Vasily Kuragin

Anatole Kuragin

Kuragin Helen

Anna Pavlovna Sherler

Boris Drubetskaya

Count Rostov

Countess Rostov

Graph Rostov's wife, "Woman with an eastern style of a thin face, years of forty-five, apparently exacerbated by children ... The slowness of her movements and a dialect, who originated from the weakness of the forces, gave her a significant appearance inspiring respect." R. Creates in his family an atmosphere of love and kindness, very careful about the fate of his children. The guise of the death of the younger and beloved son Petit almost drives her crazy. She got used to the luxury and fulfillment of the slightest whims, and demands it after the death of her husband.

Natasha Rostov

Daughter of graph and graphate growth. She is "black-eyed, with a big mouth, ugly, but alive ...". Distinctive features of N. - emotionality and sensitivity. She is not very smart, but she has amazing ability to guess people. She is capable of noble deeds, may forget about their interests for other people. So, she calls on their family to export wounded on the flows, leaving the property. N. Without the return, the mother is in charge after the death of Petit. N. N. Very beautiful voice, she is very musical. With his singing, she is able to awaken the best in man. Tolstoy notes the proximity of N. to the simple people. This is one of its best qualities. N. lives in the atmosphere of love and happiness. Changes in her life occur after meeting with the prince Andrey. N. becomes his bride, but later he is fond of Anatola Kuragin. After a while, N. understands the power of his guilt in front of the prince, he forgives her before his death, she stays with him before his death. The real love of N. is experiencing to Pierre, they perfectly understand each other, they are very good together. She becomes his wife and completely gives the role of his wife and mother.

Nikolay Rostov

Son of Graph Rostov. "A low curly young man with an open expression of the face." The hero is characterized by "swiftness and enthusiasm", it is cheerful, open, friendly and emotional. N. Participates in the military campaigns and the Patriotic War of 1812. In Shengraban battle, N. goes to the attack first very bravely, but then he was wounded in his hand. This wound causes his panic, he thinks about how he can die, "whom everyone loves." This event slightly slides the image of the hero. After N. becomes a brave officer, a real hussar who preserves loyalty to debt. N. was a long novel with Sonya, and he was going to make a noble act, married to the idleness in spite of the will of the mother. But he gets a letter from Sony, in which she says he lets him. After the death of the Father, N. takes care of the family, leaving. They and Marya Bolkonskoe fall in love with each other and marry.

Petya Rostov

The younger son of growth. At the beginning of the novel, we see P. still a small boy. He is a typical representative of his family, kind, cheerful, musical. Wishes to imitate the older brother and go in life by the military line. In 1812, full of patriotic gusts and goes to the army. During the war, the young man accidentally falls with the instructions of Denisov's detachment, where it remains, wanting to participate in the present case. He accidentally dies, on the eve of manifesting all its best qualities in relation to comrades. His death is the greatest tragedy for his family.

Pierre Duchevov

Sonya

Dolokhov

Nikolai Bolkonsky

Andrey Bolkonsky

Prince Bolkonsky's son, native brother Princess Maryia. At the beginning of the novel, we see B. as smart, proud, but enough man. He despises the people of the highest light, unhappy in marriage and does not respect her pretty wife. B. Very restrained, well formed, he has a strong will. This hero is experiencing large spiritual changes. At first we see that his idol is Napoleon, whom he considers a great man. B. falls on the war, goes to the existing army. There he fights along with all the soldiers, manifests greater courage, composure, prudence. Participates in Shenagraben battle. B. was seriously injured in Austerlitsky battle. This moment is extremely important, because it was then that the spiritual rebirth of the hero began. Lying Reality and seeing the calm and eternal sky of Austerlitz, B. understands all the petty and stupidity of all that is happening in the war. He realized that in fact there should be completely different values \u200b\u200bin life than those that he had so far. All exploits, fame do not matter. There is only this huge and eternal sky. In the same episode, B. sees Napoleon and understands all the insignificance of this person. B. Returns home where he was considered dead. His wife dies with childbirth, but the child survives. The hero is shocked by the death of his wife and feels his guilt in front of her. He decides no longer serve, settles in Boguchars, is engaged in the economy, the education of the son, reads a lot of books. During the trip to Petersburg B. for the second time it is found with Natasha Rostova. It awakens a deep feeling, the heroes decide to get married. B. Father does not agree with the choice of the Son, they postpone the wedding for a year, the hero leaves abroad. After the cheating of the bride, he returns to the army under the leadership of Kutuzov. During the Borodino battle, mortally wounded. By chance he leaves Moscow in Rostov's Most. Before death, he forgives Natasha and understands the true meaning of love.

Lisa Bolkonskaya

Princess Marya

Kutuzov

Alexander
Arkhangelsky

Heroes "War and Peace"

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Character system

To AK, everything in the epopea "War and the World", it is extremely difficult and very simple at the same time.

Complicated - because the composition of the book is multifigur, dozens of plot lines, intertwining, form its dense fictional fabric. Simply - because all the heterogeneous heroes belonging to incompatible, cultural, property circles are clearly divided into several groups. And this division we discover at all levels, in all parts of the epic. These are groups of heroes equally distant from people's life, from the natural movement of history, from truth - or equally close to them.

Roman Epos Tolstoy permeates the end-to-end idea that the unrecognizable and objective historical process is managed directly by God; What to choose the right path and in privacy, and in the Great History, a person may not with the help of a proud mind, but with a sensitive heart. The one who guessed, felt the mysterious course of history and no less mysterious ordinary laws, that wise and great, even if he was small in his public situation. The one who comes with his authority over the nature of things, who selfishly imposes their own personal interests, that chalk, even if he is great in his public situation. In accordance with this tough opposition The heroes are thick and "distributed" into several types, into several groups.

Sugagants of life

About days - let's call them sugagants of life - Are busy just what they chat, arrange their personal affairs, serve their small whims, their egocentric desires. And at any cost, not believing with the fate of other people. This is the lowest of all discharges in the Tolstsky hierarchy. Heroes related to it are always the same type, for their characteristics, the narrator demonstratively uses the same detail.

Head of the metropolitan salon Anna Pavlovna Shersher, appearing on the pages of "War and Peace", whenever a unnatural smile moves from one mug to another and treats guests an interesting visitor. She is sure that it forms public opinion and has an impact on the course of things (although herself changes its beliefs that is at least a fashion).

Bilibin's diplomat is convinced that they are, diplomats, manage the historical process (and in fact it is done by the tribulation: from one scene he collects folds to the forehead and pronounces a pre-prepared sharp word.

Drubetsky's mother Anna Mikhailovna, who stubbornly promotes his son, accompanies all his conversations with a sorrowful smile. In Boris Drubetsky itself, it is worth it to appear on the pages of the epic, the narrator always distinguishes one line: his indifferent calm of the non-nell and proud careerist.

It is worth a storytellor about the predatory helen, as he will certainly be mentioned about her luxurious shoulders and bust. And with any appearance of the young wife Andrei Bolkonsky, a little princess, the narrator will pay attention to her raised sponge with the mustache.

This monotony of the narrative reception testifies not to the poverty of the artistic arsenal, but, on the contrary, the author puts the deliberate goal that the author puts before the narrator. Sugagants of lifemonotony themselves - and unchanged; Only their views are changing, the creature remains the same. They do not develop. And the immobility of their images, similarity with dead masks just underlined stylistically.

The only one of the characters of the epic, who belongs to this "lower" group and with all the volume is endowed with a moving, living character, Fedor Solokhov. "Semenovsky officer, a famous player and a brenor", it is endowed with an extraordinary appearance - and one thing that distinguishes him from the general range sugagants of Life: "Lines ... the mouth was finely curved. In the middle of the upper lip, it was energily lowered to a strong lower spicy wedge, and something like two smiles were formed in the corners, one on each side; And all together, and especially in conjunction with a firm, brazen, smart look, was the impression that it was impossible not to notice this person. "

Moreover, share languages, misses in that waters worldly life sucking the rest accidents. That is why it is started in all seriousness, it falls into scandalous stories (as, for example, a plot with a bear and a quarterly in the first part, for which she was demolished in ordinary). In the battle scenes we are witnessing Dolohovsky fearlessness, then we see how he deals gently to the mother ... But his fearlessness is aimlessly, the dolokhovskaya tenderness is an exception to his own rules. And the rules become hatred and contempt for people.

This is fully manifested in the episode with Pierre (becoming a lover of Helen, Shardov provokes a mess around for a duel), and at that moment when shelov helps an anatoly Kuragin to prepare the abduction of Natasha. And especially in the stage of the card game: Fedor is brutally and vigorously beats Nikolai Rostov, living in a meaning of his malice to Sonya, who refused Dolokhov.

Dolokhovsky Riot against the world (and this is also a "world"!) sugagants of Life It turns around in the end the fact that he himself burns his life, letting her in spruple. And this is especially insulting to aware of the story, who allocates Dolokhov from the general range, as if he gives him a chance to break out of a terrible circle.

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

The main "generic" quality of the whole family is cold egoism. He is inherent in his father, prince Vasily, with his court self-consciousness. No wonder for the first time in front of the reader, the prince appears precisely "in the courty, shitty uniform, in stockings, in shoes, with stars, with a bright expression of a flat face." Prince Vasily himself calculates nothing, does not plan to be plans, it can be said that an instinct is acting for him: and when he tries to marry Anatol's Son on the princess Marya, and when he is trying to deprive Pierre inheritance, and when, victims in this way, invalid defeat, imposes Pierre His daughter Helen.

Helen, whose "unchanged smile" emphasizes the unambiguity, the one-dimensionalness of this heroine, is not able to change. It seemed to frozen on the years in the same condition: static deathly sculptural beauty. Kuragin also does not plan anything specifically, also obeys an almost animal instinct: approaching her husband and removing him, the mother-in-law of lovers and intending to go to Catholicism, preparing the soil for the divorce and trembling at once two novels, one of which (any) should be crowned with marriage.

External beauty replaces Elene internal content. This characteristic applies to her brother, Anatoly Kuragin. The tall handsome man with "beautiful big eyes", he is not gifted by the mind (although not so stupid, like his brother Ippolit), but "But he had and precious to light the ability of calm and no confidence." Confidence this is akin to instinct of benefits, owning the souls of Prince Vasily and Helen. And although the personal benefit of Anatole does not pursue, but he is hunting with the same unfortunate passion - and with the same readiness to sacrifice any neighbor. So he comes with Natasha Rostova, in love with her, preparing to take away - and not thinking about her fate, about the fate of Andrei Bolkonsky, for whom Natasha is going to marry ...

Actually, Kuragin play in a fussy, "worldly" dimension of the "world" the very role that Napoleon plays in the "military" dimension: they personify the secular indifference to good and evil. By his whim, Kuragin involves the surrounding life into a terrible whirlpool. This family is similar to the pool. Approaching him at a dangerous distance, it's easy to die - only a miracle saves Pierre, and Natasha, and Andrei Bolkonsky (who would certainly cause Anatoly on a duel if not the circumstances of the war).

Leaders

PERVE, Lower category of heroes - sugagants of Life - In the Tolstovsky epic corresponds to the last, the upper category of heroes - chief . The way their image is the same: the narrator draws attention to one-sole character, behavior or appearance of the character. And at each meeting of the reader with this hero stubbornly, almost annoyingly indicates this feature.

Sugagants of life belong to the "world" at the worst of his values, nothing depend on them in history, they rotate in the emptiness of the cabin. Leadersinextricably linked with the war (again in the bad meaning of the word); They are standing at the head of historical collisions, separated from ordinary mortal impermeable veils of their own greatness. But if Kuragin is really involving the surrounding life in a worldly whirlpool, then leaders nationsonly thinkWhat do humanity involve in the historical swing. In fact, they are only toys cases, tools in the invisible hands of providence.

And here let's stop for a second to agree on one important rule. And once and forever. In the artistic literature, you have already met and more than once, images of real historical figures will be met. Epopea Tolstoy is Alexander I, and Napoleon, Barclay de Tolly, and Russian and French generals, and Moscow Governor Governor Rostopchin. But we should not, we do not have the right to confuse "real" historical figures with their conditional imageswhich operate in novels, the ones, poems. And the sovereign Emperor, and Napoleon, and Rostopchin, and especially Barclay de Tolly, and other taller characters, derived in the "War and the World", are the same fictional Heroes like Pierre Duhov, like Natasha Rostov or Anatole Kuragin.

In real historical figures, they are similar to a little more than Fedor Solohov - on their own prototype, Kutil and Obelchka R.I. Dologov, and Vasily Denisov - on the poet-partisan Denis Vasilyevich Davydov. The external canvas of their biographies can be reproduced in a literary composition with a scrupulous, scientific accuracy, but the internal content is invested in them by the writer, invented in accordance with the picture of the life he creates in his work.

Just learning this iron and non-needed rule, we can move on.

So, discussing the lowest discharge of the heroes of the "war and the world" heroes, we came to the conclusion that it has its own "mass" (Anna Pavlovna Sherler or, for example, Berg), its center (Kuragin) and its periphery (share). In the same way, the principle is organized, and the highest discharge.

Chief Isper chiefSo, the most dangerous, most false of them, - Napoleon.

In the Tolstovsky epic there two Napoleonic image. One lives in legend About a great commander, which is retelling to each other different characters and in which he appears to be a powerful genius, then as powerful villain. Not only visitors to the salon Anna Pavlovna Sherler, but Andrei Bolkonsky and Pierre Duhov believed in this legend at different stages of its path. At first we see Napoleon with their eyes, we present it to yourself in the light of their life ideal.

And another image is a character acting on the pages of the epic and the eyes shown by the eyes of a narrator and heroes that suddenly face him on the battlefields. For the first time, Napoleon as a valid person "War and Peace" appears in the chapters dedicated to the Austerlitsky battle; At first it describes the narrator, then we see it from the point of view of Prince Andrew.

Wounded Bolkonsky, which is quite recently man the leader of peoples, notes on Napoleon's face, bowed over him, "radiance of complacency and happiness." I have just experienced a mental coup, he looks into his old idle idol and thinks "about the insignificance of greatness, about the insignificance of life, which no one could understand the meanings." And "So the hero himself himself seemed to him, with this small vanity and the joy of victory, in comparison with the highest, fair and kind hedge, which he saw and understood."

And the narrator - in the Austerlytsky chapters, and in Tilzite, and in Borodino - invariably emphasizes the commonness and comic insignificance of the appearance of a person who is guardian and hates the whole world. "The skinny, short" figure, "with wide, thick shoulders and an unwittingly exhibited belly and breasts had that representative, a precipitated view that people living in the holy people."

IN roman The image of Napoleon does not have a trace of that power, which is concluded in legendary His image. For Tolstoy, only one thing matters: Napoleon, who imagined himself with the engine of history, actually pity and especially insignificant. Immunity rock (or unknowable Will of Providence) made it a gun of the historical process, and he imagined himself the Creator of his victories. This to Napoleon includes words from the historiosophical finals of the book: "For us, with this, with us a measure of good and bad, there is no immeasurable. And there is no greatness where there is no simplicity, good and truth. "

A reduced and deteriorated copy of Napoleon, the parody of it is the Moscow Greadstock Rostopchin. He fuses, flashes, hangs bills, quarrel with Kutuzov, thinking that the fate of Muscovites depends on his decisions, the fate of Russia. But the narrator is harshly and steadily explains to the reader that Moscow residents began to leave the capital, not because someone called upon to do this, but because they obeyed the will of the providence. And the fire originated in Moscow is not because Rostopchin wanted so much (and even more so not contrary to his orders), but because she could not burn: In the abandoned wooden houses, where the invaders settled, the fire inevitably flashes, sooner or later.

Rostopchin has the same attitude towards the departure of Muscovites and Moscow fires, which Napoleon has to victory on the Austerlitz field or to the escape of the valiant French troops from Russia. The only thing that really is in his power (as well as in the authorities of Napoleon), is to take care of the lives and militias entrusted to him or scatter them, from the whim, with the fear of Lee.

Key scene in which the attitudes of the narrator concentrated chiefs In general, and to the image of Rostopina in particular, the homicide execution of the merchant son of Vereshchagin (Volume III, heads of XXIV-XXV). In it, the ruler is revealed as a cruel and weak man, a deadly afraid of an angry crowd and from horror in front of her ready to shed blood without trial and consequences. Vereshchagin is described in very detailed, with obvious compassion ("Brencha's shackles ... Pushing the Tuluptor's collar ... Poor gesture"). But after all, Rostopchin on his future sacrifice do not look "The narrator specifically several times, with pressure, repeats:" Rostopchin did not look at him. " Leadersbelow to people are not as living beings, but as tools for their power. And therefore they are worse than the crowd, it is terrible.

No wonder even angry, the grim crowd in the yard of the Rostopchinsky house does not want to rush to Vereshchagin accused of treason. Rostopchin is forced to repeat several times, striking it on the merchant son: "Bay him! .. Let the traitor dies and will not shat the name of the Russian! .. Ruby! I order!" But after that, the direct call, the orders of the crowd "groaned and shook, but again stopped." She still sees in a person's librarian and is not solved to rush to him: "High Small, with a petrified facial expression and with stopping with his hand, stood before Vereshchagin." Only after, obeying the order of the officer, the soldier "with distorted angry face hit Vereshchagin with a stupid Palash on the head" and the merchant son in Fox Tulupplica "crisp and surprised" cried up, - "stretched to the highest degree of the obstacle of the human feeling, which held another crowd , I broke out instantly. "

Images of Napoleon and Rostopina stand on the opposite poles of this group of heroes "War and Peace". And the main mass chiefforms here a different kind of generals, the heads of all stripes. All of them, as one, do not understand the non-defined laws of history, think that the outcome of the battle depends only from them, from their military tissues or political abilities. It does not matter which army they serve - French, Austrian or Russian. And the personification of the whole mass of generals is becoming the epopea of \u200b\u200bBarclay de Tolly, the dry "German" in the Russian service. He does not mean anything in the folk spirit and, together with other "Germans" believes in the scheme of the correct disposition of "Die Erste Colonne Marschiert, Die Zweite Colonne Marschiert" ("The first column protrudes, the second column protrudes").

The real Russian commander Barclay de Tolly, in contrast to the artistic image created by Tolstoy, was not "German" (he took place from Scottish, and the long-time russus). And in its activities, he never relied on the scheme. But here just runs the trait between the historical figure and his waywhich creates literature. In the Tolstovsky picture of the world "Germans" - these are not real representatives of the real people, but a symbol alienity and cold rationalism, which only prevents understanding the natural course of things. Therefore, Barclay de Tollya roman hero turns into a dry "German" as he was not in fact.

And on the very edge of this group of heroes, on the border separating false chief from wise men (I'll talk about them just below), it is the image of the Russian king of Alexander I. It is so highlighted from the general range that at first it even seems that the image of him is deprived of the boring unambiguity that it is complicated and multiplied. Moreover, the image of Alexander I is invariably served in Oleole admiration.

But let's ask yourself the question: whose Is this admiration - narrator or heroes? And then everything will immediately rise in place.

Here we first see Alexander during the review of the Austrian and Russian troops (Volume I, part of the third, chapter VIII). At first it neutral Describes the narrator: "Beautiful, young Emperor Alexander ... With his pleasant face and a sonorous quiet voice attracted the focus of attention." And then we start looking at the king eyes love Nikolai Rostov: "Nikolai is clear, to all the details, considered the beautiful, young and happy face of the emperor, he experienced a sense of tenderness and delight, like he had not yet experienced. Everything is every damn, every move - it seemed charming in the sovereign. " The narrator detects in Alexander normal Features: Beautiful, pleasant. And Nikolay Rostov detects in them completely different quality, excellentthe degree: they seem beautiful to him, "adorable".

But the head of the XV of the same part, here on Alexander I, seem to look at the Agendel and Prince Andrei, not in love with the sovereign. This time there is no such inner gap in emotional estimates. The sovereign meets with Kutuzov, who clearly dislikes (and how highly appreciates Kutuzov the narrator, we still do not know).

It would seem that the narrator again is objective and neutral: "An unpleasant impression, only like the remains of the fog in the clear sky, ran through the young and happy person of the emperor and disappeared ... The same charming connection of magnifier and meekness was in his beautiful gray eyes, and on thin The lips are the same possibility of a variety of expressions and the prevailing expression of complacent, innocent youth. " Again, the "young and happy face", again the charming of the appearance ... And still pay attention: the narrator opens the veil over his own relation to all these qualities of the king. He directly says: "On thin lips" was the "possibility of a variety of expressions." That is, Alexander I always carries masks for which his present person hides.

What is this face? It is controversial. It has both kindness, sincerity - and fake, lie. But the fact of the matter is that Alexander is opposed to Napoleon; It does not want to depress his image of Tolstoy, but it cannot be exalted. Therefore, it resortes to the only possible way: Shows the king primarily The eyes of heroes are usually devoted to him and worshiping his genius. These are they blinded by their love and devotion, pay attention only to the best manifestations miscellaneous Alexander's persons; they are recognized in it of the present chief.

In the head of the XVIII, the king again sees Rostov: "The sovereign was pale, his cheeks fell and his eyes fell; But the more charms, the meekness was in his features. " This is a typical Rostov look - a look of an honest, but superficial officer in love with his sovereign. However, now Nikolay Rostov meets the king away from the noble, from thousands of eyes, aspiring on him; In front of him - a simple suffering mortal, hard experienced by the defeat of the troops: "We told the sovereign for a long time and with fervor," and that "apparently putting it, closed his eyes with his hand and shook my hand" ... Then we will see the king eyes helpfully proud Drubetsky (volume III, part of the first, chapter III), enthusiastic Petit Rostov (Head of the XX, the same part and Tom), Pierre - at the moment when he was captured by a general inspiration during the Moscow Soviet Meeting with deposits of nobility and merchants (ironing XXIII ) ...

The narrator with its attitude until time remains in a deaf shadow. He only pronounces through the teeth at the beginning of the third volume: "The king - there is a slave of history," but from direct assessments of the personality of Alexander I refrain until the end of the fourth volume, when the king directly faces Kutuzov (the head of the X and XI, part of the fourth). Only here, and even that briefly, he rolls his restrained disapproval. After all, we are talking about the resignation of Kutuzov, who has just gained victory over Napoleon's resignation with all Russian people!

And the outcome of the "Alexandrovskaya" line of the plot will be summed only in the epilogue, where the narrator will try to preserve justice in relation to the king, bring its image to the image of Kutuzov: the latter was necessary for the movement of peoples from the west to the East, and the first - for a return movement Peoples from East to West.

Ordinary people

And lifespan, and leaders in the novel are opposed ordinary people headed by the Pravddnobitza, the Moscow Barynie Marya Dmitrievna Ahrosimova. In them world She plays the same role as mirka. Kuragin and Bilibins play the St. Petersburg lady Anna Pavlovna Shersher. They did not rose over the general level of their time, their era, did not know the truth of the people's life, but instinctively live in conditional agreement with her. Although coming sometimes incorrectly, and human weaknesses are inherent in full.

This is a discrepancy, this difference of potentials, a combination of various qualities, good and not very, is distinguished. ordinary peopleand from sugagants of Life, and from chief. Heroes attributed to this category, as a rule, people are shallow, and yet portraits are written by different colors, obviously devoid of unambiguities, the same type.

Such - in general - the grocery Moscow family of growth.

Old Graph Ilya Andreich, Father Natasha, Nikolai, Petit, Faith, - a slightly accrastful man, allows the manager to rob himself, suffers from thought that she ruins children, but nothing can do nothing with it. Departure to the village for two years, an attempt to move to Petersburg and get a place to change little in the overall position of things.

The count is not too clever, but at the same time it is fully endowed with God heartwards - hospitality, welcome, love for family and children. Two scenes characterize it from this side - both are permeated with lyricism, delight: dinner description in the Rostov house in honor of Bagration and a description of the hunt. (You will independently analyze both these scenes, show, with the help of what artized agents, the narrator expresses its attitude to what is happening.)And one more scene is extremely important for understanding the image of an old graph: departure from burning Moscow. It is he who first gives the reckless (from the point of view of common sense) the order to put on the submission of the wounded; Having removed from the supply of the good good for the sake of Russian officers and soldiers, Rostov applies the last, irreparable blow to their own state ... But not only save several lives, but also unexpectedly for themselves give Natasha a chance to reconcile with Andrei.

Ilya Andreeic's wife, Rostov Countess, is also not distinguished by a special intelligence - the abstract scientist, to whom the narrator refers to the obvious distrust. She is hopelessly behind modern life; And when the family is finally ruined, the Countess is not even able to understand why they should refuse their own crew and cannot send a carriage for some of her friends. Moreover, we see injustice, sometimes the cruelness of the Countess in relation to the Son, is completely unhappy that she is idleness.

Nevertheless, she also has a special gift of humanity, which separates it from the crowd of lifestyle, bringing to life truth. This is the gift of love for your own children; Love instinctively wise, deep and selfless. Solutions that it takes regarding children is dictated not just the desire to benefit and save the family from ruin (although it also); They are aimed at equipping the life of children themselves in the best possible way. And when the Countess will find out about the death of his beloved younger son, her life, essentially ends; Barely avoiding an insanity, it instantly agitates and loses an active interest in what is happening around.

All the best Rostov qualities were transferred to children - everyone, except for dry, exhausted and therefore unloved faith. (Going out for Berg, she moved naturally from the category ordinary peoplenumber sugagants of Life.) And also - besides the pupil of growth Sony, which, despite all his kindness and sacrifice, turns out to be "empty-flower" and gradually, after faith, rolled out of the rounded world ordinary people In the plane sugagants of Life.

The younger, Petya, who fully absorbed the atmosphere of the Rostov house completely, is particularly touched. Like the father and mother, it is not too smart, but it is extremely sincere and decent; This statehood is specially expressed in his musicality. Petya is instantly given a heart-to-mind; Therefore, it is from his point of view that we look from the Moscow Patriotic Crowd on the sovereign of Alexander I - and share the genuine youth delight. (Although we feel: the narrator belongs to the emperor is not so definitely as the young character.) The death of Petit from the enemy bullet is one of the most piercing and most memorable episodes of the Tolstovsky epic.

But as is your center sugagants of Life, U. chiefso he is he and u ordinary peopleinhabiting the "War and Peace" pages. This center is Nicholas Rostov and Marya Bolkonskaya, whose life lines, separated by three volumes, in the end, they still intersect, obeying the unexpected law of affinity.

"A low curly young man with an open expression", it is characterized by "swiftness and enthusiasm." Nikolai, as usual, shallow ("He had that common sense of mediocrity, who suggested him, which had to", "the narrator says directly). But it is very emotional, impulse, hearty, and therefore musical, like all Rostov.

His life path traced in the epopea almost as in detail, how and the path of the main characters - Pierre, Andrei, Natasha. At the beginning of the "war and the world" we see Nicholas the young student of the university, who quit for the sake of the army service. Then the young officer of the Pavlograd Gusarian regiment, who rushes into battle and envies the harboring warrior Vaska Denisov.

One of the key episodes of the storyline of Nikolai Rostov - crossing the ENS, and then wound in hand during the Shenagraben battle. Here the hero is first faced with an unresolved contradiction in his soul; He, who considered himself a fearless patriot, suddenly discovers that death feels and that the need for the death of death - His, whom "everyone loves everything." This experience not only does not reduce the image of the hero, on the contrary: it is at that moment and his spiritual mature occurs.

Nevertheless, no wonder Nikolai likes so much in the army - and so uncomfortable in ordinary life. The regiment is a special world (one more peace in the country war), in which everything works logical, simply, definitely. There are subordinates, there is a commander, and there is a commander of the commanders - the sovereign is the emperor, which is so natural and so nice to adore. And the life of civilians is all of endless intriculture, from human sympathy and antipathies, clashes of private interests and common estates. Arriving home on vacation, Rostov is confused in their relationship with Sonya, then Sredaya is played by Dolokhov, which puts the family on the line of the cash disaster, - and actually runs from the worldly life in the regiment, as a monk in his monastery. (The fact that in the army there are the same "worldly" orders, he seems to not notice; when in the regiment he has to solve complex moral problems - for example, with an officer of the calf, who stole the wallet, - Rostov is completely lost.)

As any hero, applying in the romance space on an independent line and an active part in the development of the main intrigue, Nikolai "burdened" with a love plot. He is a kind small, an honest person, and therefore, giving a youthful promise to marry the idlehouse of Son, considers herself to be connected until the end of his life. And no mother's persuasion, no hints of his rich bridesmaid to the need for the need for the search for a rich bride. Despite the fact that his feeling to Sona passes different stages - then completely fading, then returning again, then again disappearing.

Therefore, the most dramatic moment in the fate of Nikolay comes after a meeting in Bogucharov. Here, during the tragic events of the summer of 1812, he accidentally meets with Prince Marya Bolkonskaya, one of the richest brides in Russia, on which he would dream of marriage; Rostov disinterestedly helps Bologna get out of Bogucharova - and both of them, Nikolai and Marya suddenly feel mutual attraction. But the fact that in the medium sugagants of Life (and most ordinary people Also) is considered the norm, for them it turns out to be an obstacle, almost insurmountable: it is rich, he is poor.

Only the power of a natural feeling turns out to be able to overcome this obstacle; Married, Rostov and Princess Marya live in a soul, as Chiti and Levin will live in Anna Karenina. However, in the fact and the difference between honest mediocreness and impulse of the sense that the first does not know the development, does not recognize doubt. As we have already noted, in the first part of the epilogue between Nikolai Rostov, on the one hand, Pierre Bezukhov and Nicholenkoy Bolkonsky - on the other, is brewing the invisible conflict, the line of which stretches in the distance, beyond the scene action.

Pierre at the price of new moral torments, new mistakes and new quest is drawn into another turn of a big story: it becomes a member of the early early earlystand organizations. Nikolyka completely on his side; It is easy to calculate that by the time of the uprising on the Senate Square he will be a young man, most likely an officer, and with such an exacerbated moral feeling will be on the side of the rebels. And sincere, respectable, near Nicholas, once forever stopped in development, knows in advance that in the case of which he will shoot in opponents of the legitimate ruler, his beloved sovereign ...

Faithfulness

Either the most important of the discharges; without heroes faithfulness no epic "War and Peace" would not have anyway. Only two characters, two close friends - Andrei Bolkonsky and Pierre Duhov are entitled to claim this special "title." They cannot be called unconditionally positive; To create their images, the narrator uses a variety of paints - but it is due to ambiguity They seem particularly voluminous and bright.

Both of them, Prince Andrei and Count Pierre, are rich in (Bolkonsky - initially, illegitimate bellows - after the sudden death of his father), smart, although in different ways. The mind of the Bolkonsky is cold and sharpened; The mind of NUHOVOV is naive, but is organic. Like many young people of the 1800s, they are crazy about Napoleon; proud dream of a special role in world history, which means that the conviction is that personality Manages the stroke of things, equally inherent in both Blkonsky and Besukhov. From this common point, the narrator and scrolls two very different storylines, which initially diverge very far, and then again connect, crossing in the space of truth.

But here it is just being detected that faithfulness They become contrary to their will. Neither one nor another truth is collected, they do not strive to moral improvement and at first they are confident that the truth is revealed by them in the form of Napoleon. The external circumstances are pushed to a stress search of truth, and perhaps the providence itself. Just the spiritual qualities of Andrei and Pierre are such that each of them is able to answer the challenge of fate, to withdraw on her mute question; Only because they will ultimately rise above the general level.

Prince Andrey

B Olkonsky at the beginning of the book is unhappy; He does not like his cute, but empty wife; Indifferently refers to the future child, and in the future does not show special fatherly senses. Family "instinct" also alien to him, as "instinct" secular; he can't get into the category ordinary peoplefor the same reasons, how it can not be in the row sugagants of Life. Neither the cold emptiness of great light, neither the warmth of family-generic nests will not attract it. But to break into the number of favorites chief He could not just, but he would love. Napoleon, repeat also once again, for him - a life example and landmark.

Having learned from Bilibin that the Russian army (the case is happening in 1805) fell into a hopeless position, Prince Andrei is almost happy to the tragic news. "He occurred to him that he was exactly intended to bring the Russian army from this provision that he, that toulon, which will lead it from the rows of unknown officers and will open him the first way to glory" (Volume I, part of the second, head XII ). What it ends, you already know the scene with the eternal sky of Austerlitz, we disassembled in detail. True opens by Prince Andrei itself, without any effort on his side; It does not come to the conclusion about the insignificance of all self-free "heroes" in the face of eternity - this conclusion is an He is immediately in its entirety.

It would seem that the scene line of Bolkonsky was exhausted at the end of the first volume, and the author remains nothing to declare the hero. And here, contrary to everyday logic, the most important thing begins - faithfulness. Having accepted the truth immediately and in the whole fullness, the prince Andrei is unexpectedly losing her - and begins to the painful, long search, the side road returning to that feeling that once visited him on the Austerlitz field.

Returning home, where everyone considered him dead, Andrei learns about the birth of a son and about the death of his wife: a little princess with a short top sponge disappears from his life horizon at that very moment when he is ready to finally open her heart! This news is amazing the hero and awakens in it a sense of guilt before the dead wife; Throwing military service (along with a futile dream of personal greatness), Blocks in Bogucharov, is engaged in the economy, reads, raises his son.

It would seem that he preders the path for which Nikolai Rostov will go at the end of the fourth volume - along with Andrei's sister, Prince Marya. (Alone compare the descriptions of the economic concerns of the Bogonsky in Bogucharov and Rostov in the Bald Mountains - and you will be convicted of incomplete similarity, detect the next story parallel.) But the difference between ordinary Heroes of "War and Peace" and faithfulnessthat the first stops where the latter continue to be an inexperienced movement.

Bolkonsky, who learned the truth of the eternal sky, thinks that it is enough to abandon personal pride to gain peace of mind. But in fact, rustic life can not accommodate its unearned energy. And the truth, obtained as it were as a gift, was not affected personally, not found as a result of long searches, starts to escape from him. Andrei in the village sweeps, the soul will like heels. Pierre, who arrived in Bogucharovo, is amazed by a terrible change that happened in another: "Words were affectionate, the smile was on the lips and the face of Prince Andrew, but the glance was extinct, the dead, who, despite the visible desire, Prince Andrei could not give a joyful and cheerful shine. Only for a moment in the prince wake up a happy sense of involvement in truth - when, for the first time after the injury, he draws attention to the eternal sky. And then the paddle of hopelessness again covers his life horizon.

What happened? Why does the author "obrives" his hero on the inexplicable torment? First of all, because the hero should "ripen" to that truth that opened him by the will of Providence. The soul of Prince Andrei is to be difficult, he will have to go through numerous tests before he returns the feeling of unshakable truth. And from this minute, the plot line of Prince Andrei is likened to the spiral: it goes to a new round, at a more difficult level repeating the previous stage of his fate. He is destined to love again, again to go to ambitious thoughts, again disappointed - both in love, and in thoughts. And finally, re-come to the truth.

The third part of the second volume opens with a symbolic description of Andrei's trip to Ryazan estates. Spring comes; At the entrance to the forest, Andrei notices the old oak on the edge of the road.

"Probably ten times older birches that made up the forest, he was ten times thicker and two times higher than each birch. It was a huge, in two bumps of oak, with a broken one for a long time, visible, bitches and with a broken bark, overgrown with old sores. With his huge clumsy, asymmetrical-blurred poring hands and fingers, he was old, angry and contemptuous freak standing between smiling birch. Only he did not want to obey the charm of spring and did not want to see nor spring, no sun. "

It is clear that in the image of this oak onshants Prince Andrei himself, who does not respond to the eternal joy of the renewing life, kneading. But on the affairs of Ryazan estates, Bolkonsky will have to meet with Ilya Andreich Rostov - and, having risen in the house of growth, the prince reiterates a bright, almost a sophisticated spring sky. And then accidentally hear the excited conversation of Sony and Natasha.

In the heart of Andrey, a feeling of love is impressed (although the hero itself does not understand this); As a character of a folk fairy tale, he seems to sprinkle live water - and on the return path, in early June, the prince sees Oak again, personiform His himself.

"The old oak, the whole transformed, spreading the tent of the juicy, dark green, melted, a little bit in the rays of the evening sun ... Through the hard centenary bark made his way without bitch juicy, young leaves ... All the best minutes of his life suddenly at the same thing Time was remembered to him. And austerlitz with a high sky, and the dead crown of his wife, and Pierre on the ferry, and a girl who was excited by the beauty of the night, and this night, and the moon ... "

Returning to Petersburg, Bolkonsky with a new force is included in social activities; He believes that they are now moving not personal vanity, not a pride, not "Napoleonism", but a disinterested desire to serve people, to serve the Fatherland. His new hero, the leader, the idol is becoming a young energetic reformer Speransky. For Speransky, who wants to transform Russia, Bolkonsky I am ready to follow the same way as first was ready to imitate Napoleon, who wanted to throw the whole universe to my feet.

But Tolstoy builds the plot in such a way that the reader from the very beginning felt something not quite delicate; Andrey sees in the Speransk Hero, and the narrator is another chief. This is how in the head of the V part of the third second volume described by Bolkonsky with Speransky:

"Prince Andrei ... watched all the movements of the Speransky, this man, an insignificant seminary and now in the hands of his own - these white chubby hands - who had the fate of Russia, as Bolkonsky thought. Prince Andrew struck extraordinary, contemptuous calm, with whom Speransky answered the old man. He seemed to be an immeasurable height addressed his indulgent word to him. "

What does the character point in this quotation reflect, and what is the point of view of the narrator?

The judgment of the "insignificant seminarist", which keeps in his hands the fate of Russia, of course, expresses the position of the fascinated Bolkonsky, who himself does not notice how to transfers in the Speransky trait of Napoleon. And mocking clarification - "as Bolkonsky thought" - comes from the narrator. "Cruise calm" Speransky notices Prince Andrei, and arrogance chief ("With an immeasurable height ...") - narrator.

In other words, Prince Andrei on the new twist of his biography repeats the mistake of youth; He again blinded by a false example of someone else's pride in which he finds himself his own pride. But here in the life of the Bolkonsky there is a significant meeting: he meets with that very Natasha Rostova, whose voice of the lunar night in Ryazan estate returned him to life. In love is inevitable; Watching is predetermined. But since the harsh father, the old man Bolkonsky, the consent of a quick marriage does not give, Andrei is forced to leave abroad and stop cooperation with Speransky, which might seduce him, captivate on her old way chief. A dramatic gap with the bride after her failed flight with Kuragin is at all pushing the prince of Andrei, as it seems to him, on the side of the historical process, on the outskirts of the empire. He again under the head of Kutuzov.

But in fact, God continues to lead Bolkonsky special, he has one slave. After passing by the example of Napoleon, happily escaped by an example of Speransky, re-losing hope for family happiness, Prince Andrei in the third Once repeats the drawing of your destiny. Because, hitting the beginning of Kutuzov, he is unnoticed by the quiet energy of the old wise commander, as was previously charged with the rapid energy of Napoleon and the cold energy of Speransky.

Tolstoy does not accidentally use folk principle three Test Hero Testing: After all, unlike Napoleon and Speransky, Kutuzov truly close to the people, is one whole with him. More detailed about the artistic form of Kutuzov in the "War and the World" will be told further; I'll still pay attention to what. Until now, Bolonsky was aware that he worships Napoleon, guessed that secretly imites Speransky. And about the fact that he follows the example of Kutuzov, adapts the "nationality" of the Great Communion, the hero does not even suspect. The spiritual work of self-education on the example of Kutuzov proceeds in it is hidden, implicitly.

Moreover, Bolkonsky is confident that the decision to leave the headquarters of Kutuzov and go to the front, rushing to the smallest battle comes to him spontaneously, of course. In fact, he takes away from Mikhail Illarionovich a wise look at purely national The nature of the war that is incompatible with the court intrigues and pride chief. If the heroic desire to pick up the regimental banner on the Austerlitz field was the "toulon" of Prince Andrei, then the sacrificial decision on participation in the battles of the Patriotic War is, if you please, his Borodino, comparable in a small level of a separate human life with the Great Borodino battle, morally won Kutuzov.

It was the eve of the Borodino battle, Andrei meets with his other Pierre; Between them occurs the third (Again the folk number!) Significant conversation. The first one took place in St. Petersburg (Volume I, part of the first, chapter VI), during him Andrei first dumped the mask of a contemptory-secular man and frankly told a friend about what imitates Napoleon. During the second (Volume II, part of the second, the head of the XI), held in Boguchars, Pierre saw a person in front of him who mournfully doubting in the sense of life, in the existence of God, internally defining, lost incentive to movement. This date with Pierre became for Prince Andrew "the epoch with which he began although in appearance and the same, but in the inner world of his new life."

And here is the third conversation (volume III, part of the second, the head of XXV). Overcoming the unwitting alienation, on the eve of the day when, maybe both will die, friends frankly discussed the thinnest, most important topics. They do not philosophize - there is no time or forces for philosophies; But every word, even very unfair (as the opinion of Andrei about the prisoners), weighted on special scales. And the final passage of Bolkonsky sounds like a premonition of early death: "Ah, my soul, I have been hard for my last time. I see that I began to understand too much. And it is not suitable for a man to eat from the tree of knowledge of good and evil ... Well, yes for a while! - he added. "

Wound on the Borodin field compositely repeats the scene of the injury of Andrei on the field of the Austerlitz; And there, and here the hero suddenly opens the truth. This truth is love, compassion, faith in God. (Here is another story parallel.) But the fact of the matter is that in the first volume before us was a character who truth was contrary to everything; Now we see Bolkonsky, who has managed to prepare themselves to accept the truth - the price of mental torment and throwing. Please note: the latter who sees Andrei on Austerlitsky Field, this is insignificant Napoleon seemed to him great; And the last one he sees on the Borodino field is his enemy, Anatole Kuragin, also seriously wounded ...

Ahead of Andrei has a new meeting with Natasha; Last meeting. Moreover, and here the folk principle of a three-time repeat is triggered. For the first time, Andrei hears Natasha (without seeing it) in Otradnaya. Then he falls in love with her during the first Natasha Bala (Volume II, part of the third, the head of the XVII) is explained with it and makes an offer. And so - the wounded Bolkonsky in Moscow, near the house of the growth, at that very moment when Natasha orders to give the supply to the wounded. The meaning of this final meeting is forgiveness and reconciliation; Susks Natasha, reconciled with her, Andrey finally comprehended the meaning love And therefore is ready to part with earthly life ... his death is shown not as an irreparable tragedy, but as solemn-sad outcome traveled earthly trap.

No wonder Tolstoy gently introduces the topic of the Gospel into the tissue of his narration.

We have become accustomed to the heroes of Russian literature for the second half of the XIX century often take into the hands of this major book of Christianity, talking about the earthly life, the teachings and resurrection of Jesus Christ; Remember at least Roman Dostoevsky "Crime and Punishment". However, Dostoevsky wrote about his modernity, Toustly turned to the events of the beginning of the century, when the educated people from the Supreme Society appealed to the Gospel where less often. In most church Slavonic, they mostly read badly, the French Bible resorted infrequently; Only after the Patriotic War began working on the translation of the Gospel on the living Russian language. The future Metropolitan of Moscow Filaret (Drozdov) was led by this work; The exit of the Russian Gospel in 1819 influenced many writers, including Pushkin and Vyazemsky.

Prince Andrei destined to die in 1812; Nevertheless, Lev Nikolayevich went on a decisive violation of chronology, and quotes from the Russian Gospel pop up in the death reflections: the birds of heaven are not sowing, nor zaughty, "but" your father feeds them "... Why? Yes, for the simple reason that Tolstoy wants to show: Gospel wisdom entered the soul of Andrei, she became part of his own reflection, he reads the Gospel as an explanation of his own life and his own death. If the writer made the hero to quote the Gospel in French or even in Church Slavonic, it would immediately separated his inner world from the Evangelical World. (In general, in the novel, the heroes are the more often they say in French, the farther they are from the national truth; Natasha Rostov generally pronounces in French only one replica for four volumes!) And the goal of Tolstoy is exactly the opposite: he seeks to forever tie the image of Andrei, who has found forever Truth, with the theme of the Gospel.

Pierre Duchevov

Emi plot line Prince Andrei Spiraloid and every subsequent stage of his life on a new twist repeats the stage Previous, then Pierre's storyline - up to Epiloga - 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 dimensionlessly wide, almost like Pierre himself - "a massive, fat young man with a cut-off head, with glasses." Like the prince Andrei, Duhov does not feel like faithfulness; He also considers Napoleon a great man - and is content with a common idea that the history is managed by great people, "heroes".

We get acquainted with Pierre at that very moment when he from an excess of vitality takes part in the kits and almost disbelief (history with a quarterly). Life force - its advantage over the deadline (Andrei says that Pierre is the only "living person"). And this is his main trouble, since the littleness does not know what to attach his warmer power, she is aimless, there is something in it That nozrevskoe. Special mental and mental requests are inherent in Pierre initially (which is why he chooses Andrey himself), but they are sprayed, do not have a clear and clear shape.

Pierre is distinguished by energy, sensuality, reaching passionality, extreme infertility and myopia (in direct and figurative sense); All this carries Pierre to rapid steps. As soon as the bellows becomes the heir to a huge state, sugagants of life Immediately emit it with its networks, Prince Vasily Zhemanit Pierre on Helen. Of course, family life does not specify; Take the rules for which greatness live accidents, Pierre cannot. And so, by going from Helen, he first consciously begins to seek the answer to the questions that tormented his questions about the meaning of life, about the purpose of man.

"What is bad? What well? What should I love to hate? Why live and what am I? What is life that death? What power manages everything? " He asked himself. And there was no answer to any of these questions, except for one, not a logical response, not at all on these issues. This answer was: "" Understand - everything will end. I will die - and you know everything, or stop asking. " But it was terrible to die "(Volume II, part of the second, chapter I.).

And then on his life path there is an old Mason-mentor, Joseph Alekseevich. (Masons called members of religious and political organizations, "orders", "lies", which set themselves the goal of moral self-improvement and intended to transform a society and the state on this basis.) The metaphor of the life path serves to the epopea the road on which Pierre travels; Joseph Alekseevich himself comes to Bezukhov on a post office in Torzhok and makes a conversation about the mysterious purpose of man with him. From the genre shadow of a family-household novel, we immediately move to the space of the novel of education; Tolstoy slightly noticeably stylists the "Masonic" chapters under the romance prose of the late XVIII - early XIX century.

In these conversations, conversations, reading and reflections, the same truth, which appeared on the field of Austerlitz Prince Andrei (who may also have passed through the "Masonic Art"; in conversation with Pierre Bolkonsky mockingly mentions gloves that masons get to marry For your chosen). The meaning of life is not in a heroic feat, not to become the leader, like Napoleon, but to serve people, feel involved in Eternity ...

But truth is openShe sounds deaf as far echoes. And the farther, the painfulness of the fucking feels the deceit of most Masons, the incomprehension of their petty secular life with the proclaimed universal ideals. Yes, Joseph Alekseevich forever remains moral authority for him, but the Maceonymia itself will eventually cease to respond to the spiritual requests of Pierre. Moreover, reconciliation with Helen, which he went under the Masonic influence, does not lead to anything good. And by making a step on a social field in a given Masons, the direction to the reform in his estates, Pierre suffers the inevitable defeat - its impracticality, credulity and impurity do the land experiment on failure.

Frustrated bellows first turns into a good-natured shadow of his predatory wife; It seems that the pool sugagants of Lifethat's it comes over him. Then he again begins to drink, Kut, returns to idle habits of youth - and in the end she moves from St. Petersburg to Moscow. We have repeatedly noted that in the Russian literature of the XIX century Petersburg was associated with the European Center for the Chinovna, Political, Cultural Life of Russia; Moscow - with rustic, traditional Russian habitats of retired wine and barred loafers. The transformation of Peterburger Pierre to Muscovite is equivalent to his abandonment of any life aspirations.

And here the tragic and purifying events of the Patriotic War of 1812 are coming. For Beshov, they have a completely special, personal meaning. After all, he has long been in love with Natasha Rostov, hopes for a union with which twice are locked - it is married to Hehlen and Natashain Prince Andrei. Only after the story with Kuragin, in overcoming the consequences of which Pierre played a huge role, Lyuhov was half an emphasis on Natasha in love: "Everything disappeared? - he repeated. - If I were not me, but the most famous, the most intelligible and the best person in the world, and would be free, I would like the hands of your hand and love with your "(Tom II, part five, Iron XXII).

It is not by chance that immediately after the scene explanation with Natasha Tolstoy, Pierre shows the famous Comet of 1811, who foreshadowed the beginning of the war: "Pierre seemed that this star was fully replied to what was in his blooming to a new life, softened and enormous soul." The topic of the nationwide test and the topic of personal salvation merge in this episode together.

Step by step, the stubborn author leads his favorite hero to the comprehension of two inextricably linked truth: the truth of sincere family life and the truth of nationwide unity. From curiosity, Pierre goes on the Borodin field just on the eve of the Great Battle; Watching, communicating with the soldiers, he prepares his mind and his heart to the perception of the thought, which Bolkonsky will express him during their last Borodino conversation: Truth there, where "they", simple soldiers, ordinary Russian people.

The views that Bezukhov confessed at the beginning of the "war and the world", turn over, before he saw a source of historical movement in Napoleon, now he sees a source of historical evil, antichrist. And I am ready to sacrifice myself for the sake of salvation of mankind. The reader must understand: the spiritual path of Pierre passed only to the middle; The hero has not yet come to consent to the storyteller, who is convinced (and convinces the reader) that the case is not at all in Napoleon, that the French emperor is only a toy in the hands of providence. But the experiences, which fell into the share of Bezukhov in the French captivity, and most importantly - acquaintance with Plato Karataev borrowed the job that has already begun in it.

During the execution of the prisoners (the scene, refuting the brutal arguments of Andrei during the last Borodino conversation), Pierre himself is aware of himself as a tool in other people's hands; His life and his death from him do not really depend. And communication with a simple peasant, the "rounded" soldier of the Absheron Regiment by Plato Karataev, finally reveals before Pierre's perspective of a new life philosophy. The appointment of a person is not to become a bright person, separate from all other personalities, but to reflect the folk life in its entirety, to become a part of the universe. Only then can you feel truly immortal: "Ha, ha, ha! - Laughing Pierre. And he spoke out loud himself with himself: - did not let me down the soldiers. Caught me, locked me. Captive keep me. Who me? Me? Me is my immortal soul! Ha, Ha, Ha! .. Ha, Ha, Ha! .. He laughed with a tears speaking on his eyes ... Pierre looked into the sky, deep into the outgoing, playing stars. "And all this is mine, and all this in me, and all this is me! .." "(Volume IV, part of the second, Iron XIV).

No wonder these pierre reflections sound almost like folkpoems, they are emphasized, internal, irregular rhythm;

The soldiers did not let me.
Caught me, locked me.
Captive keep me.
Who me? Me?

The truth sounds like a folk song - and the sky, in which Pierre's look rises, makes the attentive reader remember the final volume of the third volume, the view of the comet and, most importantly, the sky of Austerlitz. But the difference between Austerlitskaya scene and the experience, who visited Pierre in captivity, fundamentally. Andrei, as we have already said, at the end of the first volume meets face to face with the truth contrary to Own intentions. He can only have a long steep way to her. And Pierre first comprehends her eventually painful quest.

But in the ephea of \u200b\u200bTolstoy there is nothing final. Remember, we said that Pierre's storyline only it seems Curry, what if you look into the epilogue, the picture will change somewhat? Now read the episode of Bezuhov's arrival from St. Petersburg and especially the scene of the conversation in the office - with Nikolai Rostov, Denisov and Nicholenka Bologkoe (the head of the XIV-XVI of the first epiralogue). Pierre, the same Pierre Duhov, who has already comprehended the completeness of the common truth, which is moving away from personal ambitions, reiterates a speech about the need to correct public disadvantages, about the need to counter government mistakes. It is easy to guess that he became a member of the early Decembrist societies - and that on the historic horizon of Russia began to take up a new thunderstorm.

Natasha his female a little guess the question that obviously would like to ask Pierre himself a narrator. "Do you know what I think? She said, - about Platon Karataev. Like he? Would he approve you now? "

What is happening? Hero began to shy away from the acquired and stupid truth? And rights average normal humanNikolai Rostov, who with disapproval responds about Pierre's plans and his new comrades? So Nikolai is now closer to Plato Karataev than Pierre himself?

Yes and no. Yes "Because Pierre undoubtedly deviates from the" rounded ", family, common peace ideal, is ready to join" War ". Yes - Because he has already passed into his Masonic period through the temptation of the desire for public good, and through the temptation with personal ambitions - at the moment when the number of the beast was calculated in the name of Napoleon and convinced himself that he, Pierre, is intended to save humanity from this villain. Not - Because the whole epic "War and Peace" is permeated by the thought that Rostov is not able to comprehend: we are not free in our desires, in our choice - to participate or not participate in historical shocks.

Pierre is much closer than Rostov, to this "nerve" of history; Among other things, Karataev taught him with his example be submitted circumstances, take them as they are. Jointing a secret society, Pierre is removed from the ideal and in a certain sense returns in its development a few steps back, - but not because he wants this, and because he can not Equal from the objective stroke of things. And, maybe, partially losing the truth, he even deares her in the final of his new path.

Therefore, the epic is completed by the global historosophical reasoning, the meaning of which is formulated in its last phrase: "... it is necessary to abandon the non-existent freedom and recognize the dependence of us."

Wise men

M s told you about sugains of Life, about chiefs, Ob. ordinary people, about faithfulness. But there is another category of heroes in the "war and the world", the opposite chiefs. It - wise men. That is, the characters who have suffered the truth of nationwide life and are sideways for other heroes seeking truth. Such, first of all, headquarters-captain Tushin, Plato Karataev and Kutuzov.

Headquarters-captain Tushin appears in the scene of the Shenagraben battle; We see it first by the eyes of Prince Andrew - and it is not by chance. If the circumstances were different and Bolkonsky would be internally ready for this meeting, she could play the same role in his life, which in the life of Pierre will play a meeting with Plato Karataev. However, alas, Andrei while blinded by the dream of his own "toulon." Defending Tushina in the master of the XXI (Volume I, part two), when it is silent in front of Bagration and does not want give out Chief, - Prince Andrei does not understand what the Tushinsky silence lies not to operability, but an understanding of the hidden ethics of a folk life. Bolkonsky is not ready to meet with his karataev.

"Small short man", the commander of the artillery battery, tushin from the very beginning produces an extremely favorable impression on the reader; External awkwardness only shall its undoubted natural mind. No wonder, characterizing Tushina, Tolstoy resorts to his favorite reception, draws attention to the eyes of the hero, it the mirror of one's heart: "Silently and smiling, Tushin, crossing the bare foot on foot, looked at great, smart and good eyes ..." (Volume I, part of the second, head XV).

But why such attention is paid to such a minor figure, and in the scene, which directly follows the master of the head dedicated to Napoleon himself? Guess comes to the reader not immediately. But now it comes to the master of XX, and the image of the captain's headquarters gradually begins to grow to a symbolic scale.

"Little tushin with a snack tube" along with its battery forgotten and left without cover; he practically does not notice it because it is completely absorbed common The case, feels an integral part of the entire people. On the eve of the battle, this little awkward little man spoke of fear before death and the complete uncertainty about eternal life; Now he is transformed in our eyes.

The narrator shows this little man large The plan: "He had a fantastic world in his head, which was enjoyed at this moment. The enemy guns in his imagination were not guns, but tubes, of which rare clubs produced the smoke invisible smoker. " This second is not opposed to each other, the Russian and French army is opposed to each other with a small Napoleon, imagining the great, and a small tushin, rising to true greatness. He is not afraid of death, he is afraid only bosses, and immediately robets when a staff colonel appears on the battery. Then (iron level of XXI) Tushin heartly helps all the wounded (among them Nikolay Rostov).

In the second volume, we will again meet with the headquarters of the carcass, which lost his hand in war (independently analyze the master of the XVIII part of the second (Rostov comes to the hospital), pay special attention to how - and why it is so - Tushin refers to the intention of Vasily Denisov's intention to file a complaint).

And Tushin and another Tolstovsky sage - Plato Karatayev, endowed with the same "physical" properties: they are small, they have similar characters: they are affectionate and good-natured. But Tushin feels herself an integral part of a common folk life only in full swing war, and B. peaceful circumstances He is a simple, kind, timid and very ordinary person. And Plato is involved in this life always, in any circumstances. And on war and especially in a state mira. Because he is wearing peace In his soul.

Pierre meets with Plato in the hard moment of his life - in captivity, when fate hangs on the balance and depends on the many accidents. The first thing that rushes to his eyes (and strangely soothes) is roundness Karataeva, the harmonious combination of the appearance of the external and the appearance of the inner. In Platon, all round - and movement, and life, which he settles around himself, and even the house "smell". The narrator, with persistence inherent to him, repeats the words "round", "rounded" as often as in the scene on the Austerlitsky field he repeated the word "sky".

Andrei Bolkonsky during the Shenagraben battles was not ready for a meeting with his karataev, headquarters-captain carcass. And Pierre at the time of Moscow events dose to learn a lot from Plato. And above all, a true attitude to life. That is why the karatayev "remained forever in the soul of Pierre the strongest and expensive memory and personification of all Russian, good and round." After all, even on the return path from Borodin to Moscow, a dream was dreamed of a dream, during which Pierre was heard. "War is the harpful subordination of human freedom of the laws of God," said the voice. "Easy is the humility to God, you will not leave him." AND they are Simple. They are Do not say, but do. The word Silver said, and the unspecified golden. No one can own a man while he is afraid of death. And who is not afraid of her, it belongs everything. ... to connect everything? - said Pierre. - No, do not connect. It is impossible to connect thoughts, and match All these thoughts are what you need! Yes, you need to match, you need to match!”

Plato Karataev and there is an embodiment of this sleep; in it all conjugateHe does not feel death, he thinks by the proverbs, in which the age-old folk wisdom is generalized, no wonder and in a dream, Pierre hears the proverb "said word Silver, and the unspeakable golden".

Is it possible to call Plato Karataeva with a bright person? No way. On the contrary: he is generally not a personBecause he has no special, individuals from the people of spiritual requests, there are no aspirations and desires. It is more than a person, he is a particle of the People's Soul. Karatayev does not remember his own words, said a minute ago, as he does not think in the usual meaning of this word, that is, it does not build up his arguments in a logical chain. Simply, as modern people would say, his mind is "connected" to the nationwide consciousness, and the judgments of Plato reproduce Outdoor wisdom.

There is no Karataev and "special" love for people - he belongs to everyone equally love. And to Barina Pierre, and to the French soldier who ordered Plato by tailoring a shirt, and to a perturbed dog, attached to him. Not being personality, he does not see personalities And around himself, each oncoming for him is the same particle of a single universe, as well as Plato himself. Death or separation therefore do not have any meaning for him; Karataev is not frustrated by learning that the person with whom he got close to, suddenly disappeared - after all, nothing changes! The eternal life of the people continues, and in every new oncoming will be revealed to her unchanged presence.

The main lesson that Lyuhov makes out of communication with Karataev, the main quality that he seeks to adopt from his "teacher" is voluntary dependence on eternal people's life. Only she gives a person's real feeling freedom. And when Karataev, Illness, begins to lag behind the column of prisoners and shoot him, like a dog, - Pierre is not too upset. The individual life of Karataev ended, but the eternal, nationwide, whom he is involved, continues, and she will not end. That is why Tolstoy completes the plot line of Karataev the second bed of Pierre, who grated the prisoner of Bezukhov in the village of Shamishev. "" Life is all. Life is God. Everything moves and moves, and this movement is God ... "

"Karataev!" - I remembered Pierra.

And suddenly, Piener presented himself as a living, long-forgotten, meek old man. Teacher who teaches Pierre's geography in Switzerland ... He showed Pierre a globe. This globe was a lively, the hesitating ball without sizes. The whole surface of the ball consisted of droplets, tightly compressed. And these droplets all moved, moved and merged from several into one, then from one were divided into many. Each drop sought to break, capture the greatest space, but others, striving, besides, squeezed it, sometimes destroyed, sometimes merged with her.

Here's life, "said the old man ...

In the middle of God, and every drop seeks to expand so that in the greatest size to reflect it ... Here it is, karataev, here it turned out and disappeared. "

In the metaphor of life as a "liquid fluctuating ball" composed of individual droplets, all the symbolic images of the "War and Peace" are connected, which we talked above: and spindle, and a clock mechanism, and an anthill; A circular motion connecting everything with everything is the presentation of a fatty about the people, about the story, about the family. The meeting of the Karataev Platon closely brings Pierre to comprehend this truth.

From the image of the headquarters-captain Tushina we rose like a step up, to the image of Plato Karataev. But also from Plato in the epic space, another step leads another step. The image of National Feldmarshal Kutuzov is delivered here for an inaccessible height. This old man, gray-haired, thick, hard stepping, with a chubby, disgraced injury, towers and over the captain carcass, and even over Plato Karataev: Truth nationality, perceived by them instinctively, he comprehended consciously and erected in the principle of his life and its colodular activity.

The main thing for Kutuzov (in contrast to all the leaders with Napoleon led) - to deviate from personal proud solution guess The right course of events and do not interfere They develop in God's will, truth. For the first time having met him in the first volume, in the scene of a review under Brenau, we see in front of the scattered and cunning old man, an old servant, which distinguishes the "accusativeness of respect." And do not immediately understand that mask The unresponsive servants, which Kutuzov puts on, approaching the rules, primarily to the king, is just one of the many ways to its self-defense. After all, he cannot, should not admit the real intervention of these smug persons in the course of events, and therefore it is obliged to shy away from their will, not contradict to her words. So he will be dodge And from the battle with Napoleon during the Patriotic War.

Kutuzov, how he appears in the battle scenes of the third and fourth volumes, not a figure, but contemporaryHe is convinced that the victory requires not the mind, not a scheme, but "something else, independent of mind and knowledge." And above all - "Need patience and time." The other in the old commander in excess; He is endowed with the gift of "calm contemplation of the course of events" and the main purpose sees the main purpose do not harm. That is, listen to all the reports, all the main considerations, useful (that is, consonants with the natural course of things) support, harmful reject.

And the main secret that Kutuzov has been depicted, how he is depicted in "War and the World", is the mystery of maintaining people's Duchet, the main force in any struggle with any enemy of the Fatherland.

That is why this old, weak, a sustainable person personifies his Tolstov's idea of \u200b\u200bthe ideal policy, which has comprehended the main wisdom: the personality cannot affect the course of historical events and should renounce the idea of \u200b\u200bfreedom in favor of the idea of \u200b\u200bnecessity. This thought Tolstoy "charges" to express Bolkonsky: watching Kutuzov after appointing that commander-in-chief, Prince Andrei reflects: "He will not have his own. He ... understands that there is something stronger and more considerable to his will, is an inevitable course of events ... And the main thing ... that he is Russian, despite the novel Zhanlis and the French sayings ... "(Volume III, part Second, iron XVI).

Without a figure of Kutuzov, Tolstoy would not solve one of the main artistic tasks of his epic: to oppose the "false form of the European Hero, the Mnimo managing people who came up with the story" - "a simple, modest and therefore the true majestic figure" of a folk hero who never goes to this "False form."

Natasha Rostov

E if we translate the typology of the heroes of the epic to the traditional language of literary terms, then internal patterns will be detected by itself. The world of ordinary and the world of lies oppose dramatic and epic characters. Dramatic The characters of Pierre and Andrei are full of internal contradictions, always in motion and development; epic The characters of Karataev and Kutuzov are struck by their integrity. But there is a portrait gallery created by Tolstoy in the "War and the World", a character that does not fit into any of the listed discharges. it lyrical The character of the main heroine of the epic of Natasha Rostova.

Does she belong to life hikings? It is impossible to think about it. With her sincerity, with its aggravated sense of justice! Does she belong to ordinary peopleLike your relatives, Rostov? In many ways yes; Nevertheless, no wonder and Pierre, and Andrei are looking for her love, stretch to her, isolated from the general range. Wherein evidenceher - unlike them - you can't call anyhow. No matter how many scenes have reread the scenes in which Natasha is acting, will not find anywhere and hint on search Moral ideal, truth, truth. And in an epilogue, after marriage, it loses even the brightness of temperament, the spirituality of the appearance; Children's diapers replace her what Pierre and Andrei give reflections on the truth and about the goal of life.

Like the rest of Rostov, Natasha is not endowed with a sharp mind; When in the head of the XVII part of the fourth last volume, and then the epilogue we see it next to the smart woman of Marya Bolkonskoy-Rostova, this difference is particularly sharply stuck in the eyes. Natasha, as the narrator emphasizes, simply "did not honor to be smart." But it is endowed with something else that for a thick is more important than the abstract mind, more important than the sense of the sense: the instinct of knowledge of life is experienced. This inexplicable quality closely brings the image of Natasha to wise men, above all to Kutuzov - despite the fact that in all the rest she is closer to ordinary people. It is simply impossible to "assign" to one of the category: it does not obey any classification, breaks out of any definition.

Natasha, "Chernogozaya, with a big mouth, ugly, but alive", the most emotional of all the characters of the epic; That is why she is the most musical of all growth. The element of music lives not only in her singing, which everyone around recognizes wonderful, but in the very voice Natasha. Remember, because Andrei's heart first trembled when he heard Natashin's conversation with Sonya, without seeing talking girls. Natashino singing heals the brother of Nicholas, who comes to despair after losing forty-three thousand, which ruined the family of growth.

From one emotional, sensitive, intuitive root grow and its egoism, fully revealed in history with Anatola Kuragin, and its dedication, which manifests itself in the scene with flows for the wounded in the firefighter Moscow, and in episodes, where it is shown as she cares for the dying Andrei, as cares about the mother, shocked by the news of the death of Petit.

And the main gift, which is given to her and who raises her over all the other heroes of the epic, even the best, is a special dar of happiness. They all suffer, suffer, looking for truth - or, as an impersonal Plato of Karataev, affectionately possess her; Only Natasha disinterestedly rejoices of life, her feverish pulse feels - and generously shares his happiness with all others. Her happiness is in her naturalness; Therefore, the narrator so hard opposed the scene of the first ball Natasha, the growth episode of its acquaintance and in love with Anatol Kuragin. Please note: acquaintance this happens in theater (Volume II, part five, iron IX). That is where reigns the game, pretense. Tolstoy this is not enough; He causes the epic narrator to descend down the steps of emotions, use in descriptions of what is happening sarcasm, strongly emphasize the idea of unnaturalness The atmosphere in which Natasha's feeling is born to Kuragin.

No wonder exactly K. lyrical Heroine, Natasha, attributed the most famous comparison of "War and Peace". At that moment, when Pierre after a long separation, he meets Rostov together with Prince Marya and does not recognize her, - and suddenly "face, with attentive eyes with difficulty, with effort, as the rusted door will decide, - smiled, and from this dissolved door suddenly smell And Pierre's forgotten happy ... smelled, covered and swallowed it all "(ironing XV part of the fourth last volume).

But the true vocation of Natasha, as it shows Tolstoy in the epilogue (and unexpectedly for many readers), revealed only in motherhood. Having been in children, she puts themselves in them and through them; And this is not by chance: after all, the family for the thick - the same space, the same holistic and saving world, as the Christian faith, like a folk life.

Lev Nikolayevich Tolstoy his pure Russian feather gave life to a whole world of characters in the novel "War and Peace". His fictional heroes, which intertwine in whole noble birth or related links between families, are the current reader's present reflection of those people who lived during the time described by the author. One of the greatest books of the world value "War and Peace" with the confidence of the historian-professional, but in, then, the same time as in the mirror, represents the world that the Russian spirit, those characters of secular society, those historical events that were invariably attended at the end of the XVIII early XIX centuries.
And against the background of these events, the greatness of the Russian soul is shown, in all its power and diversity.

L.N. Tolstoy and the Heroes of the Roman "War and Peace" are experiencing the events of the past nineteenth century, however, to describe Lev Nikolayevich begins events of 1805. The coming war with the French, resolutely impended on the whole world and the growing greatness of Napoleon, the Skyatitsa in Moscow secular circles and visual peace of mind in St. Petersburg social society - all this can be called a peculiar background, on which, as a brilliant artist, the author drawn his characters. The heroes are quite a lot - about 550 or 600. There are both basic and central figures, and there are other or simply mentioned. In the overall complexity of the heroes of "War and Peace", one can divide into three groups: central, minor and mentioned characters. Among them, they exist as fictional heroes, both the prototypes of people who surrounded the writer at that time, and really existed historical individuals. Consider the main actors of the novel.

Quotes from the novel "War and Peace"

- ... I often think how sometimes the happiness of life is unfairly distributed.

No one can own a person while afraid of death. And who is not afraid of her, it belongs everything.

Until now, I was, thank God, the friend of my children and I use full confidence in them, "said the Countess, repeating the delusion of many parents, believing that their children have no secrets from them.

Everything, from the napkins to silver, faience and crystal, it wore the special imprint of novelty, which is in the economy of young spouses.

If everything was fought only by their convictions, there would be no war.

There was an enthusiast in its public situation, and sometimes when she didn't even want to be, she, not to deceive the expectations of people who knew her, was taken by enthusiastic.

Everything, to love everyone, always sacrificed for love, there was no one to love anyone, it meant not to live it in life.

Never, never marry my friend; Here is my advice: Do not marry until you tell you what you did everything that could, and until you stop loveing \u200b\u200bthat woman, what you chose, while you won't see her clearly; And then you make a mistake brutally and irreparable. Marry an old man, anywhere else ...

Central figures of the novel "War and Peace"

Rostov - Graphs and Countess

Rostov Ilya Andreevich

Count, Father of four children: Natasha, Faith, Nicholas and Petit. A very nice and generous man who loved life very much. His exorbitant generosity in the end and led him to waste. Loving husband and father. Very good organizer of various balls and techniques. However, his life is on a wide leg, and disinterested assistance to the wounded during the war with the French and the departure of Russians from Moscow, the fatal strikes were struck by his state. His conscience constantly tormented him because of the impending poverty of his relatives, but he could do nothing with him. After the death of the younger son of Petit, the graph was broken, but, but it was revived while preparing for the wedding of Natasha and Pierre Dzuhova. Literally a few months after the wedding of beans, as a graph of Rostov dies.

Rostov Natalia (wife Ilya Andreevich Rostov)

The wife of Count Rostov and the mother of four children, this woman at the age of forty-five had the eastern features of the face. The focus of slowness and gear of it was regarded surrounding as a solidity and high significance of her personality for the family. But the real reason for her manner, perhaps, lies in an extended and weak physical condition due to childbirth and upbringing of four children. He loves his family, children, so the news of the death of the younger son Petit almost brought her crazy. Just like Ilya Andreevich, the Countess Rostov loved the luxury and fulfillment of any of her orders.

The lion of Tolstoy and the heroes of the novel "War and Peace" in the Countess Rostoy helped to reveal the prototype of the author's grandmother - Tolstoy Pelagia Nikolaevna.

Rostov Nicholas

Son of Graph Rostov Ilya Andreevich. Loving brother and son, honoring his family, at the same time loves to serve in the Russian army, which is for his dignity very significant and important. Even in his fellow soldiers, he often saw his second family. Although there was a long time in love with her cousin Sonya, still at the end of the novel marries the princes Mary of Bologkoe. Very energetic young man, with curly hair and "open expression". His patriotism and love for the Emperor of Russia never dried up. Passing through many of the war, becomes brave and brave hussar. After the death of the father Ilya Andreevich, Nikolai is resigned to correct the financial affairs of the family, pay for debts and, finally, become a good husband for Marya Bolkonskaya.

It seems to be Tolstoy Lero Nikolayevich as a prototype of his father.

Rostov Natasha

Daughter of graph and graphate growth. Very energetic and emotional girl, considered ugly, but alive and attractive, she is not very smart, but intuitive, because he knew how to perfectly "guess people", their mood and some features of characters. Extremely pusher for nobility and self-sacrifice. It sings very beautifully and dancing that at that time it was an important characterizing quality for a girl from a secular society. The most important quality of Natasha, which Lion Tolstoy, like his heroes, is repeatedly emphasized in the novel "War and World" - this is proximity to the simple Russian people. And she herself all absorbed the rusticity of culture and the strength of the spirit of the nation. Nevertheless, this girl lives in his illusion of good, happiness and love, which, after some time, introduces Natasha in reality. It is these blows of fate and its heart experiences make Natasha Rostov adult and give it as a result of a mature real love for Pierre Bezuhov. Special respect deserves the story of the rebirth of her soul, as Natasha began to attend the church, after hesitated the temptation of a false seducer. If you are interested in the works of Tolstoy in which the Christian heritage of our people is more deeply considered, then you need to read the book about Father Sergius and how he fought with the temptation.

The collective prototype of the daughter-in-law writer Kuzminskaya Tatyana Andreevna, as well as her sisters - the wife of Leo Nikolayevich - Sofia Andreevna.

Rostov Vera

Daughter of graph and graphate growth. It was famous for strict temper and inappropriate, albeit fair, comments in society. It is unknown why, but her mother did not love her very much and faith felt hard, apparently, so he often went to everyone around him around him. Later became the wife of Boris Drubetsky.

He is the prototype of the sister of Tolstoy Sofia - the wife of Leo Nikolayevich, which was called Elizabeth Bers.

Rostov Petr.

The boy, the son of the graph and the Countess growth of growth. Stunned Petya, young men rose to go to war, and so that parents could not hold him at all. Breathing after all the same from parental care and determined in the Gusar Regiment of Denisov. Petya dies in the first battle, and did not have time to play. His death very strongly sucks his family.

Sonya

The miniature glorious Sonya girl was the native niece of Graph Rostov and lived his whole life under his roof. Her long-term love for Nikolai Rostov became fatal for her, because she did not manage to connect with him in marriage. In addition, the old graphy Natalia Rostov was very against their marriage, because they were cousins. Sonya comes to noble, refusing to Loolev and agree to love only Nicholas, while freeing it from this promise to marry her. She lives his rest with the old decanter on the care of Nikolai Rostov.

The prototype of this, it would seem at first glance, a minor character was a secondary aunt Leo Nikolayevich, Yergolskaya Tatiana Aleksandrovna.

Bologkoe - Princes and Princess

Bolkonsky Nikolai Andreevich

The father of the main character, Prince Andrei Bolkonsky. In the past, the acting General-Annef, in the present prince, who earned the nickname "Prussian king" in the Russian secular society. Socially active, strict as a father, tough, pedantic, but the wise owner in his estate. Outwardly, it was a thin old man in a powdered white wig, dense eyebrows, hanging over insightful and smart eyes. Does not like to show feelings even to your beloved son and daughter. It constantly enthusiasm walds, a sharp sense. Sitting in Himself, Prince Nikolai is constantly on a check of events taking place in Russia and only before death, he loses a complete picture of the scale of the tragedy of the Russian war with Napoleon.

Prototype of Prince Nikolai Andreevich was the grandfather of the writer Volkonsky Nikolai Sergeevich.

Bolkonsky Andrey

Prince, son Nikolai Andreevich. Changed, as well as his father, restrained in the manifestation of sensual gusts, but loves her father and sister very much. Married to the "Little Princess" Lisa. Made a good military career. A lot of philosophy about life, sense and condition of His Spirit. What is seen that it is in some permanent search. After the death of his wife in Natasha, Rostova saw the hope of a real girl, and not fake as in a secular society and a certain light of future happiness, so he was in love with her. Having made Natasha proposal, was forced to go abroad to be treated, which served both by the test of their feelings. As a result, their wedding broke. Prince Andrei went to the war with Napoleon and was seriously injured, after which he did not survive and died of a severe wound. Natasha until the end of his death loyally cared for him.

Bologna Marya.

Daughter of Prince Nicholas and sister Andrei Bolkonsky. A very meek girl, not beautiful, but good soul and very rich as the bride. Her mantiness and dedication of religion serves many examples of Dobron and meekness. Unforgettably loves her father, who often mocked her with his ridicule, wcrows and injections. And also loves her brother, Prince Andrew. Immediately did not accept Natasha Rostov as a future daughter-in-law, because she seemed too frivolous for Andrei's brother. After all the experienced adversity, she marries Nikolai Rostov.

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

Bezukhov - Graphs and Countess

Lyuhov Pierre (Peter Kirillovich)

One of the main characters, which deserves close attention and positive evaluation. This character survived a lot of mental injuries and pain, possessing a kind and highly aggative temper. Tolstoy and heroes of the novel "War and Peace" very often express their love and adoption of Pierre Laughterhood as a person very high morals, complacent and human philosophical mind. Lev Nikolayevich loves his hero, Pierre. As a friend of Andrei Bolkonsky, the young Count Pierre Duhov is very devoted and responsive. Despite the various weavers under his nose, Pierre did not get out of her nose and did not lose their good-feeling towards people. And he married Natalia Rostova, he finally gained the grace and happiness that he was so lacked in his first wife, Helen. At the end of the novel, his desire to change political obscures in Russia and from afar, you can even guess his Decembrist sentiments. (100%) 4 votes

In this article we will present you the main characters of the work of Lev Nikolayevich Tolstoy "War and Peace". Characteristics of heroes include the main features of appearance and the inner world. All the characters of the work are very curious. Very large in volume is the novel "War and Peace". The characteristics of the heroes are given only briefly, and meanwhile, for each of them you can write a separate work. Let's start our analysis with the description of the family growth.

Ilya Andreevich Rostov

Family of growth in the work - typical Moscow representatives of the nobility. Her head, Ilya Andreevich, is famous for generosity and hospitality. This is a graph, father Petit, faith, Nikolai and Natasha Rostova, Bogach and Moscow Barin. He is a motor, good-natured, loves to live. In general, speaking of the family of growth, it should be noted that sincerity, goodwill, living contact and ease in communication were characterized by all its representatives.

Some episodes from grandfather's grandfather were used by them when creating an image of Rostov. The fate of this person shares the awareness of the ruin, which he does not immediately understand and cannot stop. In its appearance, there are also some features of the prototype. This technique used the author not only in relation to Ilya Andreevich. Some internal and external features of relatives and close lions of Tolstoy are guessed in other characters, which confirms the characteristics of the heroes. "War and World" is a large-scale work with a huge number of actors.

Nikolay Rostov

Nikolay Rostov - Son Ilya Andreevich, Brother Petit, Natasha and Faith, Gusar, officer. At the end of the novel, he appears as husband Marya Bolkonskaya, Princess. In the appearance of this person, "enthusiasm" and "swiftness" were visible. It reflected some features of the Father of the Writer who participated in the war of 1812. This character is distinguished by such features as greasic, openness, goodwill and self-sacrifice. Being convinced that he is not a diplomat and not an official, Nikolay leaves the university at the beginning of the novel and enters the hussar regiment. Here he participates in the Patriotic War of 1812, in military campaigns. Nikolai takes the first combat baptism when it takes over to ENS. In Shengraban battle, he was wounded in his hand. Passing the test, this person becomes a real hussar, a brave officer.

Petya Rostov

Petya Rostov is a junior child in the family of growth, the brother Natasha, Nicholas and faith. He appears at the beginning of the work another little boy. Petya, like all Rostov, cheerful and kind, music. He wants to imitate his brother and also wants to in the army. After leaving Nikolai Petya becomes the main care of the mother, who only realizes at that time the depth of his love for this child. During the war, he accidentally falls into Denisov's detachment with the instructions where it remains, as it wants to take part in the case. Petya dies on the coincidence, showing the best features of growth in relations with comrades before death.

Countess Rostov

Rostov is a heroine, when creating an image of which were used by the author as well as some circumstances of L. A. Bers, the mother-in-law of Lev Nikolayevich, as well as P. N. Tolstoy, grandmother of the writer on his father. Countess got used to living in the atmosphere of kindness and love, in luxury. She is proud of the trust and friendship, she is proud of them, pampers them, worries about their destinies. Despite the external weakness, even some heroine with respect to their children takes reasonable and weighted solutions. Dictated with love for children and her desire to be erected by Nicholas on a secured bride, as well as the soldiers to Sona.

Natasha Rostov

Natasha Rostov is one of the main characters of the work. She is the daughter of Rostov, the sister of Petit, Faith and Nicholas. At the end of the novel becomes the wife of Pierre Progness. This girl is represented as "ugly, but alive," with a big mouth, Chernozhaya. The prototype of this image was the brick's wife, and her sister Bers T. A. Natasha is very sensitive and emotional, it can intuitively guess the characters of people, in manifestations of feelings is sometimes selfish, but most often capable of self-sacrifice and self-reliance. This we see, for example, when exporting from Moscow, the wounded, as well as in the episode of the maternal of the mother after Petya died.

One of Natasha's main advantages is its musicality, a beautiful voice. Singing your own it can awaken all the best that there is in man. This is what rescues Nicholas from despair after he lost a large amount.

Natasha, constantly captivating, lives in the atmosphere of happiness and love. After acquaintance with Prince Andrey, there is a change in her fate. The insult inflicted by Bologkoe (old prince) pushes this heroine to the hobby of Kuragin and to the failure of the prince Andrei. Only a lot of lists and survived, she is aware of his guilt before Bolkonsky. But this girl's real love is experiencing only to Pierre, whose wife becomes at the end of the novel.

Sonya

Sonya is a pupil and niece of Graph Rostov, which grew up in his family. At the beginning of the work she is 15 years old. This girl fits fully in the family of growth, it is unusually friendly and close with Natasha, in love with childhood in Nicholas. Sonya is silent, restrained, careful, reasonable, in it is a highly developed ability to self-sacrifice. It attracts the attention of moral cleanliness and beauty, but it does not have that charms and the immediacy that Natasha possesses.

Pierre Duchevov

Pierre Duhov in the novel is one of the main characters. Therefore, without it, there would be an incomplete characteristic of heroes ("War and Peace"). Briefly describe Pierre Baughzova. He is an illegitimate son of a graph, the famous Velmazby, who became the heir of a huge state and title. In the work is depicted with a thick, massive young man, in glasses. This hero is distinguished by a timid, intelligent, natural and observant look. He brought up abroad, in Russia appeared shortly before the campaign of 1805 and the death of his father. Pierre is inclined to philosophical reflections, smart, kindly and soft, to others compassionate. It is also impracticious, sometimes susceptible to passions. Andrei Bolkonsky, his closest friend, characterizes this hero as the only "living person" among all representatives of the world.

Anatole Kuragin

Anatole Kuragin is an officer, the brother of Ippolit and Helen, the son of Prince Vasily. Unlike the Ippolit, the "quiet fool", on Anatol, his father looks like a fool of "restless", which should always be out from various troubles. This hero is stupid, brazen, silevat, in conversations not eloquent, corrupted, without being found, but it has confidence. Life looks like permanent enjoyment and pleasure.

Andrey Bolkonsky

Andrei Bolkonsky is one of the main characters in the work, prince, Brother Princess Marya, Son N. A. Bolkonsky. Described as a "very beautiful" young man "small growth." He is proud, smart, looking for a large spiritual and intellectual content in the life. Andrey is formed, restrained, practical, has a strong will. His idol at the beginning of the novel - Napoleon, who will also present readers just below our characteristic of heroes ("War and Peace"). Andrei Balconsky dreams of him to imitate. After participating in the war, he lives in the village, raising the Son, is engaged in the economy. Then returns to the army, in the Borodino battle dies.

Plato Karataev

Imagine this hero of the work of the "War and Peace". Plato Karataev is a soldier who met in captivity Pierre Bezuhov. In the service he is nusted by Sokolik. Note that in the initial editorial board, the work was not this character. The appearance of it was caused by the final design in the philosophical concept of "war and the world" of the image of Pierre.

At the first acquaintance with this good-natured gentleman, Pierre was struck by the feeling of something calm, emanating from him. This character attracts others by their calm, kindness, confidence, as well as smoothness. After the death of Karataev, thanks to his wisdom, folk philosophy, expressed unconsciously in his behavior, Pierre Duhov understands the meaning of being.

But not only are depicted in the work of "War and Peace". Characteristics of heroes include real historical persons. The main ones are Kutuzov and Napoleon. Their images are described in detail in the work of "War and Peace". Characteristics of the heroes we mentioned are shown below.

Kutuzov

Kutuzov in the novel, as in reality, is commander-in-chief of the Russian army. It is described as a man with a chubby face, the wounded wound, with it heavily steps, full, gray. For the first time on the pages of the novel appears in the episode when the review of the troops under Bhanau is depicted. It makes an impression on all knowledge of the case, as well as attention, which is hidden behind the external scatleton. Kutuzov is able to be diplomatic, he is pretty heter. Before Shenguren battle blesses Bagration with tears in his eyes. Loves of combat officers and soldiers. It believes that for victory in the campaign against Napoleon, time and patience is needed that it may be not known to solve, not the mind and not the plans, but something else that does not depend on them that the personality really influence the course of history is not able . Kutuzov more contemplates the course of events than interferes with them. However, he knows how to remember everything, listen, see, do not prevent anything useful and not afford harmful. This is a modest, simple and because a majestic figure.

Napoleon

Napoleon is a real historical face, French emperor. On the eve of the main events of the novel is the idol of Andrei Bolkonsky. Before the magnitude of this person, even Pierre Duhov is admired. Confidence and complacency is expressed in the opinion that the presence of him turns into self-religion and delight of people that everything in the world only depends on his will.

Such is the brief characteristic of the heroes in the novel "War and Peace". It can serve as a basis for more detailed analysis. Turning to the work, you can add it if you need a detailed characteristic of the heroes. "War and Peace" (1 volume - the representation of the main characters, the subsequent - development of characters) describes in detail each of the specified characters. The inner world of many of them is changing over time. Therefore, the characteristic of heroes ("War and Peace") is reduced in the dynamics. 2, for example, reflects their life between 1806 and 1812. Subsequent two volumes describe further events, their reflection in the fate of characters.

Of great importance are to understand this creation of Lion Tolstoy, as the work of "War and Peace" characteristics of heroes. Through them are reflected by the philosophy of the novel, copyright and thoughts are transmitted.

Heroes of the novel "War and Peace"

The assessment of the heroes of his book L.N. Tolstoy put the "Folk Thought". Kutuzov, Bagration, captains Tushin and Timokhin, Andrei Bolkonsky and Pierre Duzhov, Petya Rostov, Vasily Denisov, along with the people of the breast, stand on the defense of the Motherland. All souls love the homeland and the people and the heroine of Roman, the wonderful "wizard" Natasha Rostov. Roman's negative characters: Prince Vasily Kuragin and his children Anatole, Ippolit and Helen, Careerist Boris Drubetskaya, the chaser Berg, ingenic generals in the Russian service - they are all far from the people and take care only about their personal benefits.

In the novel is perpetuated by an unprecedented feat of Moscow. Her residents, in contrast to the residents of the capitals of other countries conquered by Napoleon, did not want to obey the conquerors and left their hometown. "For Russian people," says Tolstoy, "it could not be a question, whether or bad will be bad under the control of the French in Moscow. Under the control of the French, it was impossible to be: it was worse than everything. "

Entering Moscow, which was similar to the empty hive. Napoleon felt that his arm was listed over him and his armies. He became persistently to improve the truce and sent ambassadors to Kutuzov twice. On behalf of the people and the army of Kutuzov, the proposally rejected the proposal of Napoleon about the world and organized the counteroffensiveness of his troops, supported by partisan detachments.

Warning defeat in Tarutinsky battle, Napoleon left Moscow. Soon the random flight of his regiments began. Turning into the crowd of marauders and robbers, Napoleonic troops fled back along the same road, which led them to the Russian capital.

After the battle under the Red Kutuzov, he turned to his soldiers with a speech, in which he cordially congratulated them with the victory and thanked for the faithful service to Fatherland. In the scene under red with special penetration, the deepest nation of the Great Communion is revealed, his love for those who saved their homeland from foreign enslavement, his real patriotism.

However, it should be noted that there are scenes in the "war and the world", where the image of the cutuzov is contradictory. Tolstoy believed that the development of all events performed in the world does not depend on the will of people, and predetermined over. The writer seemed that both Kutuzov thought the same and did not consider it necessary to interfere in the development of events. But this strongly contradicts the image of Kutuzov, which is created by the same Tolstoy. The writer emphasizes that the Great Communion knew how to understand the spirit of the troops and sought them to manage that all the thoughts of Kutuzov and all his actions were directed to one goal - defeat the enemy.

It is contradictoryly painted in the novel and the image of a soldier Platon Karataev, with whom Pierre Ducheov met, and became friends in captivity. Karataev is inherent in such features like kindness, humility, willingness to forgive and forget any insult. Pierre is surprised, and then with delight listens to Karataevsky stories, always ending with gospel urging everyone to love and forgive everyone. But the same Pierre had to see the terrible end of Plato Karataeva. When the French drove the batch of prisoners along the autumn dirt road, Karatayev fell out of weakness and could not stand. And the escorts ruthlessly shot it. You can not forget this terrible scene: the dirty forest road lies the killed karataev, and it sits around him and howling the hungry, lonely, freezing dog, which he still recently saved from death ...

Fortunately, Karataevsky features were unusual for Russian people who defended their land. We see "War and Peace", we see that not Plato Karataev won the Army of Napoleon. This was made by fearless artillery artillers of the modest captain Tushina, the brave soldiers of Captain Timokhin, Kavalarists of Uvarov, the partisans Rothmistra Denisov. The Russian army and the Russian people won the enemy. And this is convincingly shown in the novel. Not by chance during the Second World War, the Tolstoy book was the desktop book of people of different countries, fought with the invasion of the fascist Hitler's fascist Horde. And she will always serve for freedom-loving people with a source of patriotic enthusiasm.

From the epilogue that the novel ends, we learn how his heroes lived after the end of the Patriotic War of 1812. Pierre Duzhov and Natasha Rostov combined their fate, found their happiness. Pierre still concerns the question of the future of his homeland. He became a member of the secret organization, from which the Decembrists will later come out. Young Nikolinka Bolkonsky, the son of Prince Andrew, who deceased from the wound received on the Borodino field, carefully listens to his hot speeches.

You can guess about the future of these people, listening to their conversation. Nicholyka asked Pierre: "Uncle Pierre ... If Dad would be alive ... He would agree with you?" And Pierre replied: "I think yes ..."

At the end of the novel, Tolstoy draws the sleep of Nikolek Bolkonsky. "They and Uncle Pierre walked ahead of the huge troops," Nicolenka dreamed. They walked to a difficult and glorious feat. With Nicholya, there was a father, encouraging him and his uncle Pierre. Waking up, Nikolyka takes a firm solution: to live in such a way to be a decent memory of his father. "Father! Father! - Thinks Nicholya. "Yes, I will make something that would even be satisfied."

This oath Nicholya Tolstoy completes the storyline of the novel, as if opening the veil into the future, stretching the threads from one era of Russian life to another, when the heroes of 1825 came to the historic arena - Decembrists.

So the work ends with which Tolstoy, according to his recognition, devoted five years of "incessant and exceptional labor."