic War, Nikolai's illusions are dispelled and the hero realizes how absurd and wrong the very idea of ​​war is. Nikolai finds personal happiness in marriage with Marya Bolkonskaya, in which he felt a close-minded person even at the first meeting.

Sonya Rostova- "a thin, petite brunette with a soft, shaded by long eyelashes look, a thick black braid, twice wrapped around her head, and a yellowish tint of skin on her face", the niece of Count Rostov. According to the plot of the novel, this is a quiet, reasonable, kind girl, who knows how to love and is prone to self-sacrifice. Sonya refuses Dolokhov, since she wants to be faithful only to Nikolai, whom she sincerely loves. When the girl finds out that Nikolai is in love with Marya, she resignedly lets him go, not wanting to hinder the happiness of her beloved.

Nikolay Andreevich Bolkonsky- prince, retired general-ashef. This is a proud, intelligent, stern man of short stature towards himself and others, "with small dry hands and gray drooping eyebrows, sometimes, as he frowned, overshadowed the brilliance of intelligent and like young shiny eyes." Deep down, Bolkonsky loves his children very much, but does not dare to show it (only before his death he was able to show his love to his daughter). Nikolai Andreevich died from a second blow while in Bogucharovo.

Marya Bolkonskaya- a quiet, kind, meek girl, inclined to self-sacrifice and sincerely loving her family. Tolstoy describes her as a heroine with “an ugly weak body and a thin face,” but “the princess’s eyes, large, deep and radiant (as if rays of warm light sometimes came out of them in sheaves), were so good that very often, despite the ugliness of everything faces, these eyes became more attractive than beauty. " The beauty of Marya's eyes afterwards struck Nikolai Rostov. The girl was very devout, devoted all of herself to caring for her father and nephew, then redirecting her love to her own family and husband.

Helen Kuragina- a bright, brilliantly beautiful woman with a "unchanging smile" and full white shoulders, who liked male society, Pierre's first wife. Helene was not distinguished by a special mind, however, thanks to her charm, ability to keep herself in society and establish the necessary connections, she arranged her own salon in St. Petersburg, was personally acquainted with Napoleon. The woman died of severe sore throat (although there were rumors in society that Helen had committed suicide).

Anatol Kuragin- Helen's brother, as handsome in appearance and noticeable in high society as his sister. Anatole lived the way he wanted, discarding all moral principles and foundations, arranged drunkenness and fights. Kuragin wanted to steal Natasha Rostova and marry her, although he was already married.

Fedor Dolokhov- "a man of average height, curly and with bright eyes", an officer of the Semenovsky regiment, one of the leaders of the partisan movement. In the personality of Fedor, selfishness, cynicism and adventurism are surprisingly combined with the ability to love and care for their loved ones. (Nikolai Rostov is very surprised that at home, with his mother and sister, Dolokhov is completely different - a loving and gentle son and brother).

Conclusion

Even a brief description of the heroes of Tolstoy's "War and Peace" allows one to see the close and inextricable interconnection of the characters' destinies. Like all events in the novel, the characters' meetings and farewells take place according to the irrational, elusive law of historical mutual influences. It is these incomprehensible mutual influences that create the fate of the heroes and shape their views of the world.

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All characters can be roughly divided into the following groups:

• the Bolkonsky family;
• the Rostov family;
• the Bezukhov family;
• the Drubetskoy family;
• the Kuragin family;
• Historical figures;
• Heroes of the 2nd plan;
• Other heroes.

The classification is convenient for analyzing entire families at once and comparing characters between each other. A detailed description of the main characters is given below.

Characteristics of the Bolkonskys

The Bolkonsky clan originates from the princes who were related to Rurik. They are rich and well off. The father’s authoritarian rule reigns in the family, because of this tense atmosphere at home. The Bolkonskys strictly follow family traditions and customs. Relationships within the family were strained, and the house was divided into two “camps”:

• The first "camp" was headed by Prince Nikolai Bolkonsky. His opinion was shared by Mademoiselle Burien and Mikhail Ivanovich, the prince's architect.
• The second group consisted of the daughter of Prince Marya, the son of Andrei Bolkonsky, Nikolai, and all the nannies and maids.

Andrei Bolkonsky was not a member of any group, as he was often on the road.

Characteristic of Andrei Bolkonsky

Andrei Bolkonsky is a wealthy heir and son of Prince Nikolai Bolkonsky. His mother is no longer alive, and there is also a sister, Marya, from his relatives, whom he loves very much. Andrey is the best friend of another protagonist of the novel. Andrey is a short, handsome guy. He is described as a person with a constantly bored look, walks slowly and unhurriedly, in contrast to his wife Lisa, who was distinguished by a cheerful and easy character. Bolkonsky looked more like a teenager than a man - the author often mentions that Andrei has small hands, a child's neck. The hero was distinguished by an inquiring mind, he was well-read and educated, he took over some of his father's features - rudeness and severity towards loved ones. Andrei Bolkonsky is a liberal landowner, he loves his peasants and makes their life easier. At the time of writing the novel, Andrei Bolkonsky was 27 years old.

Characteristics of Marya Bolkonskaya

Sister of the protagonist Andrei Bolkonsky. She is young and, in the opinion of many heroes, an ugly girl, but with sad and impressive eyes. Marya is rather clumsy and had a heavy gait. Her father taught her. Through home schooling, she learned order and discipline. She knows how to play the clavichord, loves life in the country, unlike her brother. Princess Marya Bolkonskaya was distinguished by her kind and calm character, she believed in God. When communicating with people, she assessed them for their spiritual qualities, and not for their status and position.

Nikolai Bolkonsky - prince, head of the family. He was distinguished by a bad character and cruel actions in relation to households. Prince Nikolai was an old man, with a thin face and body. Bolkonsky always dressed according to his status - he was a retired general-in-chief. The prince was more feared than respected. He was distinguished by his waywardness and a rather domineering position. But at the same time Nikolai Bolkonsky is distinguished by his diligence - he is always busy with something: either writing memoirs, or teaching mathematics to the younger generation, or his favorite hobby - making snuff boxes.

Nikolai Andreevich was familiar with Catherine II and Prince Potemkin, which he is very proud of.The prince is very worried about the invasion of French troops into the territory of Russia, and dies of a heart attack.

Characteristics of Liza Bolkonskaya

Andrei Bolkonsky's wife is a cheerful and cheerful girl. She did not differ in intelligence, but compensated for everything with kindness and a good attitude. She was a short girl, her lips were with mustache, she always went with a high hairdo. Elizaveta Karlovna comes from the German Meinen family. The family received education and secular manners. Princess Bolkonskaya loved to gossip and chat, but at the same time she was distinguished by her observation. She loved her husband deeply, but was unhappy with him. She died after the birth of her son Nikolai.

Characteristic of Nikolai Bolkonsky

Was born in 1806. After the death of his mother - Liza Bolkonskaya, he is brought up by aunt Marya. Marya Bolkonskaya gives him Russian and music lessons. At the age of 7, he sees the death of Andrei's father after being wounded. In the epilogue of the novel, Nikolai is a 15-year-old handsome young man with curly hair, very similar to his father.

Characteristics of the Rostov family

A noble noble family. The author describes the Rostov family as an ideal family - good-natured, with good relationships between relatives.

Characteristics of Count Ilya Rostov

Ilya Andreevich Rostov is the head of the family, a cheerful and good-natured count. He is rich and has several villages under his command. A full physique, a gray head with bald patches, an always smooth-shaven face and blue eyes - the appearance of Ilya Andreevich. Those around him consider him stupid and funny, but the count was loved for his generosity and kindness. Sometimes this generosity turned into squandering. He loves his wife and children, pampers them and permits everything. Ilya Andreevich does not like to get into arguments, it is better for him to eat and have fun. Because of this fun, he loses all the money and ruins the family. After a series of misfortunes in the Rostov family, he falls ill and dies.

Characteristics of Countess Natalia Rostova

Ilya Andreevich's wife, 45 years old. A mother of 12 children, however, the story is only about four. Natalya Rostova had a beautiful oriental appearance, was often tired, but at the same time aroused respect from her relatives. She married the Count when she was 16 years old. Like her husband, he is not distinguished by frugality, he loves to spend money. She tries to be strict with children, but because of her kindness, she does not succeed. Countess Natalya helps others (for example, her friend Drubetskaya). By the end of the work, after experiencing deaths, she becomes like a ghost.

Characteristics of Natasha Rostova

Daughter of Count Nikolai Rostov and Natalia Rostova. She was brought up in affection and love, she was a little spoiled, but at the same time she remained a kind and sincere girl. L. Tolstoy describes little Natasha as follows: “with black eyes, a large mouth, a rather ugly, but charming and cheerful girl, with curly hair, thin legs and arms”. By the age of 16, Natasha had changed, she began to wear long dresses, dance at balls. Even more prettier already at the age of 20. She put on beautiful lace dresses, braided her hair, with an intelligent look and a sensitive attitude towards others.

Important! Natasha is well versed in people, but when it comes to love relationships, she is lost (like falling in love with Kuragin).

After the death of Bolkonsky, she marries Pierre Bezukhov, becomes slovenly and no longer takes care of herself, gives birth to 3 children and lives only for them.

Characteristics of Sonya Rostova

Second cousin of Natasha and Nikolai Rostov. Raised in the Rostov family from birth. A beautiful and sweet girl, intelligent and educated. He helps his friend Natasha in every possible way. Likes to recite poetry in front of an audience. She is secretly in love with Nikolai Rostov, this love is not accepted by Natalia Rostova. As a result, Sonya remains unmarried.

Characteristic of Pierre Bezukhov

Another protagonist of the novel. A large young man, wears glasses, strong but awkward. The author often compares Pierre to a bear. He is the illegitimate son of Count Bezukhov, but is his favorite. Pierre has lived and studied in Europe for over 10 years. At the age of 20 he came back to Russia. Bezukhov has a beautiful childish smile, sees only good qualities in people, because of this he was often deceived. His wife Helen Kuragina did this to him, deceived him and forcibly married him. He cannot find a job to his liking, he is not really fond of anything, he is often idle. When Pierre becomes the heir to the Bezukhovs' fortune, he begins to engage in farming, but even there he often fails. Only after being held captive by the French begins to behave differently, becomes more restrained and calculating. At the end of the novel, he marries Natasha Rostova, after which he is perceived not as a clumsy chatterbox, but as a competent and respected person.

Characteristics of the Kuragin family

Another secular family in the novel. Unlike the Bolkonskys and Rostovs, they are not distinguished by nobility and kindness to people. Prince Vasily wants to profitably give away all his children, and does not skimp on deception. There is complete harmony in the family between parents and children, both parties want to get benefits.

Characteristic of Vasily Kuragin

Vasily Sergeevich Kuragin - Prince of 50 years. He is married to an ugly and fat lady. Almost bald, he likes to dress with a needle, courteous. He had a beautiful deep voice, he always spoke slowly. Self-confident, indifferent, likes to laugh at other people.Communicates only for their own benefit.

Characteristic of Anatol Kuragin

The youngest son of Prince Vasily. Handsome, stately with big eyes and beautiful hands. He was always well and neatly dressed. He was educated in Europe, on arrival he becomes an officer. Differs in a cheerful character, loves to drink and gather companies. Due to revelry and drunkenness, he is constantly in debt. For the sake of money, he was ready to marry Princess Marya. Anatole is a mean man, he deceives Natasha Rostova, promising to marry her. Kuragin thinks only of himself. After the battle of Borodino, he is wounded, and he changes.

Characteristic of Helen Kuragina

Elena Vasilievna Kuragina (after marriage to Pierre, Bezukhova became), the elder sister of Anatol Kuragina and the daughter of Prince Vasily. Refined appearance, beautiful thin arms, thin neck, marbled skin - her external characteristics noted by the author. Helene was tall and impressed all men. Her outfits were often too revealing, although she was a graduate of the Smolny Institute. Helene is stupid, according to Bezukhov and Andrei Bolkonsky, but others consider her adorable and smart. Helen Kuragina knows how to achieve her goal by any means, even if it is deception and hypocrisy. For the sake of money, she is ready for anything. Thus, all these characters are only part of the vast world of "War and Peace" by L. N. Tolstoy. It should be understood that the secondary characters of the novel also make up a more complete picture. We should not forget about the description of historical figures such as Napoleon and Kutuzov, who also influenced the train of thought of the main characters. We also invite you to watch the video, in which for a better understanding of the content there is a clear systematization of all the heroes of the novel “War and Peace”.

), the invasion of the French into Russia, the Battle of Borodino and the capture of Moscow, the entry of the allied forces into Paris; the end of the novel is dated to 1820. The author has re-read many historical books and memoirs of his contemporaries; he understood that the task of the artist did not coincide with the task of the historian and, without striving for complete accuracy, he wanted to create the spirit of the era, the originality of its life, the picturesqueness of its style.

Lev Tolstoy. War and Peace. The main characters and themes of the novel

Of course, the historical faces of Tolstoy are somewhat modernized: they often speak and think like the author's contemporaries. But this renewal is inevitable in the historian's creative perception of the process as a continuous stream of life. Otherwise, the result is not a work of art, but a dead archeology. The author did not invent anything - he only chose what seemed to him the most revealing. “Everywhere,” writes Tolstoy, “where only in my novel historical figures speak and act, I did not invent, but used materials from which, during my work, a whole library of books was formed.”

For "family chronicles", placed in the historical framework of the Napoleonic wars, he used family memoirs, letters, diaries, unpublished notes. The complexity and richness of the "human world" depicted in the novel can only be compared with the gallery of portraits of the multivolume "Human Comedy" by Balzac. Tolstoy gives more than 70 detailed characteristics, outlines many minor faces with a few strokes - and they all live, do not merge with each other, remain in memory. One sharply grasped detail defines the figure of a person, his character and behavior. In the waiting room of the dying Count Bezukhov, one of the heirs, Prince Vasily, walks on tiptoe in confusion. "He could not walk on tiptoe and jumped awkwardly with his whole body." And in this bouncing, the whole nature of a dignified and imperious prince is reflected.

The external feature takes on a deep psychological and symbolic meaning in Tolstoy. He has incomparable visual acuity, brilliant observation, almost clairvoyance. By one turn of the head or the movement of the fingers, he guesses the person. Every feeling, even the most fleeting one, is immediately embodied for him in a bodily sign; Movement, posture, gesture, eye expression, shoulder line, lip trembling are read by him as a symbol of the soul. Hence - the impression of mental-bodily wholeness and completeness, which is produced by his heroes. In the art of creating living people with flesh and blood, breathing, moving, casting a shadow, Tolstoy has no equal.

Princess Marya

In the center of the action of the novel are two noble families - the Bolkonskys and the Rostovs. The senior prince Bolkonsky, general-in-chief of Catherine's times, a Voltairian and a clever gentleman, lives on the Lysye Gory estate with his daughter Marya, ugly and no longer young. Her father loves her passionately, but brings up her harshly and torments her with algebra lessons. Princess Marya "with beautiful radiant eyes", with a shy smile is an image of high spiritual beauty. She resignedly carries the cross of her life, prays, accepts "God's people" and dreams of becoming a wanderer ... He is God. What did she care about the justice or injustice of others? She had to suffer and love herself, and she did it. "

And yet she sometimes worries about the hope of personal happiness; she wants to have a family, children. When this hope is fulfilled and she marries Nikolai Rostov, her soul continues to strive for the "infinite, eternal perfect."

Prince Andrey Bolkonsky

Princess Marya's brother, Prince Andrew, does not look like a sister. This is a strong, intelligent, proud and frustrated person who feels superior to others, weighed down by his chirping, frivolous wife and is looking for practically useful activity. He collaborates with Speransky in the commission for drafting laws, but soon gets tired of this abstract office work. He is seized by a thirst for glory, he goes on a campaign in 1805 and, like Napoleon, awaits his "Toulon" - exaltation, greatness, "human love." But instead of "Toulon", the Austerlitz field awaits him, on which he lies wounded and looks into the bottomless sky. Everything is empty, he thinks, everything is deception except this endless sky. Nothing, nothing but him. But even that is not even there, there is nothing but silence, reassurance. "

Andrey Bolkonsky

Returning to Russia, he settles in his estate and plunges into the "longing of life." The death of his wife, the betrayal of Natasha Rostova, who seemed to him the ideal of girlish charm and purity, plunge him into dark despair. And only slowly dying from the wound received in the Borodino battle, in the face of death, he finds that "truth of life", which he always sought so unsuccessfully: "Love is life," he thinks. - Everything, everything that I understand, I understand only because I love. Love is God, and to die means to me, a particle of love, to return to a common and eternal source. "

Nikolay Rostov

Difficult relations connect the Bolkonsky family with the Rostov family. Nikolai Rostov is a whole, spontaneous nature, like Eroshka in Cossacks or Volodya's brother in Childhood. He lives without question or doubt, he has a "common sense of mediocrity." Straightforward, noble, brave, cheerful, he is surprisingly attractive despite his limitations. Of course, he does not understand the mystical soul of his wife Marya, but he knows how to create a happy family, raise kind and honest children.

Natasha Rostova

His sister Natasha Rostova is one of the most charming female images of Tolstoy. She enters the life of each of us as a beloved and close friend. A radiance emanates from her lively, joyful and soulful face, illuminating everything around her. When she appears, everyone becomes cheerful, everyone starts to smile. Natasha is full of such an excess of vitality, such a "talent for life" that her whims, frivolous hobbies, selfishness of youth and thirst for "the pleasures of life" - everything seems charming.

She is constantly on the move, intoxicated with joy, inspired by feeling; she does not reason, "does not deign to be clever," as Pierre says of her, but the clairvoyance of the heart replaces her mind. She immediately "sees" a person and aptly identifies him. When her fiancé Andrei Bolkonsky leaves for the war, Natasha is carried away by the brilliant and empty Anatol Kuragin. But the break with Prince Andrey and then his death overturned her whole soul. Her noble and truthful nature cannot forgive herself for this guilt. Natasha falls into hopeless despair and wants to die. At this time, news comes about the death of her younger brother Petit in the war. Natasha forgets her grief and selflessly takes care of her mother - and this saves her.

“Natasha thought,” writes Tolstoy, “that 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. " Finally, she marries Pierre Bezukhov and turns into a child-loving mother and devoted wife: she refuses all the "pleasures of life" that she loved so passionately before, and gives herself up to her new, difficult responsibilities with all her heart. For Tolstoy, Natasha is life itself, instinctive, mysterious and holy in its natural wisdom.

Pierre Bezukhov

The ideological and compositional center of the novel is Count Pierre Bezukhov. All the complex and numerous lines of action coming from two "family chronicles" - the Bolkonskys and the Rostovs, are drawn to it; he clearly enjoys the author's greatest sympathy and is the closest to him in his mental disposition. Pierre belongs to people "seeking", reminds Nikolenka, Nekhlyudova, Venison, but most of all Tolstoy himself. Before us pass not only the external events of life, but also the consistent history of his spiritual development.

Pierre Bezukhov's path of searches

Pierre was brought up in an atmosphere of Rousseau's ideas, he lives with feeling and is inclined to "dreamy philosophizing." He seeks "the truth", but due to weak will he continues to lead an empty social life, to revel, play cards, go to balls; the absurd marriage to the soulless beauty Helen Kuragina, the break with her and the duel with his former friend Dolokhov make a profound revolution in him. He's interested in freemasonry, thinks to find in him "inner peace and harmony with himself." But soon disappointment sets in: the philanthropic activity of the Masons seems to him insufficient, their addiction to uniforms and magnificent ceremonies outrages him. A moral numbness, a panic fear of life finds him.

The "tangled and terrible knot of life" strangles him. And on the Borodino field, he meets the Russian people - a new world opens up to him. The spiritual crisis was prepared by tremendous impressions that suddenly fell on him: he sees the fire of Moscow, is captured, spends several days awaiting the death sentence, is present at the execution. And then he meets "Russian, kind, round Karataev." Joyful and bright, he saves Pierre from spiritual death and leads him to God.

“Before, he sought God for the goals that he set for himself,” writes Tolstoy, and suddenly he learned in his captivity, not by words, not by reasoning, but by direct feeling, what the nanny had already told him for a long time; that God is here He is, here, everywhere. In captivity he learned that God in Karataev is greater, infinite and incomprehensible than in the Architecton of the universe recognized by the Freemasons. "

Religious inspiration embraces Pierre, all questions and doubts disappear, he no longer thinks about the “meaning of life,” for the meaning has already been found: love for God and selfless service to people. The novel ends with a picture of Pierre's complete happiness, who married Natasha Rostova and became a devoted husband and loving father.

Platon Karataev

The soldier Platon Karataev, a meeting with whom in Moscow occupied by the French made a revolution in the seeker of truth, Pierre Bezukhov, was conceived by the author as a parallel to the "national hero" Kutuzov; he, too, is a person without personality, passively surrendering to events. This is how Pierre sees him, that is, the author himself, but the reader sees him differently. Not impersonality, but the extraordinary uniqueness of his personality amazes us. His apt words, jokes and sayings, his constant activity, his bright cheerfulness of spirit and sense of beauty ("goodness"), his active love for neighbors, humility, cheerfulness and religiosity do not add up in our imagination to the image of an impersonal "part of the whole", but into the amazingly whole face of the righteous man of the people.

Platon Karataev is as much a “great Christian” as the holy fool Grisha in Childhood. Tolstoy intuitively sensed his spiritual identity, but his rationalistic explanation slipped over the surface of this mystical soul.

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

Leo Tolstoy and the heroes of the novel "War and Peace" are going through the events of the last nineteenth century, but Lev Nikolaevich begins to describe the events of 1805. The impending war with the French, the decisively approaching world and the growing greatness of Napoleon, the confusion in Moscow secular circles and the clear calm in the St. Petersburg secular society - all this can be called a kind of background on which, like a brilliant artist, the author painted his characters. There are quite a lot of heroes - about 550 or 600. There are both main and central figures, and there are others or simply mentioned ones. In total, the heroes of "War and Peace" can be divided into three groups: central, minor and mentioned characters. Among all of them, there are both fictional characters, as prototypes of people who surrounded the writer at that time, and real-life historical figures. Consider the main characters in the novel.

Quotes from the novel "War and Peace"

“… I often think about how the happiness of life is sometimes unfairly distributed.

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

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

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

If everyone fought only for their own convictions, there would be no war.

To be an enthusiast became her social position, and sometimes, when she did not even want to, in order not to deceive the expectations of people who knew her, she became an enthusiast.

To love everything, to always sacrifice oneself for love, meant not to love anyone, meant not living this earthly life.

Never, never marry, my friend; Here's my advice: don't get married until you tell yourself that you have done everything you could, and until you stop loving the woman you have chosen, until you see her clearly; otherwise you will be mistaken cruelly and irreparably. Marry an old man, worthless ...

Central figures of the novel "War and Peace"

Rostovs - Counts and Countesses

Rostov Ilya Andreevich

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

Rostova Natalia (wife of Ilya Andreevich Rostov)

The wife of Count Rostov and the mother of four children, this woman at the age of forty-five had oriental features. The focus of slowness and gravity in her was regarded by those around her as the solidity and high significance of her personality for the family. But the real reason for her manners, perhaps, lies in the emaciated and weak physical condition due to the birth and upbringing of four children. She loves her family and children very much, so the news of the death of her youngest son Petya almost drove her crazy. Just like Ilya Andreevich, Countess Rostova was very fond of luxury and the execution of any of her orders.

Leo Tolstoy and the heroes of the novel "War and Peace" in Countess Rostova helped to reveal the prototype of the author's grandmother - Pelageya Nikolaevna Tolstoy.

Rostov Nikolay

Son of Count Rostov Ilya Andreevich. A loving brother and son who reveres his family, at the same time loves to serve in the Russian army, which is very significant and important for his dignity. Even in his fellow soldiers, he often saw his second family. Although he was in love with his cousin Sonya for a long time, he nevertheless marries Princess Marya Bolkonskaya at the end of the novel. A very energetic young man, with curly hair and an "open face". His patriotism and love for the emperor of Russia never dried up. Having gone through many hardships of the war, he becomes a brave and brave hussar. After the death of Father Ilya Andreevich, Nikolai resigns in order to improve the financial affairs of the family, pay debts and, finally, become a good husband for Marya Bolkonskaya.

It appears to Leo Nikolaevich Tolstoy as a prototype of his father.

Rostova Natasha

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

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

Rostova Vera

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

It is the prototype of Tolstoy's sister Sophia - the wife of Lev Nikolaevich, whose name was Elizabeth Bers.

Rostov Peter

Still a boy, the son of the Count and Countess Rostovs. Growing up, Petya, as a young man, was eager to go to war, and in such a way that his parents absolutely could not hold him back. Having escaped all the same from parental care and decided to join Denisov's hussar regiment. Petya dies in the very first battle, without having had time to fight. His death severely crippled his family.

Sonya

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

The prototype of this seemingly insignificant character was Lev Nikolaevich's second aunt, Tatiana Aleksandrovna Ergolskaya.

Bolkonsky - princes and princesses

Bolkonsky Nikolay Andreevich

Father of the protagonist, Prince Andrei Bolkonsky. In the past, the acting general-in-chief, in the present, the prince, who has earned himself the nickname "King of Prussia" in Russian secular society. Socially active, strict as a father, tough, pedantic, but wise owner of his estate. Outwardly, it was a thin old man in a powdered white wig, thick eyebrows hanging over shrewd and intelligent eyes. She does not like to show feelings even for her beloved son and daughter. Constantly harassing his daughter Marya with nagging, sharp words. Sitting on his estate, Prince Nicholas is constantly on the alert for the events taking place in Russia, and only before his death he loses a full understanding of the scale of the tragedy of the Russian war with Napoleon.

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

Bolkonsky Andrey

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

Bolkonskaya Marya

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

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

Bezukhovs - Counts and Countesses

Pierre Bezukhov (Peter Kirillovich)

One of the main characters who deserves close attention and the most positive assessment. This character has gone through a lot of mental trauma and pain, possessing in itself a kind and highly noble disposition. Tolstoy and the heroes of the novel "War and Peace" very often express their love and acceptance of Pierre Bezukhov as a man of very high morals, complacent and a man of a philosophical mind. Lev Nikolaevich is very fond of his hero, Pierre. As a friend of Andrei Bolkonsky, young Count Pierre Bezukhov is very loyal and sympathetic. Despite the various intrigues weaving under his nose, Pierre did not become embittered and did not lose his good nature to people. And by marrying Natalya Rostova, he finally found that grace and happiness that he so lacked in his first wife, Helen. At the end of the novel, one can trace his desire to change the political foundations in Russia and from afar one can even guess his Decembrist sentiments.

Character prototypes
Most of the characters are so complex in their structure of the novel, they always reflect some people who, in one way or another, met on the way of Leo Nikolaevich Tolstoy.

The writer successfully created a whole panorama of the epic history of the events of that time and the private life of secular people. In addition, the author managed to very brightly color the psychological traits and characters of his characters so that a modern person can learn worldly wisdom from them.