Contrasting true and false patriotism in the novel War and Peace. The composition "antithesis as an artistic means (on the example of the novel l
main topic the novel "War and Peace" - the image of the feat of the Russian people in Patriotic War 1812 The author speaks in his novel both about the faithful sons of the fatherland and about false patriots who think only of their own selfishness. Tolstoy uses the technique of antithesis to depict both the events and the heroes of the novel. Let's follow the events of the novel.
In the first volume, he talks about the war with Napoleon in 1805-1807, where Russia (an ally of Austria and Prussia) was defeated. There is a war going on. In Austria, General Mack is defeated at Ulm. The Austrian army surrendered. The threat of defeat hung over the Russian army. And then Kutuzov decided to send Bagration with four thousand soldiers through the rugged Bohemian mountains to meet the French. Bagration had to quickly make a difficult transition and detain the forty-thousandth French army until the arrival of Kutuzov. His detachment had to accomplish a great feat to save the Russian army.
Thus, the author brings the reader to the depiction of the first great battle. In this battle, as always, Dolokhov is daring and fearless. Dolokhov's courage is manifested in the battle, where "he killed one Frenchman point-blank, the first to take the surrendered officer by the collar." But after that he goes to the regimental commander and reports on his "trophies": "Please remember, your excellency!" Then he untied the handkerchief, tugged at it and showed caked blood: "Wound with a bayonet, I stayed at the front. Remember, your excellency." Everywhere, always, he remembers first of all about himself, only about himself, everything that he does, does for himself.
We are not surprised by Zherekhov's behavior either. When, in the midst of the battle, Bagration sent him with an important order to the general of the left flank, he did not go forward, where the shooting was heard, but began to look for the general away from the battle. Due to an unspoken order, the French cut off the Russian hussars, many were killed and wounded. There are many such officers. They are not cowards, but they do not know how to forget themselves, their careers and personal interests for the sake of a common cause. But the Russian army consisted not only of such officers.
In the chapters depicting the Battle of Shengraben, we meet true heroes... Here he is sitting, the hero of this battle, the hero of this "case", small, thin and dirty, sitting barefoot, taking off his boots. This is artillery officer Tushin. "With big, intelligent and kind eyes, he looks at the chiefs who have entered and tries to joke:" The soldiers say that they are more agile when they take off their shoes, and he is embarrassed, feeling that the joke has failed. "
Tolstoy does everything to make Captain Tushin appear before us in the most unheroic, even ridiculous form. But this one funny man was the hero of the day. Prince Andrey will rightly say about him: "We owe the success of the day most of all to the action of this battery and the heroic staunchness of Captain Tushin with the company." The second hero of the Shengraben battle is Timokhin. He appears at the very moment when the soldiers succumbed to panic and fled. Everything seemed lost. But at that moment the French, advancing on ours, suddenly ran back, and Russian riflemen appeared in the forest. It was Timokhin's company. And only thanks to Timokhin did the Russians have the opportunity to return and gather battalions.
Courage is varied. There are many people who are unrestrainedly brave in battle, but lost in everyday life. Through the images of Tushin and Timokhin, Tolstoy teaches the reader to see for real brave people, their low-key heroism, their great will, which helps to overcome fear and win battles.
In the war of 1812, when every soldier fought for his home, for his family and friends, for his homeland, the consciousness of danger "multiplied" strength. The further Napoleon advanced into the interior of Russia, the more the strength of the Russian army grew, the more the French army weakened, turning into a gathering of thieves and marauders.
Only the will of the people, only popular patriotism, the "spirit of the army" makes the army invincible. This conclusion is made by Tolstoy in his immortal epic novel War and Peace.
The use of the antithesis technique by L. N. Tolstoy ("War and Peace") and F. M. Dostoevsky ("Crime and Punishment")
Antithesis is the basic ideological and compositional principle of "War and Peace" and "Crime and Punishment", already in their titles. It manifests itself at all levels artistic text: from problematics to building a system of characters and techniques psychological image... However, in the very use of the antithesis, Tolstoy and Dostoevsky often demonstrate different method... The origins of this difference are in their views on humans. The works of Tolstoy and Dostoevsky themselves contain a problem: the titles are ambiguous, polysemantic.
The word "war" means in "War and Peace" not only military actions, not only events taking place on the battlefield; war can take place in Everyday life people (remember such a war because of the inheritance of Count Bezukhov) and even their souls. The word "peace" is even richer in meaning: peace as the antithesis to war and peace as a community of people. The title of the final edition of Leo Tolstoy's novel was War and Peace, that is, peace as the antithesis of war. But in numerous drafts and sketches, Tolstoy varies the spelling of this word, as if hesitating.
The very combination of "war and peace" we can find in Pushkin's Boris Godunov: "Describe, without further ado, All that you will witness in life: War and peace, rule of sovereigns, Holy miracles". Already in Pushkin context the combination of "war and peace" becomes the key to the historical process as a whole. Thus, the world is a universal category, this is life, this is the universe. On the other hand, it is quite clear that the concepts of crime and punishment are of interest to Dostoevsky not in their narrow legal sense. "Crime and Punishment" is a work that sets deep philosophical and moral issues.
Art space Tolstoy's novel is, as it were, limited to two poles: on one pole - good and peace, uniting people, on the other - evil and enmity, separating people. Tolstoy tests his heroes from the point of view of the law of "the continuous movement of the personality in time." Heroes, capable of spiritual movement, to internal changes, according to the author, carry the principles of "living life" and the world. The heroes are immobile, unable to feel and understand the inner laws of life, are assessed by Tolstoy as carriers of the outbreak of war and discord. In his novel, Tolstoy sharply contrasts these characters.
So, it is not for nothing that Tolstoy compares the salon of Anna Pavlovna Sherer with a spinning workshop, with a soulless machine. The antithesis "correctness - incorrectness", "external beauty - living charm" runs through the entire novel. For Tolstoy, the irregular and even ugly features of Natasha's face are much more attractive than the antique beauty of Helene, Natasha's cheerful (albeit out of place) laugh is a thousand times sweeter than Helen's "unchanging" smile. In the behavior of the heroes, the author also opposes the spontaneous to the rational, the natural to the theatrical.
For Tolstoy, Natasha's "mistakes" are much more natural and natural than Sonya's rational behavior. The finished embodiment of the beginning of the war in the novel was Napoleon. He not only constantly plays for the audience, but also remains an actor alone with himself. He thinks of himself as a great commander, focusing on some antique samples. The complete antipode of Napoleon is in the novel by Kutuzov.
He is the true exponent of the spirit of the nation. "Family thought" contrasts the Rostov family with the "clan" of the Kuragin. The antithesis "false - true" is used by Tolstoy and in depicting mental movements their heroes. So, Pierre in a duel, feeling all the stupidity and falsity of the situation, does nothing to resolve it successfully, but demands "to start as soon as possible" and strenuously loads his pistol. Unlike Tolstoy's heroes, Dostoevsky's heroes are never portrayed unambiguously: Dostoevsky's man is always contradictory, incomprehensible to the end. His heroes combine two abysses at once: an abyss of goodness, compassion, sacrifice and an abyss of evil, selfishness, individualism, and vice. Each of the heroes has two ideals: the ideal of the Madonna and the ideal of Sodom. The content of "Crime and Punishment" is the trial of Raskolnikov, the internal court, the court of conscience. The techniques that Dostoevsky uses in creating figurative system his works differ from Tolstoy's techniques.
Dostoevsky resorts to the technique of double portraiture. Moreover, the first portrait, more generalized, usually argues with the second. So, before the crime was committed, the author talks about the beauty of Raskolnikov, about his beautiful eyes... But the crime not only stained his soul, but also left a tragic imprint on his face. This time we have a portrait of a murderer. In Dostoevsky's novel, it is not the heroes who argue, but their ideas. Thus, we see that the antithesis as artistic device proved to be very productive for two of the greatest realist artists, Tolstoy and Dostoevsky.
The role of antithesis in the novel. L.N. Tolstoy is a classic of world literature, greatest master psychologism, the creator of the Romaya epic genre, skillfully using the means of artistic depiction. One of Tolstoy's basic ideological and compositional techniques is antithesis. The functions of the antithesis in War and Peace are very diverse. This stylistic technique underlies the principle of composition, a system of characters is built on it, with its help artistic images and is revealed inner world actors.
Reception of the antithesis is at the heart of the construction of the character system. The heroes are contrasted on the basis of the "naturalness" or "falsity" of their natures.
Tolstoy's heroes, embodying naturalness, the truth of life have no doubts. Angular, impetuous, with irregular features, Natasha Rostova is the embodiment of the beauty of being. Despite her lordly upbringing, she personifies folk traditions. Natasha, a gifted nature, is loved by everyone, spontaneous in feelings, simple, feminine, truthful. Her caring soul was completely dissolved in the anxieties of 1812, in the common misfortune of the people and their heroic deeds. Especially revealed mental qualities Natasha courting the dying Prince Andrey. The Rostovs were late in leaving Moscow, and Natasha insisted that the wing and half of the house be provided for the wounded soldiers. Natasha devoted all of herself to this business, nowhere, in no way emphasizing her merits, not saying phrases about patriotism and duty. It is simple and natural, just as simple and natural are Russian soldiers who perform feats without a single thought of glory. They, like Platon Karataev and Field Marshal Kutuzov, are endowed by nature with an intuitive knowledge of the truth. Kutuzov appears in the novel as the embodiment of the author's philosophy of history. Tolstoy creates a lively, full of charm, the image of a commander. The main advantages of Kutuzov are naturalness and simplicity. He does not play a role, but lives. He can cry from both frustration and joy. It is Kutuzov's simplicity that allows him to feel like a part of “paradise” and not interfere with the movement of history.
These heroes are contrasted with the skillful "poser" Napoleon in the novel - the embodiment of extreme individualism. He seeks to impose his will on the world. Tolstoy's image of Napoleon is not devoid of grotesque and satirical coloring. He is characterized by theatrical behavior, narcissism, vanity (depicts tenderly loving father, although I have never seen my son). Many people from secular society spiritually similar to Napoleon, especially the Kuragin family. All members of this family aggressively interfere in the lives of other people, try to impose their desires on them, use the rest to satisfy their own needs (Pierre called this family "a mean, heartless breed"). Also close to Napoleon are the Russian emperor Alexander, who does not understand the moods prevailing in the Russian army, the dignitary Speransky, the maid of honor Anna Pavlovna Sherer, who plays patriotism, Boris Drubetskoy, a careerist, the calculating Julie Karagina, and many others. All of them are internally empty, insensitive, yearn for fame, care about their careers, love to talk a lot and beautifully.
Seeking heroes of Tolstoy Pierre Bezukhov and Andrei Bolkonsky go through a difficult spiritual path in search of truth. They are carried away by false ideas, err, change internally, and eventually approach the ideal of simplicity.
Both Pierre and Andrei Bolkonsky are freed from petty selfish feelings and come to understand the true values of life. And ordinary Russian people help them in this. Prince Andrey - Captain Tushin and the artillery soldiers subordinate to him, whom the prince met in the battle of Shengraben. Pierre - the soldiers whom he sees on the Borodino field and then in captivity, especially Platon Karataev. Observing Karataev, who accepts life as it is, Pierre begins to understand that the meaning of life lies in it itself, in its natural joys, in humble acceptance of the troubles that befall a person.
Prince Andrey, mortally wounded at Borodino, acquires endless love for all people, and then, on the eve of his death, a complete detachment from earthly worries and worries, the highest peace.
The images of nature in War and Peace are symbols of the highest harmony, revelations about the truth of the world. They are opposed to vanity, selfishness, immutability of people's lives, alien spiritual aspirations. Captured by the French, experiencing the horror of being shot, Pierre Bezukhov understands that the main value that is not subject to anyone is his immortal soul. This liberating feeling comes to him when he contemplates the starry night sky. Devastated, lost the meaning of existence, Andrei Bolkonsky meets an old oak on the road. The same oak that has sprouted young shoots symbolizes the rebirth of Bolkonsky after the wind with Natasha Rostova in the Otradnoye estate, where he accidentally overheard Natasha's conversation, excited by her beauty summer night, with Sonya.
The "historical" chapters in the novel are contrasted with chapters describing " living life", Carried out despite the invasion of Napoleon (it is noteworthy that Tolstoy describes in equal detail Battle of Austerlitz, the Battle of Borodino and Natasha's first ball, the hunt of the old Count Rostov, giving these events the same place in history). This antithesis manifests itself at the compositional level. Tolstoy needs to show the contrast between a false life and a true life, and he combines various episodes in the novel in such a way that this contrast becomes especially obvious. So, after depicting the unnatural meeting of the heads of two states (Napoleon and Alexander I), the writer abruptly turns to describing the meeting between Natasha and Andrei Bolkonsky.
But in addition to the composition and system of characters, the method of antithesis is also used to characterize the images of the heroes themselves, to highlight their most striking individual traits. In War and Peace, this is most clearly manifested when comparing the images of Napoleon and Kutuzov (which are symbols that determine the direction of movement of all other heroes). In every feature of the portrait, behavior, manner of speaking and holding, there is a huge difference between these characters. Napoleon is unpleasantly fat (fat thighs, belly, white full neck), strong. And if Napoleon emphasizes sleekness, constant care for the body, then in Kutuzov - old man's fullness, flabbiness, physical weakness, which is quite natural for a person of his age. Napoleon's gait is smug, assertive, he calls the painful trembling of his left calf a great sign. Kutuzov walks awkwardly, badly, sits awkwardly in the saddle. During the Battle of Borodino, when Napoleon, fussing and worrying, gives many senseless and contradictory orders, Kutuzov gives almost no orders, leaving the battle to God's will. In Kutuzov, the contradiction between an ordinary, unremarkable appearance and a heroic essence is emphasized. In Napoleon, on the contrary, there is a contradiction between the claim to a great role in history and an empty, inanimate entity.
Thus, the method of antithesis plays an important role in the novel War and Peace. At the ideological and compositional level, it helps to distinguish between good and evil, to show the danger of egoistic separation of people, to outline the ways of moral improvement of the individual, i.e. serves as a means of expression author's position in the novel.
L.N. Tolstoy is a classic of world literature, the greatest master of psychology, the creator of the epic novel genre, skillfully using the means of artistic depiction. One of Tolstoy's main ideological and compositional techniques is antithesis. The functions of the antithesis in War and Peace are very diverse. This stylistic device underlies the principle of composition, a system of characters is built on it, with its help artistic images are created and the inner world of the characters is revealed.
Reception of the antithesis is at the heart of the construction of the character system. The heroes are contrasted on the basis of the "naturalness" or "falsity" of their natures.
Tolstoy's heroes, embodying naturalness, the truth of life, have no doubts. Angular, impetuous, with irregular features, Natasha Rostova is the embodiment of the beauty of being. Despite her lordly upbringing, she personifies folk traditions... Natasha, a gifted nature, is loved by everyone, spontaneous in feelings, simple, feminine, truthful. Her caring soul was completely dissolved in the anxieties of 1812, in the common misfortune of the people and their heroic deeds. Natasha's spiritual qualities were especially revealed in courting the dying Prince Andrei. The Rostovs were late in leaving Moscow, and Natasha insisted that the wing and half of the house be provided for the wounded soldiers. Natasha devoted all of herself to this matter, nowhere, in no way emphasizing her merits, not saying phrases about patriotism and duty. It is simple and natural, just as simple and natural are Russian soldiers who perform feats without a single thought of glory. They, like Platon Karataev and Field Marshal Kutuzov, are endowed by nature with an intuitive knowledge of the truth. Kutuzov appears in the novel as the embodiment of the author's philosophy of history. Tolstoy creates a lively, full of charm, the image of a commander. The main advantages of Kutuzov are naturalness and simplicity. He does not play a role, but lives. He can cry from both frustration and joy. It is the simplicity of Kutuzov that allows him to feel like a part of "paradise" and not interfere with the movement of history.
These heroes are contrasted with the skillful "poser" Napoleon in the novel - the embodiment of extreme individualism. He seeks to impose his will on the world. Tolstoy's image of Napoleon is not devoid of grotesque and satirical coloring. He is characterized by theatrical behavior, narcissism, vanity (depicts a tenderly loving father, although he has never seen his son). Many people from secular society are spiritually similar to Napoleon, especially the Kuragin family. All members of this family aggressively interfere in the lives of other people, try to impose their desires on them, use the rest to satisfy their own needs (Pierre called this family "a mean, heartless breed"). Also close to Napoleon are the Russian emperor Alexander, who does not understand the moods prevailing in the Russian army, the dignitary Speransky, the maid of honor Anna Pavlovna Sherer, who plays patriotism, Boris Drubetskoy, a careerist, the calculating Julie Karagina, and many others. All of them are internally empty, insensitive, yearn for fame, care about their careers, love to talk a lot and beautifully.
The seeking heroes of Tolstoy, Pierre Bezukhov and Andrei Bolkonsky, go through a difficult spiritual path in search of truth. They are carried away by false ideas, err, change internally, and eventually approach the ideal of simplicity.
Both Pierre and Andrei Bolkonsky are freed from petty selfish feelings and come to understand the true values of life. And ordinary Russian people help them in this. Prince Andrey - Captain Tushin and the artillery soldiers subordinate to him, whom the prince met in the battle of Shengraben. Pierre - the soldiers whom he sees on the Borodino field and then in captivity, especially Platon Karataev. Observing Karataev, who accepts life as it is, Pierre begins to understand that the meaning of life lies in it itself, in its natural joys, in humble acceptance of the troubles that befall a person.
Prince Andrey, mortally wounded at Borodino, acquires endless love for all people, and then, on the eve of his death, a complete detachment from earthly worries and worries, the highest peace.
The images of nature in "War and Peace" are symbols of the highest harmony, revelations about the truth of the world. They are opposed to vanity, selfishness, immutability of people's lives, alien spiritual aspirations. Captured by the French, experiencing the horror of being shot, Pierre Bezukhov understands that the main value that is not subject to anyone is his immortal soul. This liberating feeling comes to him when he contemplates the starry night sky. Devastated, lost the meaning of existence, Andrei Bolkonsky meets an old oak on the road. The same oak, which has sprouted young shoots, symbolizes the revival of Bolkonsky after meeting with Natasha Rostova in the Otradnoye estate, where he accidentally overheard a conversation between Natasha, excited by the beauty of a summer night, with Sonya.
The "historical" chapters in the novel are contrasted with chapters describing the "living life" carried out despite Napoleon's invasion (it is noteworthy that Tolstoy equally detailed the Battle of Austerlitz, the Battle of Borodino and Natasha's first ball, the hunt of the old Count Rostov, giving these events the same place in stories). This antithesis manifests itself at the compositional level. Tolstoy needs to show the contrast between a false life and a true life, and he combines various episodes in the novel in such a way that this contrast becomes especially obvious. So, after depicting the unnatural meeting of the heads of two states (Napoleon and Alexander I), the writer abruptly switches to describing the meeting of Natasha and Andrei Bolkonsky.
But in addition to the composition and system of characters, the method of antithesis is also used to characterize the images of the heroes themselves, to highlight their most striking individual traits. In War and Peace, this is most clearly manifested when comparing the images of Napoleon and Kutuzov (which are symbols that determine the direction of movement of all other heroes). In every feature of the portrait, behavior, manner of speaking and holding, there is a huge difference between these characters. Napoleon is unpleasantly fat (fat thighs, belly, white full neck), strong. And if Napoleon emphasizes sleekness, constant care for the body, then in Kutuzov - old man's fullness, flabbiness, physical weakness, which is quite natural for a person of his age. Napoleon's gait is smug, assertive, he calls the painful trembling of his left calf a great sign. Kutuzov walks awkwardly, badly, sits awkwardly in the saddle. During the Battle of Borodino, when Napoleon, fussing and worrying, gives many senseless and contradictory orders, Kutuzov gives almost no orders, leaving the battle to God's will. In Kutuzov, the contradiction between an ordinary, unremarkable appearance and a heroic essence is emphasized. In Napoleon, on the contrary, there is a contradiction between the claim to a great role in history and an empty, inanimate entity.
Thus, the method of antithesis plays an important role in the novel War and Peace. At the ideological and compositional level, it helps to distinguish between good and evil, to show the danger of egoistic separation of people, to outline the ways of moral improvement of the individual, i.e. serves as a means of expressing the author's position in the novel.
Antithesis (opposition) is one of the most frequently used techniques used to reveal images in fiction... The essence of antithesis as a trope consists in juxtaposing opposites, concepts or images that are antagonistic to each other. One of the most striking works based on the method of opposition is the novel by L.N.
Tolstoy "and the world." In it, the antithesis is the main technique, laid in the foundation for building a system of images. All the characters in the epic novel can be quite unambiguously divided into two camps, or two worlds - "living" and "dead".
The action in the novel unfolds in two parallel planes - the plane of "peace" and the plane of "war". For each of the planes, the author chooses certain differentiations of the heroes, the belonging to the “dead” or “living” principle is determined. When describing the world, the dominant criterion, on the basis of which the characters are opposed, is the attitude towards the family, towards children.
In a "dead" world, where everything is subordinated to a single goal, which is to increase one's own fortune by any means, marriage is only one of the possible means. It is not difficult for anyone belonging to this camp to step over the family, as well as through other moral foundations. In this respect, the most striking image is Helene. The only purpose, with whom she married Pierre Bezukhov - the heir to the entire fortune of Count Bezukhov, was receiving part of the inheritance.
Breaking up with her husband and receiving more than half of his wealth is the logical conclusion of the intrigue she built. As an example of the absolute insignificance of moral foundations for the representatives of the "dead" world, one can cite the scene of the "fight" for the mosaic portfolio of the dying Count Bezukhov. Drubetskoy, equally striving to win the "battle" by any means.
Quite the opposite attitude to moral values reigns in the "living" world. For his representatives, the family, children are the highest, become the true goal human life... Most revealing in this respect the Rostov family, the atmosphere in which - love and complete mutual understanding - is directly opposite to intrigue, envy and anger in the Kuragin family. The Rostovs' house is open to everyone, and anyone who comes to them will be received with due kindness and cordiality.
It is no coincidence that after returning from the front, Nikolai Rostov goes exactly to parental home... The difference between the attitude towards children in the Kuragin and Rostov families is also characteristic. Prince Vasily's only desire is to get rid of the "calm fool" Hippolytus and the "restless fool" Anatole as soon as possible, while also increasing his fortune. On the contrary, for the Rostovs, children are of great value and no child can be unloved.
But besides the plane of the world in the novel there is a plane of war, where the heroes appear in a completely different incarnation. The main criterion in this plane, according to which the division of people into "camps" takes place, is the attitude towards the Motherland, the manifestation of patriotism. The "living" world is the world of true patriots, whose feelings towards the Motherland are completely sincere and genuine.
Andrei Bolkonsky is not guided by any other considerations, except for the thought of defending the Fatherland, when he is trying to resist the general panic and retreat at Austerlitz. Prince Andrew does not think about promotion or rewards, he obeys only his own sense of duty. The complete opposite Boris Drubetskoy is Andrei Bolkonsky.
He sees his main task not to defend the Fatherland, but to advance in the service, and not by merit on the battlefield, but by flattery, hypocrisy, and sycophancy in relation to the authorities. For him, the fate of people does not mean anything, he is ready to sacrifice them for the sake of his own promotion and presentation for a reward. The Rostovs are showing patriotism in a slightly different form. Nikolai cannot kill a person, regardless of which side he is on, but when retreating from Moscow, the Rostovs sacrifice their own property to save the wounded.
Berg behaves completely differently. Taking advantage of the general misfortune and confusion, he manages to acquire a "wardrobe" for a negligible price, and this "deal" becomes the subject of his pride. True patriotism also show heroes who do not belong to any of the worlds and act only in the plane of war, but also opposed to the "dead" camp.
The most indicative in this respect is Captain Tushin, and especially his perception of his heroism. he did not even think about the heroic essence of his act - on the contrary, he tries to justify himself and asks for help from Andrei Bolkonsky. According to Tolstoy, a true patriot does not even notice the fact that he is performing a feat - for him it is only a duty to the Motherland, devoid of any heroic flair. The feat of both Tushin's battery and Raevsky's battery, performed by the most ordinary, unremarkable people, fits this definition.
Thus, the method of antithesis is basic for the construction of a system of images of the novel and the characteristics of the main characters. In fact, the antithesis, the opposition of the two worlds - "dead" and "living" - constitutes the basis of the work, determines its structure. And, building a novel on the principle of antithesis, L.
N. Tolstoy debunks the "dead" world, shows its inconsistency and affirms the human and Christian ideals by which the "living" world is guided.