Problem and author's position Cherry garden. A.P.
Character system
569 characters were included in the novel, 200 of which are historical faces. But in their row, the main characters of the work did not get lost.
All the heterogeneous heroes of the novel "War and Peace", belonging to incompatible estates, cultural, property circles, are clearly divided into several groups.
I. Sugagants of life.
II. Ordinary people.
III. Faithfulness.
IV. Wise men.
I. Sugagants of life - This is the lowest of all discharges in the Tolstsky hierarchy. Heroes related to it, representatives of secular society and court aristocracy. It is characterized by an external shine with internal emptiness, insignificance and nonsense, mental limitations, falsehood, hypocrisy, false patriotism (during the war they refuse French cuisine and language, take fines for French words, tells gossip and jokes about the army). Tolstoy depicts them the same type. For their characteristics, the author demonstratively uses the same detail.
For Anna Pavlovna Sherler is characterized by an unnatural smile;
the diplomat of Bilibin - the collected folds on the forehead (it seems to him that he manages the historical process, and in fact he is busy tribal);
Anne Mikhailovna Drubetskaya (Mother Boris Drubetsky) is characterized by a mournful smile, which she accompanies all his conversations;
In Boris Drubetsky, it is worth it to appear on the pages of the novel, Tolstoy always distinguishes one line: His indifferent calmness of a non-unheard and proud careerist.
It is worth a storytellor about the predatory Helen Kuragin, as he certainly mentions 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 ajar sponge with the mustache.
Þ Such a monotony of the narrative receipt indicates that heroes - "mortgagors of life" do not developthey live "ghosts, reflections of life" and therefore unchanged.
Fedor Doolokhov is an exception - a character belonging to the "lifespans", but endowed with a moving, living character.
In the center of this circle, this funnel, which sucks human souls is the family of Kuragin.
The main "generic" quality of the whole family is cold egoism. This family is a Tolstoy as a typical, immoral: Prince of Vasily near the bed of the dying manches for the portfolio with his testament, he marries Pierre, who received her inheritance by imposing his daughter Helen. Anatole and Hippolyte - two fools, according to Father, one "deceased", the other "restless." Helen - "Beautiful Animal", stupid and immoral; Mother Helen is a woman who "envied his daughter's happiness."
Leaders. The lower "category" of the heroes - life of life in the Tolstsky epic corresponds to 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.
Alexander I, Napoleon, Barclay de Tolly, Russian and French generals, Moscow Governor Governor Rostopchin are assigned to the leaders to leaders.
NB! Both the sovereign emperor, and Napoleon, and Rostopchin, and especially Barclay de Tolly, and other characters of Tolstoy, bred in the "War and the World", are the same fictional heroes as Pierre Duhov, Natasha Rostov or Anatole Kuragin. The external canvas of their biographies can be reproduced in a literary work 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 it creates in his work. And therefore, in real historical figures, they are similar to a little more than Fedor Doolokov on their prototype, Kutil and Obelchka R.I. Dolokhova, and Vasily Denisov - on Poet-partisan D.V. Davydova.
The main of the leaders, and, it means the most dangerous, most false of them - Napoleon.
The image of Napoleon in the "War and the World" is one of the ingenious artistic discoveries of Tolstoy. In the novel, the emperor of the French acts at that time when he turned from the bourgeois roar of the despot and the conqueror. The diary records of Tolstoy during the work on the "war and the world" show that he followed the conscious intention - to cosson from Napoleon a halo of false greatness. The writer was an opponent of false exaggeration both in the image of good and in the image of evil. And his Napoleon is not an antichrist, not a monster of vice, there is nothing demonmic. Improvement of imaginary superman is committed without disrupting everyday reliability: the emperor is simply removed from the pedestal, is shown in his normal human growth.
Napoleon at the beginning of the novel in the eyes of Andrei and Pierre - "Great Man." Under the Shenagraben, he is depicted as an insightful commander, but at the end of the Austerlitsky battle, despite the victory, it is shown as a "small" man, like a false idol. He is small historically, human and small on the background of the sky - the house of God. "There is no magnitude where there is no simplicity, good and truth." In the last episodes of Austerlitz Tolstoy begins to show Napoleon playing a role. From this point on, the motive of the game will accompany him in all episodes of the Borodino battle.
The image of Napoleon in the novel is the absolute and final exposure of the falsity of "Napoleonic thought" as the entire mercenary, selfish, self-satisfied, fake and acting. The game is a lot of actors. Such an actor on the historical scene of the novel and is Napoleon.
NB! Tolstoy denied the role of personality in the history of the people and humanity. In the image of Napoleon and Kutuzov, he contradicts himself, because the talent of the artist-realist wins the convictions of the writer, and he is forced to show the genius of the personalities of Kutuzov and Napoleon and their influence on the events described.
In the novel, there is a whole series of "small" or "home" Napoleon, whose nature is filled with named features. This is Drubetskaya, Berg, Polokhov, Rambal, Speransky, Volzogen, and others. Even Andrei Bolkonsky Tolstoy sees "Little Napoleon". And Helen Kuragin called the author called "Napoleon in a skirt."
II. Ordinary people. And lifespan, and leaders in the novel are opposed to "ordinary people" headed by the Pravddnobitz, the Moscow Barynie Marya Dmitrievna Akhrosimova. In them worldshe plays the same role as mirka. Kuragin and Bilibins play the St. Petersburg lady Anna Pavlovna Shersher. Ordinary people did not rise above 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 discrepancy, this difference of potentials, a combination of various qualities, good and not very, distinguishes ordinary people from lifespan and leaders. Heroes, assigned to this category, as a rule, people are shallow, and yet portraits are written by different colors, obviously devoid of unambiguities, the same type.
This is the generally the grocery Moscow family of growth, mirror opposite to the St. Petersburg clan of Kuragin.
Ordinary people: Ilya Andreevich Rostov, his wife Countess Rostov, Peter and Nikolai Rostov, Marya Bolkonskaya, Prince Bolkonsky, etc.
Ordinary people characterize:
Ø Good deceal attitude of landowners (Rostov, Bolkonsky) to serfs;
Ø kindness and hospitality;
Ø Trustful and sincere relationships between children (Natasha and Sonya; Natasha and Nikolai), between spouses (graph and countess Rostov);
Ø Immediateness and naturalness in the expression of feelings of love and friendship (Passion for Natasha Anatolam, her disappointment, illness, history of Nicholas and Sony, Nikolai and Maryi);
Ø Love for nature (night in Otradnaya, Andrei and Pierre on the ferry, hunting scenes);
Ø Russian National Beginning (Russian People's Dance of Natasha, Russian Hunting, Folk Holidays (Hands));
Ø patriotism in the war of 1812 (service of Nicholas, the death of Petit Rostov, participation in the militia of the Count Rostov on the appeal of the sovereign - people and money; leaving the property in a ruined Moscow to take the wounded, the behavior of Marya Bolkonskaya, the death of Andrei).
III. Faithfulness. This is a Saama of an important discharge. The two main heroes of the novel are endowed with the "title" of the challenges: this is Andrey Bolkonsky and Pierre Duchev.
Heroes of Roman (Prince Andrey Bolkonsky, Count Pierre Duhov) passionately look for new, truly human relations; They are disturbed by their destination in this world, the meaning of their existence, the search for truth. Mental and life quest for heroes bring them closer to each other and friends for whom secular life does not make sense.
Prince Andrei - Natura active, active, volitional and siety; Pierre - passive, contemplative, in everyday life is often a musty, but feeling eternal and spiritual in itself and around. Prince Andrei Bolkonsky personifies the "mind of the mind", Count Pierre Duchev - "Mind of the Heart."
Prince Andrey Nikolaevich Bolkonsky - The man of large intellectual requests, deep mind, he feels vulgarity, the ghostity of the life of a secular society, those who seek only to personal success, career, achieve the "degrees of famous". Probably, therefore, all the "former in the cabin" Anna Pavlovna were not only well known, but also "bought". The "emptiness" of the world, the aimlessness of the life that aristocrats lead, gives rise to it thirst for the search for a real, true purpose in this world, thirst for great accomplishments and the great feat in the name of mankind. The possibility of great achievements, according to Prince Andrei, he will open the army, his personal participation in the military campaigns of Russia against Napoleonic France. Bolkonsky dreams of accomplishing such a feat that would cause him to love all people. He believes that in the name of this you can donate not only by personal well-being, but even happiness of loved ones.
The stages of the quest of Prince Andrei are the fees on the war and service in the army, then Shenagraben's battle, where he boldly circles his position under the fire of the enemy and stopped bravely on the Tushina battery to give an order to remove the guns. Here, Bolkonsky witnesses that unshakable courage and heroism, which arise from a high understanding of military duty. During this period, Prince Andrei dreams of glory, a feat, about "his toulon," being the awesome appearance and success of Napoleon. In the Austerlitsky battle, Bolkonsky commits a feat, leads forward retreating soldiers, but, wounded in his head, falls with the banner on the pratskoy height. Here you have to survive both the tragedy of Austerlitz, and a sharp spiritual crisis, when the former idol in his eyes, was scattered in the power of a separate hero and the ghostly became his aspiration to glory.
Prince Bolkonsky stayed alive, returned home, wanting only one, - to be next to him expensive and ask for forgiveness, but the "little princess" Lisa dies, the son of Niconey, who just appeared to the light remains orphan. Andrei Bolkonsky refuses ambitious aspirations, he understands the whole fate of his desires for glory and does not see for himself a different life, how to become aside from public life, to go into the world of personal feelings and experiences, to raise the Son: "I know only two real misfortunes in my life: remorse of conscience and illness. And happiness is only the absence of these two angry. Live for yourself, avoiding only these two angry: here is my whole wisdom now! "- says Prince Andrei Pierre Bezuhov, who came to visit him to Bogucharsovo.
Bolkonsky, who lived athead in Boguchaarovo, two years old, listed the peasants to free blades, in the estate of his son Barshina replaced the lifting, he reads a lot, "discharges books" from the capital, reflects on military transformations. At this time there is a revival of Prince Andrei to life: a trip to Otradnaya, a meeting with Natasha, thirst for activities and happiness - everything leads to the fact that Bogonsky leaves Bogucharsovo, travels to Petersburg, where actively participates in the Speransky reforms: "No, life is not over thirty-one. Not only, I know all this, what is in me, it is necessary, so that everyone knows this: And Pierre, and this girl who wanted to fly into the sky, you need everyone to know me, so that my life was not for me so that they do not live so regardless of my life, so that it reflects on all and that they all live with me together. "
The thirst for active social activities arises. However, if the prince of Bolkonsky had to be convinced of the falsity of his personal aspirations, now he is convinced of the insolvency of others, the prince faces a despotic, stupid Arakcheev, with the Speransky reformer, who first makes a big impression on him, but then it seems to him a narcissist writer insubstant laws. Prince Andrei "Vividly introduced his Bogucarov, his classes in the village, his trip to Ryazan, remembered the men, Drona-Old Town, and putting the right to them ... which he distributed on the paragraphs, he became surprising how he could have been able to work so long " "New business" (participation in the Speransky reforms), which Bolkonsky wanted to do, is immediately not having genuine value.
Andrei Bolkonsky is characterized not only by the power of mind, but also the depth of feelings. The spiritual drama, which Prince Andrei is experiencing after breaking with Natasha, exacerbates his philosophical quest, another disappointment joins another, the most sore way: "The whole life seemed to him by the magic lantern, in which he looked through the glass for a long time and with artificial lighting. Now he saw suddenly, without glass, with a bright daylight, these badly nimbletched paintings ".
Andrei Bolkonsky seeks to consider life its life in wide links with the life of other people. In the period of the Patriotic War of 1812, in the Borodino battle, he feels the true proximity of his thoughts and desires with the desires of the people. Having survived the tragedy of Austerlitz, the prince understands that the fate of the battle is not the number of troops, not a disposition, not even the number of guns, and that "invisible power", which is called the "spirit of troops", the mood of the troops. Prince Andrei, who first decided for himself, that he would not serve, now he commands the regiment, his soldiers and name "our prince" are like. Bolkonsky, like his soldiers, is going to defend the Fatherland with the price of life, revenge the French, because Those "came to his house and ruin it."
On the eve of the Borodino battle, Prince Andrei was filled with faith in the victory of Russian weapons. Bolkonsky considers himself as part of the great strength that affects the course of historical events: "And I want to tell you that it would be, we will win the battle tomorrow," he says Pierre Bezuhov. Prince Andrei, heavily wounded, is experiencing a new sincere crisis, he comes to conclusion, what the true relationship between people is the relationship of friendship and fraternal love, He forgives his enemy, Anatola Kuragin, who gave him so much peace of mind. Bratsk Love applies not only to loved ones, but also on enemies. Thoughts about universal forgiveness are born with a sense of love for God, faith in the wisdom of the Creator.
Þ Andrei all his life sought to comprehend the meaning of life and finds him on the eve of death. Truthful life - in love .
"Love hinders death. Love is life. Everything, everything I understand, I understand only because I love. Everything is there, everything exists only because I love. Everything is connected with one thing. Love is God, and die - it means me, a particle of Lbvi, return to the general and eternal source "
Count Pierre Duhov.
In the image of Pierre, L. Tolstoy, showed human aspirations to happily, thirst for moral ideals, good, truth, faith in good and justice. Pierre Duhov is distinguished by the independence of their views, beliefs, their attitude towards people. The "smart and attentive" look of Pierre, who so scares Anna Pavlovna, testifies to its high intelligence and spiritual qualities. Prince Bolkonsky does not accidentally tell him: "You are dear to me, especially because you are one living person among all our light ...". Sincerity and naturalness - that's what distinguishes Pierre Baudzova from a secular society, it is so important that he is often unhappy with himself, seeks to change, to become better, doubts his actions and affairs. If the delusions of Prince Bolkonsky are connected with the desire of glory, the minutes of the celebration and the greatness, then the mistakes and delusion of Pierre are connected with his thirst for sensual pleasures. Pierre does not like Helen, but marries her: he gives pleasure even the idea that this beautiful woman will belong to him; He, of course, blame himself for this desire, sees "something nauseous, carnoe" in it, but still marries Hehlen Kuragin, perfectly realizing that "she is stupid, fool."
Pierre Duhov blames themselves for the fact that he almost killed a man - Dolokhov, his wife's lover, who, of course, says Pierre, no "no matter before him, Pierre, honor." Bezuhov believes that he does not have such a right: to dispose of the life of another and decide to "be or not to be" to another. This right is given to God, but not a person. The search for a high-purpose of a person, the spiritual ideal brought closer to Pierre Dzuhov with Masons, he saw the owners of true wisdom. Pierre, joining the Masonic Load, looking for spiritual, moral updates, hopes that it is here "will find a revival to a new life," will find the truth. Pierre is craving for spiritual renewal, moral self-improvement, wants to abandon many vices, believing that "improving" himself, spiritually "improving" himself, he will definitely change society and peace.
Under the influence of Masonic ideas, the Count of Lyuhov decides to free the peasants, build hospitals and schools for them, to train peasant children. Pierre sent to his Kiev estates: it is important for him to see how his undertakings are being implemented (embodying all these reforms was entrusted to the head of the manager, who in that did not see any benefit for himself nor for his Mr., therefore decided not to fulfill the intentions of the young Barina, but only pretended that everything would be fulfilled). Showing and burdensome for the peasants of the construction of schools, hospitals, she takes as evidence of improving peasant life. Pierre Bezuhov "The people everywhere seemed to be bolping and touchingly grateful for the benefits made him," he was confident that the elimination of life imperfection was easy: "How easy how little effort is needed to make so much good, and how little we care about it." Undoubtedly, Pierre was mistaken: for the accomplishment of good deeds, tremendous efforts are needed. The fact that Prince Andrei did not manage to make a prince: in his estates he listed the peasants to free blades, replaced the barbecue, "discharged for the peasants of the objection." Andrey Bolkonsky did not shift on the manager's implementation of all reforms, and everyone did himself, therefore achieved such success.
However, in Pierre, this confidence gradually disappears, he soon saw the true aspirations of some Masons: many aristocrats entered the "Masonic Load" to acquire favorable bonds, since among the masons were rich and influential people. Bezuhov is aware of the infertility of Masonic ideas; A little changed new ideas and Pierre himself. Inevitably comes to Pierre frustration in the "Brotherhood Bricklayers".
The war of 1812 calls in Pierre the desire of spiritual unity with his people, he travels on the field of Borodin, here he opens a new world, the appearance of ordinary people, in the folk medium it is found with deep patriotism. On the day of Borodin, on the Battery of Raevsky, Pierre becomes a witness to the high heroism of the soldiers, their skills "simply and naturally perform a feat." Courage, the power of ordinary Russian people produce an indelible impression on him: "Oh, how terrible fear, and how shamefully I gave him! And they ... they all the time, to the end were firm, calm ". Pierre Duhov compares himself with simple people, his attitude to life with their attitude to the world. It is now that he acutely feels the falsity of many of his previous beliefs, feelings, his position in society: "They do not say, but do." In the folk medium, Lyukhov sees not only the truth, but also power.
They master the desire to get close to the folk medium, to enter "into this common life to all the merits, to imbued with what makes them such." The desire to act as well as "they", the desire to take a feat is poured into the intention to kill Napoleon, save the world and the peoples of Europe from the villain, which brought so much misfortunes, the horror of war, blood and suffering. If before Napoleon was for him the idol and the "revolutionary", because He chose the people and the people went after him, now the attitude of Pierre to Bonaparte changes dramatically during the Days of the Patriotic War of 1812 and is changing under the influence of those impressions that the Borodino battle has been impressed on it, close communication with ordinary people.
The admiration of the "heir of the revolution" is inferior to the place of hatred for the despot and villain. Staying in Moscow, captured by the French, Lyuhov faces many of the most unexpected phenomena for him, with contradictory facts: with the captain-French Rambale, he is installed in good, human relations, on the streets of the capital Pierre observes the scenes of the looting, humiliation and insults of Russian people. This causes his indignation and active protest. Pierre Duhov, arrested by the French authorities, is experiencing a tragedy of a man who has sentenced to death for not committed by him, he is experiencing a big soulful shock by watching the shooting of compatriots. And this is the triumph of cruelty, inhumanity suppresses Pierre: "Since the minute, as Pierre saw this terrible murder, committed by people, who did not want to do this, in his soul it seemed to have suddenly survived that the spring was held on which everything was held and seemed alive ...". From the new crisis, Pjar was helped to leave Plato Karataev, a simple Russian soldier, captured. Pierre conquers his calm, peaceful acceptance of peace and life; Admires gentleness, patience, endurance, kindness even to the enemy. However, the submissive acceptance of events does not prevent and does not soften the cruelty of the war, one of the victims becomes a meek plato karatayev: he was shot by French soldiers, fulfilling the order of command about the destruction of patients of prisoners. Heavy deprivation and disasters experienced by Bezuhov in captivity make it feel and understand the price of ordinary human joys, which give life and nature: "The absence of suffering, satisfaction of needs and due to the freedom of choice of classes, i.e. Lifestyle, now appeared to Pierre the undoubted and higher happiness of man. "
After returning from captivity, Pierre Duhov, a little changed outwardly, has changed in many ways spiritually. The need for action that was born in it in the days of the Patriotic War of 1812, in the days of the Borodino battle, they actively appear in active relationship, to society, to the world. The anger and indignation of Pierre cause social decomposition, the political oppression, the powerlessness, oppression of the people, military settlements. Pierre is convinced that this is the plight of society can be overcome by the efforts of honest people who should be closely related to each other.
Pierre Duckers - Russian Intelligent Nobleman, Debt Man, Conscience, Dignity, Devotee
Fatherland. The search for truth, the meaning of life, its destiny always worried Pierre.
IV. Wise men. Wise men confront leaders. Wise men - Those characters who have suffered the truth of nationwide life and are an example for other heroes seeking truth. Such are the headquarters-captain Tushin, Plato Karataev and Kutuzov.
Kutuzov - The Great Man, one of the historical figures depicted on the pages of the novel of the Tolstoy "War and Peace". It is L.N. Tolsto who contributed to the world glory of the Russian commander. Military genius in the novel is not Napoleon, but a modest Mikhail Kutuzov. In addition, the colonom of Kutuzov in the book of Leo Tolstoy "War and Peace" is a symbol of all Russian, national (the embodiment and expression of the Russian national nature). Mikhail Kutuzov as a personality, from the point of view of the writer, was the expressant of the whole "Russian world" (that is, the people) raised the "club of the People's War" against foreign invaders and won the Great Victory in the war of 1812.
The commander of Kutuzov and the top of the authorities remains a simple person. Tolstoy writes about his hero: "Simply as the truth." Lion Tolstoy argued that only under the condition of real human "simplicity" is possible true greatness. Consequently, the more significant the person, the more obvious and the more noticeable should be his simplicity. Tolstoy considered this line inherent in Russian.
Kutuzov is depicted as Napoleon Antipode. It is not guided by the "mind", but by some inner voice, prompting not to take any volitional solutions. Good just that, believed Tolstoy, which is carried out by the actions of a huge majority of people, not individuals. The Tolstaya Assessment of Kutuzov externally coincides with the historical assessment of his role in the Patriotic War, but it does not coincide with the assessment of its value as a commander. Kutuzov took reasonable decisions, opposed his will, the will, strategy and tactics of the will, strategy and tactics of Napoleon. Kutuzov "slept" on those military councils, where the busy generals kindly dominated by the warrior, Benigsen or Pfula, but he knew how to send Bagration with four thousand Russian soldiers to keep the offensive of the entire French army in the terrigard battles. He alone could make a decision to fight Borodin, leave Moscow, save the army and make the famous march along the Kaluga road to Tarutino to gather with the forces and force Napoleon to leave Moscow and go on the old ruined road.
Natasha Rostov - This is a lyrical character that does not fit into the category of dramatic characters (Pierre and Andrei), or in the category of epic (karatayev, kutuzov). This image is impossible to "assign" to one of some kind of category: it does not obey any classification, breaks over to the limits of any definition.
The main thing in Natasha is its gifting, vitality, her kind, dedicated soul, facing people, the gift of compassion to everyone, the genuine nationality of her world-uponymia. Immediately raised her to the edge of death. She fell asleep in love with the wrong person who could understand her: Careerist Boris Drubetsky. Her life with a heart made an unlikely happy finale of her relationship with Prince Andrey. From the first explanation, he scared her with his cold-smart, incomprehensible speeches, and Natasha felt in confusion, as if in a half. And such a life could not explode instant hobby by another person, how did Anatol Curagin, who managed to promise it all that her youth was eager ...
At the very beginning of the work of Tolstoy over Roman Natasha, the role of the "Russian woman" was intended, which can go beyond the husband-Decembrist to Siberia. Tolstoy knew about the feat of Knyagini M.N. Volkonskaya, Princess E.I. Trubetskaya, which is reeling later by A.N. Nekrasov in the poem "Russian women." Writer and tried to find the chambers of this feat in the initial moral qualities of their heroine. Natasha - gifted nature, everyone is loved, directly in feelings, simple and feminine, truthful, - in all the incarnation of folk traditions, despite the Baroic education. Her caring soul was completely dissolved in the alarms of 1812, in the common misfortune of the people and his feat. Particularly revealed the spiritual qualities of Natasha in courtship for wounded, behind the dying prince Andrey. Rostov was late with departure from Moscow, and Natasha insisted that the fluege and half of the house were provided for wounded soldiers. All of themselves gave Natasha in this case, nowhere, who does not emphasize their merit, not to say loud phrases about patriotism and debt.
In the research literature there is an incorrect interpretation of the final scenes of the novel, where Natasha is depicted among concerns about children, about her husband. It is concluded that it "fell" to the level of household interests, became a "female mother", as a result of which its image is flexible. No, Tolstoy portrayed the "ordinary woman", counted that the family spheres, motherhood is very important. This is the main thing for a woman, here is its true calling, her field for a feat having her poetic and civilian parties. Natasha is not "empty-flower", like Sonya, raised in the house of growth. Natasha fully manifested himself in serving the debris as sensitive, compassionate woman. And she never thrown, will go to great suffering, self-sacrifice. After all, she guesses the case to which Pierre dedicated herself, she approves his aspirations: "Bright, brilliant, joyful light flowed by a stream of her transformed person," she listened to the stories of Pierre about Petersburg affairs. His speeches about the secret society revealed a new world for her for her, and she is ready to believe that Pierre's thought is a great thought. And she is ready to follow him everywhere.
The image of Helen Kuragin in the novel L. N. Tolstoy "War and Peace"
Lion Tolstoy in his works tirelessly argued that the public role of the woman was extremely great and beneficial. Its natural expression is the preservation of family, motherhood, care for children and the responsibilities of his wife. In the novel "War and Peace" in the images of Natasha Rostova and Princess Maryia, the writer showed rare for the then secular society of women, the best representatives of the nobility of the beginning of the XIX century. Both of them devoted their lives to the family, felt a strong connection with her during the war of 1812, sacrificed for a family to everyone.
Positive images of women from the noble medium acquire even greater relief, psychological and moral depth against the background of the image of Helen Kuragin and in contrast with him. Drawing this image, the author did not regret the paints to clearly allocate all his negative features.
Helen Kuragin is a typical representative of the Great Salons, the daughter of his time and class. Her beliefs, the behavior's manner was largely dictated by the position of a woman in the noble society, where the woman played the role of a beautiful doll, which you need to get married in time and successfully, and no one asked her opinions on this occasion. The main occupation is to shine on the balas and give birth to children, multiplying the number of Russian aristocrats.
Tolstoy sought to show that the external beauty does not mean the beauty of the inner, spiritual. Describing Elene, the author gives her appearance of the sinister features, as if in the beauty of the face and figure of a person already sin was already concluded. Helen belongs to light, it is reflected and symbol.
Hastefully issued by the father of married to the suddenly rich ridiculous Pierre Pierre Dzuhova, who was accustomed to despise in the light of as illegitimate, helen does not become neither mother nor the hostess. It continues to lead an empty secular life that suits it quite.
The impression that helen produces to readers at the beginning of the story is admirable her beauty. Pierre was prompted to admire her youth and splendor, she admires Andrei Prince, and everyone surrounding. "Princess Helen smiled, she rose with the same unchanged smile quite a beautiful woman, with which she entered the living room. Slightly noise; white Blood Robes, removed ivy and moss, and bright white shoulders, gloss of hair and diamonds, she passed between the broken men and straight, without looking at anyone, but everyone is smiling and however kindly giving everyone the right to admire his beauty to everyone , full shoulders, very open, on fashion, chest and back, as if making a glitter of the ball. "
Tolstoy emphasizes the lack of facial expressions on the face of the heroine, it is always a "monotonous-beautiful smile" hiding the inner emptiness of the soul, immorality and stupidity. Her "marble shoulders" creates an impression of a delightful statue, not a living woman. Tolstoy does not show her eyes in which, apparently, feelings are not reflected. Throughout the novel, Helen never frightened, was not happy, did not regret anyone, did not be sad, did not suffer. She loves only himself, thinks about her benefit and amenities. This is how everyone is thinking in the family of Kuragin, where they do not know what conscience and decency are. Pierre informed to despair, says to his wife: "Where you are debauchery, evil." This charges can be attributed to the whole secular society.
Pierre and Helen are opposite to convictions and character. Pierre did not love Helen, he married her, combat her beauty. According to the kindness of spiritual and sincerity, the hero was in deftly placed by Prince Vasily Network. Pierre has a noble, responsive heart. Helen is cold, calculating, selfish, cruel and debris in their secular adventures. Her nature accurately defines the remark of Napoleon: "This is a beautiful animal." The heroine enjoys his dazzling beauty. To torment the flour, helen will never become. In this, according to Tolstoy, its biggest sin.
His psychology of a predator, exciting victim, Helen always finds justification. After Pierre's duel with Doolokh, she lies Pierre and thinks only about what they will be told in the world: "What will it lead to? To ensure that I made a mixture of Moscow; To ensure that everyone said, you are in a drunken form, do not remember yourself, called a man's duel that you are jealous without foundation, which is better than you in all respects. " Only it bothers her, in the world of higher light there is no place to be sincere feelings. Now the heroine seems to reader ugly. The events of the war revealed the ugly, the prudent beginning, which was the essence of Helen always. The beauty of the beauty does not bring happiness heroine. Happiness you need to earn spiritual generosity.
The death of the Countess Bezuhovaya is as stupid and scandal, as well as her life. Committing in lies, intrigues, seeking with living husband to get married immediately for two applicants, she mistakenly takes a large dose of medicine and dies in terrible torment.
The image of Helen significantly complements the picture of the highest light of Russia. Creating it, Tolstoy showed himself a wonderful psychologist and a subtle connoisseur of human souls.
Kutuzov and Napoleon as two moral poles in the novel L. N. Tolstoy "War and Peace"
The name of the novel of the Tolstoy "War and the World" speaks of the scale of the topic under study. The writer created a historic novel, which comprehends major events of world history, and their participants are real historical figures. This is Russian Emperor Alexander I, Napoleon Bonaparte, Field Marshal Kutuzov General, Generally Davu and Bagration, Ministers of Araksheev, Speransky and others.
Tolstoy had his own specific view on the development of history and the role of a separate person in it. He believed that the personality only can influence the course of the historical process when her will coincides with the will of the people. Tolstoy wrote: "A person deliberately lives for himself, but serves as an unconscious tool to achieve historical, universal goals." At the same time, the writer was a fatalist. In his opinion, everything that happens with humanity is programmed over. This is how the inexorable law of historical necessity is fulfilled.
The positive and negative pole of the war of 1812 is Kutuzov and Napoleon. The novel has no complete coincidence of the characters of these characters with real people. For example, Tolstoy exaggerated the elder passivity of Kutuzov and Napoleon's narrowness, but he did not seek to create reliable images. The author applies both hard moral criteria in assessing both hard moral criteria, is trying to figure out whether Napoleon is really a great commander.
Tolstoy deliberately gives the ironic portrait of Napoleon: "Fatty short legs", "a grown short figure", fussy movements. It is limited and self-love, confident in his genius. It is important for him "Only what happened in his soul", "... And all that was outside him did not have meaning for him, because everything in the world depended only from his will." Napoleon is depicted in thick as the invader who kills thousands of people for the sake of achieving world domination. He takes majestic postures, not understanding that "the king is a slave story," he mistaken him that he began war. In fact, he is only a toy in the hands of history. Tolstoy writes that it is unlikely that Napoleon would stand it in a sad and severe test of fate if he had not been "the mind and conscience" were praised.
The inner world of Napoleon consists of illusions about its own greatness. He wants to impose his will all over the world and does not understand that it is impossible. He calls his own cruelty to courage, loves to "consider the dead and wounded, experiencing his mental strength (as he thought)." When moving through Neman, Napoleon displeasetly glances on the sinking Polish Ulan who give their lives for his glory. Nothing amazing in the death of people he does not see. Tolstoy emphasizes that Napoleon is unhappy, "moral blind" a person who no longer distinguishes where good, and where evil. Tolstoy points to the responsibility of Napoleon in front of the peoples, which he led: "He, intended to be pronounced by the sad, non-free role of the executioner of the peoples, assured himself that his actions were the benefit of peoples and that he could lead the fate of millions and by power to make blessings! .. He imagined himself that he had a war with Russia in his will, and the horror of the accomplished did not hit his soul. "
General Feldmarshal Mikhail Illarionovich Kutuzov, the light prince Smolensky, is Napoleon's antipode in everything. He is the embodiment of "simplicity, good and truth." Kutuzov is endowed with the greatest wisdom, he believes: what should happen, will happen. In the novel, Tolstoy shows the inaction of Kutuzov, having in mind that one person cannot affect the course of historical events. But the Russian commander is better than the king Alexander the first and all of his general, understands what position the country fell and what the decisive battle may end. Kutuzov on the advice of the military sees only a shaking patriotism, hears false speeches. He understands that Napoleon has more troops that the Russians will inevitably lose and it will be for the country shameful end.
The main thought of Kutuzov in front of the Borodino battle - how to raise the morale of the army. He understands his people, knows that this is the only force capable of resolving the enemy. The cowardly royal generals were already ready to sell Napoleon. Kutuzov alone understands that in case of defeat, the people will lose their homeland, will lose freedom, turn into slaves in his native land.
The author depicts the great commander alive, deeply sensing man. He can worry, be angry, be generous, to compare grief. With soldiers who are ready for him the life of giving, he talks like a father, on their understandable language. "They will eat horseback to me!" - He says about the French and executes this its prophecy. Prince Andrei sees tears in the eyes of the old man in the moments of spiritual excitement for the fate of Russia: "To what ... what they brought! - suddenly Suddenly Kutuzov agitated voice. "
On the Council in the filients of Kutuzov, one against everyone courageously, offering to pass Moscow. This decision was worth him of great mental flour. The capital of Russia was not Moscow, but St. Petersburg. The king and all ministries were there. Moscow was the first-hearth city, the kings were crowned there, the numerous population lived.
The army of opponents were approximately equal forces, but Kutuzov correctly calculated the situation. He decided not to risk and retreat, hoping to win time and gain strength. After the retreat, the soldiers quickly gained and taught them. From the Tula factories supplied weapons, reserved the provision and uniforms. Kutuzov was in his native land, justice was on the side of the Russians, these were not the invaders in someone else's country. Kutuzov understood that the French would quickly weaken without deliveries of weapons and food that would not bring from France for thousands of kilometers.
Napoleon's headquarters were non-nell people. The emperor asked him to not enter Moscow, warned that it was a trap, but pride and self-conception pushed him on a false way. Tolstoy with sarcasm depicts how Napoleon is waiting on the worst Mount of Russian "Boyar" with keys from Moscow. Without waiting for anyone, the French emperor decided to give the city to looting his mercenaries. In the absence of hostilities, the army decomposes - this is the law. Napoleon persuaded to go further, but he waited when Russia recognizes his defeat. Numerous Russian partisan detachments brought the victory over the "invincible", "ingenious" Napoleon. As a result, only 5% of the French army returned from Russia, which was at the beginning of a campaign of 600 thousand people.
Contrary to historians of his time, Tolstoy considers the merit of the Kutuzov and the Russian people who endured all the sorrows of wartime on his shoulders.
"Family thought" in the novel L. N. Tolstoy "War and Peace"
Tolstoy considered the family the basis of everything. In it and love, and the future, and the world, and good. Of the families are a society, the moral laws of which are laid and saved in the family. The family of the writer is a society in miniature. Almost all the heroes have family people from Tolstoy, and he characterizes them through families.
In the novel before us unfolds the life of three families: Rostov, Blocks, Kuragic. In the epilogue of the novel, the author shows the happy "new" family of Nicholas and Maryi, Pierre and Natasha. Each family is endowed with characteristic features, and also embodies some kind of view on the world and its values. In all the events described in the work, as well as members of these families participate. The novel covers fifteen years of life, families are traced in three generations: fathers, children and grandchildren.
Family Rostov - an example of the ideal relationship of loving and self-respecting native people. Father of the family, Count Ilya Rostov, is depicted as a typical Russian barin. Managing Mitenka constantly deceives the graph. Only Nicholas Rostov exposes and dismisses him. In the family no one blames anyone, does not suspect, does not deceive. They are one, always sincerely ready to help each other. Joy and sorrow are experienced together, together looking for answers to complex questions. They quickly experience the troubles, they prevail the emotional and intuitive principle. All Rostov are fond of people, but mistakes and misses of family members do not cause rejections and hostility to each other. The family is upset and flashes when Nikolai Rostov is played in the card, experiencing the history of Natasha's love in Anatol Kuragin and an attempt to escape with him, although all the secular society discusses this shameful event.
In the family of growth "Russian Spirit", everyone loves national culture and art. They live in harmony with national traditions: glad guests, generous, love to live in the village, will be happy to take part in the national holidays. All Rostov Talented, possess musical abilities. The courtyards who serve in the house are deeply committed to the gentlemen, live with them as one family.
During the war, the Russian family remains in Moscow until the last moment, it is still possible to evacuate. In their house there are wounded, which you need to take out from the city so that the French do not kill them. Rostov decide to quit htorated good and give the carts for soldiers. So manifests the true patriotism of this family.
In the family of Bolkonsky, other orders reign. All living feelings are driven to the very bottom of the soul. In relations between them - only cold rationality. Prince Andrei and Princess Marya do not have a mother, and his father replaces parental love with super trimming, which makes the unfortunate children. Princess Marya - a girl with a strong, courageous character. She was not broken by the cruel attitude of the father, she did not get out, did not lose the pure and gentle soul.
The old Bolkonsky is confident that in the world "There are only two virtues - activity and mind." He himself works all his life: he writes the charter, it works in a workshop, engaged in his daughter. Bolkonsky - nobleman of old hardening. He is a patriot of his homeland, wants to benefit her. Having learned that the French are coming, he becomes at the head of the national militia, ready to defend his land with a weapon in his hands, not to give an enemy to her.
Prince Andrei looks like his father. He also seeks power, works in the Speransky Committee, wants to become a big man, to serve for the benefit of the country. Although he gave himself a word to never participate in battles, in 1812 he is fighting again. Save the homeland for him is a holy deal. Prince Andrei dies for his homeland like a hero.
The Kuragin family carries evil and destruction into the world. On the example of the members of this family, Tolstoy showed how deceptive is external beauty. Helen and Anatole Beautiful people, but this beauty is mimic. External shine hides the emptiness of their low shower. Anatole leaving a bad memory everywhere. Because of the money, he wovers to the princess Marya, destroys the relationship of Prince Andrei and Natasha. Helen loves only himself, destroys the life of Pierre, disgraces him.
In the family of Kuragin, a lie and hypocrisy, contempt for others. Father Family, Prince Vasily, Court Intrigan, it is only interested in gossip and gravity actions. For the sake of money, he is ready for everything, even for a crime. His behavior in the scene of the death of Craf Bezuhova is the top of the blasphemy and the contempt of the laws of human morality.
In the family of Kuragin there is no spiritual kinship. Tolstoy does not show us their home. They are primitive, undeveloped people whom the author depicts in satirical tones. Happiness in life cannot be achieved.
According to Tolstoy, a good family is a reward for righteous life. His heroes in the final he rewards with happiness in family life.
Family Lifestyle Growth and Block
In the novel "War and Peace" Tolstoy traces the life of three generations of several Russian families. The writer rightly considered the family of the basis of society, saw in her love, future, peace and good. In addition, Tolstoy believed that moral laws are laid and saved only in the family. Family for the writer is a society in miniature. Almost all heroes L.N. Tolstoy - family people, so the characteristics of these characters is impossible without analyzing their relationship in the family. After all, a good family, considered a writer, is a reward for righteous life and its indicator. Not surprisingly, his heroes in the final he rewards with happiness in family life.
Consistently warm feelings cause different generations from readers of different generations. The ideal relationship of loving and self-respecting native people reigns here.
Count Ilya Rostov - the head of the family, personifies the typical image of the Russian Barin, which is deceiving the managing Mitenka. In the family reigns truly idyllic orders and relationships: no one blames anyone, does not suspect, does not deceive. Rostov is always sincerely ready to help each other: joy and sorrow they are worried together, together. All family members are emotional and are guided most often intuition.
Natasha Rostov is the most lively image in the novel. The author's sympathy to Natasha is noticeable from the first pages of the book. The lion of Tolstoy calls on readers to admire the straw, a gusty, cheerful, charming girl. Natasha appears in the novel at the age of thirteen, when a teenage girl turns into a girl. Her image appears on one and a half thousand pages, and its life is traced for fifteen years. Natasha - spiritualized nature, full of thirst for happiness.
The writer carefully reveals all periods of Natasha Rostova, her childhood, youth, maturity, marriage, motherhood. Special attention Tolstoy pays to the evolution of the heroine, its emotional experiences. Natasha is light and immediately, looks at the world widely revealed eyes. The author draws an image of a deep, open everything new, filled with feelings, with strong mental gusts. The image of Rostova in the novel is an artistic discovery and a false find. It shows the wealth of the soul in one character, exceptional sincerity and location to people and nature.
All Rostov are emotional people who are prone to spiritual gusts. Their errors and misses do not affect the harmony of family relations, do not cause quarrels and hatred. Loss Nikolai Rostov in the card or shameful for the family of love of Natalia in Anatol Kuragin, with whom she tries to escape, are experienced together and only together with all Rostov.
National Russian culture and art occupy an important place in the family. Despite the cooking passion to all French, "Russian Spirit" for growth means quite a lot: they are pleased to guests, generous, love to live in the village, with pleasure take part in the national holidays. All Rostov Talented, love to be musitizing. It is noteworthy and amazing for this era that the servant is deeply predicted to its owners, it is almost one family.
This patriotism of growth is tested by the war. The family remains in Moscow until the last moment before evacuation. In a generic nest, they are placed wounded. When it becomes clear what you need to leave, Rostov decide to quit everything htorated and give the carts for wounded soldiers.
Largely the opposite of Rostov in the novel became the Bologkoe family. Other orders argue here. Cold relationships, the power of the mind over emotions. All living movements of the soul and feelings are denied. Prince Andrei and Princess Marya do not have a mother, so the father replaces parental love with excessive demanding children than makes them deeply unhappy.
Princess Marya Bolkonskaya - meek and tender girl removed from the life of a secular society. She is not corrupted by modern in the same way. For the image of the princes characteristic of subtle psychologism and realism at the same time. Fate Maryia is largely typical for an ugly girl. At the same time, its inner world is discharged carefully and naturally. Tolstoy informs the reader even the most intimate thoughts of Princess Bolkonskaya.
Her father, Nikolai Andreevich Bolkonsky, is famous for a difficult character. He is a despotic man and evil, capricious egoist. In the past, the influential Ekaterininian nobleman, he was exiled to the rule of King Paul I in his estate bald mountains. Bolkonsky practically turned the daughter in the servant and the nurse instead of trying to arrange her personal happiness. Prince regularly brings Mari to the hysteria, mocks her, humiliates, thrusting notebooks and calling her fool. Only on the threshold of death, the old prince realizes how unfair to her daughter was.
Old Man Bologna is confident that there are only two virtues in the world - activities and mind. He himself works all his life, embodying two basic values \u200b\u200bfor him at once. The prince writes the charter, works in the workshop, engaged with his daughter. Bolkonsky - nobleman of old hardening. He is a patriot of his homeland, wants to benefit her. Having learned that the French are coming, he becomes at the head of the national militia, ready to defend his land with a weapon in his hands, not to give an enemy to her.
The constant humiliation from the Father did not kill the simple and understandable desires about female happiness in Marya. Princess Bolkonskaya dwells in constant waiting for love and desire to have a family. The girl knows that he does not shine beauty. Tolstoy paints her portrait: "The mirror reflected a ugly weak body and a thin face of the eye of the princes, big, deep and radiant (as if the rays of warm light sometimes came out of them), were so good that very often, despite the urgency of the whole face, eyes These were attractive than beauty. " In this case, the outer unattractiveness is compensated by the perfection of moral. The shower of the princes is beautiful, as her eyes, which are getting warm and tenderness. Because of his appearance, the princess suffers humiliation. She does not face a choice of hundreds of worthy grooms. She is unable to forget the scandalous matchmakers to her a secular libertine Anatoly Kuragin, who at night called for a date of the French Francesco.
Princess Marya - a girl with a strong, courageous character. She was not broken by the cruel attitude of the father, she did not get out, did not lose the pure and gentle soul. Princess has a true gift of all fortunemen. It is equally well to all: to serving, relatives, father, brother, daughter-in-law, nephew, Natasha Rostova.
Prince Andrei is in many ways similar to his father and considers his duty homeland. He also seeks power, works in the Speransky Committee, wants to take a prominent position. At the same time, the junior Bolkonsky is not a careerist. Although he gave himself a word to never participate in battles, in 1812 he is fighting again. Save the Fatherland for him - holy duty. Prince Andrei heroically dies, without violating his principles.
The family-shown and Bologna family depicted in the novel, according to the author, are the healthy foundation of Russian society. They are equally ready to go along the path of good, and in difficult times to protect their homeland.
Topics, stories and problematics of Chekhov's stories
Anton Pavlovich Chekhov was a wonderful master of a short story and outstanding playwright. He was called "intelligent outcomes from the people." He did not hesitate to his origin and always said that he was "a man's blood flowing." Chekhov lived in an era, when after the murder of the people of Tsar Alexander II began to persecute on literature. This period of Russian history, which launched until the mid-1990s, was called "Twilight and Glamm."
In the literary works of Chekhov, as a doctor in the specialty, appreciated reliability and accuracy. He believed that literature should be closely related to life. His stories are realistic, and although at first glance, there are simple, they laid a deep philosophical meaning.
Until 1880, Chekhov was considered a humorist, on the pages of their literary works, the writer fought with the "vulgar vulgarity", with its decomposing influence on the souls of people and Russian life in general. The main topics of his stories were the problem of identity degradation and the philosophical theme of the meaning of life.
By 1890, Chekhov becomes a writer with European fame. He creates such stories as "Ionch", "Pumping", "Chamber No. 6", "Man in a Case", "Gooseberry", "Lady with a dog", the play "Uncle Vanya", "Seagull" and many others.
In the story "Man in the case" of Chekhov protests against spiritual wild, meshness and sortiers. He puts the question of the ratio in one person of the formation and general level of culture, opposes limitations and stupidity. Many Russian writers raised the question of the inadmissibility of work at school, with children of people with low moral qualities and mental abilities.
The image of the teacher of the Greek language Belikov is given by the writer in the grotesque, exaggerated manner. This person does not develop. Chekhov argues that the lack of spiritual development, ideals entail dying personality. Belikov has long been the spiritual dead man, he seeks only to the dead shape, the living manifestations of the human mind and feelings are annoyed and angry. Would be his will, he would have concluded all living things into the case. Belikov, writes Chekhov, "was remarkable by the fact that always, even in very good weather, went out in caloes and with an umbrella and certainly in the warm coat on the cotton. And he would have an umbrella in the case, and the clock in the case of gray suede ... ". The favorite expression of the hero "How wouldn't anything happen" brightly characterizes it.
Belikov is hostile to all new. He always spoke with Praise about the past, his new scarecrow. He laid wool's ears, wearing dark glasses, a fufayka, several layers of clothing was protected from the outside world, which was afraid of the most. It is symbolic that in the gymnasium Belikov teaches a dead language where nothing will never change. Like all the narrowed people, the hero is pathologically suspicious, it is a clear pleasure from intimidating students and their parents. He is afraid of everything in the city. The death of Belikova becomes a worthy final of the "case existence". The coffin is the case in which he "lay, almost happy." Belikova's name has become a nominal, it means the desire of a person to hide from life. So Chekhov ridiculed the behavior of a timid intelligentsia of the 90s.
The story "Ionch" is another example of "case life." Hero of this story - Dmitry Ionovich Startsev, a young doctor who came to work in the Zemstvo hospital. It works, "without having a free hour." His soul is committed to high ideals. Elders meets the inhabitants of the city and sees that they lead the vulgar, sleepy, poor existence. Outdoor trucks are all "Games, alcoholics, haircuts," they annoy it "their conversations, looks for life and even with their own appearance." With them it is impossible to talk about politics or science. The doctor comes on complete misunderstanding. Outdoor in response, "I have such a philosophy, stupid and evil, which remains only to wave and move."
Elders meets the family of Turkish, "the most educated and talented in the city," and falls in love with their daughter Catherine Ivanovna, which in the family is affectionately called the cat. The life of a young doctor is filled with meaning, but it turned out that in his life it was "the only joy and ... last." Cat, seeing interest in her from the doctor, jokingly appoints him a date at night in the cemetery. Elders comes and, in vain waiting for the girl, returns home, irritated and tired. The next day, he confesses the cat in love and receives a refusal. From this point on, the decisive deeds of Startsev ceased. He feels relief: "He stopped restlessly to beat the heart," his life entered the usual direction. When the cat went to enter the conservatory, he suffered three days.
By the age of 35, the elders turned into ion. It was stopped annoying local inars, he became for them his own. With them, he plays cards and does not feel any desire to develop spiritually. He completely forgets about his love, descends, it will fulfill, in the evenings aroused his beloved lesson - recalls the money received from the patients. The cat returned to the town does not recognize the former Startsev. He burled out of the whole world and does not want to know anything about him.
Subject Training and metodology complex
... topic "What should be the way poet"(In the work of A.S. Pushkin). Exercise 1. Subject poet and poetry affected and in the poem " Poet.! " A.S. Pushkin. Like this subject ...
For the first time A.P. Chekhov announced the beginning of work on the new play in 1901 in the letter of his wife O.L. Booknet. Work on the play promoted very difficult, it was caused by the severe illness of Anton Pavlovich. In 1903, it was completed and represented by the leaders of the Moscow Art Theater. In 1904, the premiere of the play was held. And from this point on, the "Cherry Garden" play is analyzed and criticized for a hundred years.
Piece "Cherry Garden" became swan song A.P. Chekhov. It concluded reflections on the future of Russia and its people who copied in his thoughts for years. And the very artistic peculiarity of the play became the top of the creativity of Chekhov-playwater, showing again why it is considered to be an innovator who inspired a new life in the entire Russian theater.
Piece theme
The topic of the "Cherry Garden" play was the situation of selling from the auction of the generic nest of impoverished nobles. By the beginning of the twentieth century, such stories were not uncommon. A similar tragedy occurred in the life of Chekhov, their home, together with the father's shop, was sold for debts back in the 80s of the 19th century, and this left an indelible mark in his memory. And already, being a writer, Anton Pavlovich tried to understand the psychological state of people who were deprived of his house.
Characters
When analyzing the play "Cherry Sad" A.P. Chekhov traditionally the heroes are divided into three groups, taking the basis of their temporary affiliation. The first group representing the past includes Aristocrats Ranevskaya, Gaev and their old Laki Firs. The second group in the face of the merchant of the leopard, which became the representative of the present. Well, the third group is Petya Trofimov and Anya, they are the future.
There is no clear separation of heroes on the main and minor playwright, as well as on strictly negative or positive. It is such a presentation of the characters - one of the innovations and features of Chekhov plays.
Conflict and the development of the plot of the play
There is no open conflict in the play, and this is another feature of Dramaturgia A.P. Chekhov. And on the surface there is a sale of estates with a huge cherry garden. And against the background of this event, you can see the opposition of the left era of new phenomena in society. The disassembled nobles persistently hold on their own property, unable to take real steps to salvation, and the proposal to receive commercial profits, by passing the land for rent to dachensons for Ranevskaya and Gaev unacceptable. Analyzing the work of the "Cherry Garden" A.P. Chekhov can talk about a temporary conflict, in which the past faces the present, and the present with the future. In itself, the conflict of generations is by no means new for Russian literature, but never before he has revealed at the level of a subconscious premonition of a change in historical time, so clearly felt by Anton Pavlovich. He wanted to force the viewer or reader to think about his place and role in this life.
Chekhov's plays are very difficult to divide the phases of dramatic action on the phases, because he tried to bring the unfolding effect to reality, showing the everyday life of his heroes, of which most of the life consists.
The exposition can be called a lopahin conversation with the twin, awaiting the arrival of Ranevskaya, and almost immediately the tie of the play, which consists in pronouncing the visible conflict of the play - the sale of estates at the auction for debts. Pieces's peripetics are attempts to convince the owners to lease land. The culmination of the news about the purchase of the estate with a blades. Well, the junction is the departure of all the heroes from the empty house.
Composition play
Piece "Cherry Garden" consists of four actions.
In the first action there is an acquaintance with all the characters of the play. Analyzing the first action of the "Cherry Garden", it is worth noting that the internal content of the characters is transmitted through the attitude towards the old Cherry Garden. And here it begins one of the conflicts of the entire play - the confrontation of the past and present. The past is represented by brother and sister Gaev and Ranevskaya. For them, the garden and the old house is a reminder and a living symbol of their former careless life, in which they were rich aristocrats who own a huge estate. For the leopard, which is opposed to them, possession of the garden - first of all the opportunity to make a profit. Lopakhin makes the Ranevsk offer, accepting which, she can save the estate, and asks the impoverished landowners to think over him.
Analyzing the second action of the "Cherry Garden", it is necessary to pay attention to that the owners and servants walk not in a beautiful garden, but in the field. From here you can conclude that the garden is in an absolutely launched state, and it is simply impossible to pass. This action perfectly reveals the representation of Petit Trofimov about what the future should be.
In the third action of the play climax comes. The estate was sold, and the new owner becomes a lopahin. Despite satisfaction from the transaction, Lopahin is saddened by the fact that the fate of the garden should decide. So the garden will be destroyed.
Fourth Action: Generic nest empty, once a single family decays. And just as the garden cuts into the root and this surname remains without roots, without a refuge.
Copyright position in the play
Despite the apparent tragedy of what is happening, the heroes of the author did not cause any sympathy. He considered them near people who are incapable of deep experiences. This play has become more philosophical reflection of the playwright that Russia is waiting in the near future.
Very peculiarized genre affiliation of the play. Chekhov called the "cherry garden" comedy. The first producers saw dram in it. And many critics agreed that the "cherry garden" is a lyrical comedy.
Test on the work
The "cherry garden" draws a farewell of the owners, now former, with their generic noble nest. This topic has repeatedly covered in Russian literature of the second half of the XIX century and tragedy-dramatically, and comically. What is the features of Chekhov's solution to this problem? In many respects, it is determined by the attitude of the writer to the nobility go out into the social non-existence and going to change the capital, which he expressed in images, respectively, Ranevskaya and Lopakhina. In both estors and their interaction, Chekhov saw the continuity of carriers of domestic culture. The noble nest for Chekhov is primarily a focus of culture. Of course, this is also a museum of serfdom, and this is stated in a play, but the author sees in the noble estate after all the cultural nest.
Ranevskaya - his mistress and soul at home. That is why, despite all its frivolity and vices (some theaters even imagine that it became a drug addict in Paris), people stretch to her. The hostess returned, and the house came to life, and they rushed there already, it seems forever who left his former inhabitants.
Lopahin is under the Ranevskaya. It is sensitive to poetry in the broad sense of the word, he, as he says Petya Trofimov, "Thin, tender fingers, like an artist ... Thin, gentle soul." And in Ranevskaya he feels the same soul. The vulgarity of life comes to the hero from all sides, he acquires the features of the merchant, begins to throw his democratic origin and establish a non-ultimate, which was considered fashionable in the then "advanced circles". But he is waiting for Ranevskaya to clear it, to reveal the artistic and poetic beginning again. Such an image of capitalism relied on real facts. After all, many Russian merchants and capitalists, reassured by the end of the century, showed interest and care of culture. Mammoths, Morozov, Zimin contained theaters, brothers Tretyakov founded the art gallery, the merchant son of Alekseev, who took the stage pseudonym Stanislavsky, brought not only creative ideas to the art theater, but also fatherly wealth, and very considerable. So and the lopahin - the capitalist "non-standard". Therefore, I failed to marry Vare - they are not a couple of each other. Thin, poetic nature of a rich merchant and landed, everyday-ordinary, fully gone to the prose of life a receptional daughter Ranevskaya.
And now comes the next socio-historical fracture of Russian life. The place of the nobility occupies a bourgeoisie. How do the hosts of the Cherry Garden behave? In theory, it is necessary to save yourself and the garden. How? Socolately reborn, also become bourgeois, which offers a whip. But for Gaev and Ranevskaya, it means to change their habits, tastes, ideals, vital values. And therefore, they silently reject the proposal of the lopakhin and fearlessly go towards their social and life collapse. In this regard, the deep meaning carries the figure of a secondary character - Charlotte Ivanovna. At the beginning of the 2nd act, she talks about himself: "I do not have a real passport, I don't know how old I am ... From where I and who I do not know ... Who my parents can, they have not been married ... I do not know. So I want to talk, and not with anyone ... I do not have anyone. " Charlotte personifies the future of Ranevskaya - all this is waiting for the hostess of estates. But Ranenevskaya, and Charlotte (differently, of course) show amazing courage and even support the vigor of the spirit in others, because for all the characters of the play with the death of a cherry garden one life will end, and whether it will be very gadst.
The former owners and their servants behave ridiculously, and in the light of the social nonsense impending on them - stupid, unwise. They pretend that everything goes still, nothing has changed and will not change. This is a hoax, and self-exchanger, and interchange. But these are the only one can withstand the inevitability of inevitable rock. Lopahin sincerely flashes, he does not see in Ranenevskaya and even in the tertiary of his Gayev class enemies, for him it is expensive, loved by him. Universal, the humanistic approach to personality dominates the play above the classroom class. And the past world collapses. How does young people behave at this time? In Ani, by virtue of her youth, the most uncertain and at the same time a rainbow idea of \u200b\u200bthe waiting for its future. She is delighted with Petit Trofim's chatter. The latter although 26 or 27 years old, but it is considered young and, it seems, turned his "youth" in the profession. Otherwise, explain his infantility and is the most amazing - general recognition that he uses cannot be. Ranevskaya cruelly, but rightly chose him, in response he fell from the stairs. Its beautiful calls believe only Anya, but her, repeat, excuses her youth. Much more than what he says, Petya characterize his Kalosh, "dirty, old". But we, who know about the bloody social cataclys, who shocked Russia in the 20th century and began literally immediately after the applause came rarely at the premiere of the play and her the creator died, the words of Petit, his dreams about a new life, acknowledged Anya Desire to plant another garden - we are all This should lead to more serious conclusions about the essence of Petit's image.
Czechs have always been indifferent to politics, both a revolutionary movement and the struggle with him passed by him. But in one of the modern productions of Petya appears in the night stage of the 2nd act in a student cap and a pressurope and ... with a revolver, almost rubbed with grenades and machine-gun ribbons. Waving all this arsenal, he shouts the words about the new life as they performed the Commissioners on rallies fifteen years later. And at the same time, it very much reminds of another pet, more precisely, Petrush, as Peter Stepanovich Verkhovlensky, in the novel of the Dostoevsky "Demons" (apparently, not without reason, the name of Chekhov Petit is formed from Petrushi's father's patronymic - Liberal of the 40s of Stepan Trofimovich Verchhensky). Petrusha Verchlensky is the first in the Russian and world literature the image of a terrorist revolutionary. Rapprochement of both sing is harmoniously. The historian would find in the speeches of Chekhov Petit and the Social Motives, and Social Democratic Notes. Anya's stupid girl believes these speeches. Other characters laughed, they are angry: too large inquiring this petition to be afraid of him. Yes, and the garden did not cut off, but a merchant wishing to arrange cottages at this place. Chekhov did not live to others "cottages", arranged on the expanses of him and our long-suffering homeland by the successors of Petit Trofimov or Verkhovlensky on the numerous Isles of the Gulag Archipelago. Fortunately, "Living at this time is beautiful" did not have the most characters of the "Cherry Garden".
"Cherry Garden" - the top of the Russian playwright of the early 20th century, lyrical comedy, play, marking the beginning of the new era of the development of the Russian theater.
The main topic of the fleet of autobiographical is the bankrupt family of the nobles sells his generic estate from the auction. The author, as a person who has passed through a similar life situation, describes the mental state of people forced to leave their home soon. An innovation of the play is the lack of dividing heroes on positive and negative, on top and minor. All of them are divided into three categories:
- people of the past are noble aristocrats (Ranevskaya, Gaev and their Firs Laki);
- the people of the present are their bright representative of the owner entrepreneur Lopahin;
- people of the future are the progressive youth of that time (Peter Trofimov and Anya).
History of creation
Chekhov began work on the play in 1901. In connection with serious health problems, the writing process was rather difficult, but nevertheless, in 1903 the work was completed. The first theatrical layout of the play took place in a year on the scene of the Moscow Art Theater, becoming the top of Czech's creativity as a playwright and the textual classics of the theater repertoire.
Analysis of the play
Description of the work
The action takes place in the childbirth estate of Lyubov Andreyevna Ranevskaya, who returned from France with her young daughter Anha. In the railway station, they are met by Gaev (Brother Ranevskaya) and cooking (her receptional daughter).
The financial situation of the Ranevsky family is nearing full collapse. Entrepreneur Lopahin offers its version of solving the problem - break the land plot on the PAI and give them to the use of dachensons for a specific fee. The lady is in this proposal, because for this you will have to say goodbye to her beloved cherry garden, with a lot of warm memories of youth. Adds tragism the fact that her beloved son Grisha was killed in this garden. Gaev, imbued with the experiences of the sister, encourages her promise that their generic estate will not be put up for sale.
The action of the second part occurs on the street, in the yard of the estate. Lopakhin, with his characteristic pragmaticity, continues to insist on its plan to save the estate, but no one pays attention to him. Everyone switches to Peter Trofimova's Teacher who appeared. He utters an agitated speech dedicated to the fate of Russia, its future and affects the topic of happiness in the philosophical context. Materialist Lopakhin skeptically perceives the young teacher, and it turns out that only one Anya can penetrate him with sublime ideas.
The third action begins the fact that Ranevskaya for the last money invites the orchestra and suits the dance evening. Gaev and Lopakhin are absent - they left for the city for trading, where the Ranevian estate should go from the hammer. After a vast expectation, the love of Andreevna learns that her estate was bought at the bidding with a blades, which does not hide joy from his acquisition. The Ranevskaya family comes to despair.
The final is devoted to the departure of the Ranevskaya family from their home home. The parting scene is shown with all the inherent in Chekhov deep psychologism. The play ends with a surprisingly deep in the content of the monologue of the company, which the owners in the hurry forgot in the estate. The final chord sounds a knock of the ax. Chop the cherry garden.
main characters
Sentimental features, the owner of the estate. Having lived several years abroad, she got used to a luxurious life and inertia continues to allow much that with the deplorable state of its finance according to the logic of common sense should be inaccessible to her. Being a frivolous special, very helpless in everyday matters, Ranevskaya does not want to change anything in themselves, while she completely gives itself a report in their weaknesses and disadvantages.
A succeeding merchant, many of the Ranevskaya family. Its image is ambiguous - it combines hardworking, calcality, enterprise, and rudeness, "Menietic" beginning. In the final of the play, Lopahin does not share the feelings of Ranevskaya, he is happy that despite the peasant origin, he was able to allow buying the owners of his late father.
Like its sister, very sensitive and sentimental. Being an idealist and romantic, for the consolation of Ranevskaya, inventy fantastic plans to save the generic estate. It is emotional, verbally, but at the same time completely lackless.
Peter Trofimov
Eternal student, nihilist, an eloquent representative of the Russian intelligentsia, taking advantage of Russia's development only in words. In the pursuit of "Higher True", he denies love, considering it a small and ghostly feeling than immensely upset his daughter's daughter Ranevskaya Anya.
Romantic 17-year-old young lady, which fell under the influence of populist Peter Trofimov. It is furiously believing in the best life after the sale of the parental estate, Anya is ready for any difficulties for the sake of joint happiness next to the beloved.
87-year-old old man, lacquer in the Ranevsky's house. The type of servant of the old time surrounds the deceing care of their owners. It remained to serve his gentlemen even after the cancellation of serfdom.
Young lacquer, with contempt relating to Russia, dreaming of going abroad. A cynical and cruel man, Hamit, an old Fours, is irrevocably belonging to his native mother.
Structure of the work
The structure of the play is pretty simple - 4 actions without division into separate scenes. Time actions - a few months, from the end of the spring through the middle of the autumn. In the first action there is an exposition and the tie, in the second - the increase in the voltage, in the third - the climax (selling of the estate), in the fourth - the omission. A characteristic feature of the play is the lack of genuine external conflict, dynamism, unpredictable turns of the storyline. Author's remarks, monologues, pauses and some innovation give the play in a unique atmosphere of exquisite Lorism. Artistic realism of the play is achieved due to the alternation of dramatic and comic scenes.
(Scene from modern production)
The play is dominated by the development of an emotional and psychological plan, the main engine of the action is the internal experiences of the heroes. The author expands the artwork of the work through the introduction of a large number of characters that will not appear on the scene. Also, the effect of expanding spatial boundaries gives a symmetrical emerging the theme of France, which gives the archer form of the play.
Final output
The last play of Chekhov, can be said - his "swan song". The novelty of her dramatic language is a direct expression of a special Chekhov life concept, which is characterized by extraordinary attention to small, at first glance, minor details, focusing on the internal experiences of heroes.
In the play "Cherry Garden" the author captured the state of the critical disunity of the Russian society of its time, this sad factor is often present in the scenes, where the characters hear only themselves, creating only the visibility of interaction.