"War and Peace": masterpiece or "Verious rubble"? Lion Tolstoy and his war and the world of the work of Lion of Tolstoy War and the world.

The rejection of traditional history, in particular the interpretation of the events of 1812, was gradually developed in thickness. The beginning of the 1860s is the time of a burst of interest in history, in particular to the era of Alexander I and Napoleonic Wars. The books dedicated to this era are published, historians read public lectures. Tolstoy does not remain aside: just at this time he approaches the historical novel. After reading the official work of the historian Alexander Mikhailovsky-Danilevsky, who painted Kutuzov, the faithful performer of the strategic ideas of Alexander I, Tolstoy expressed the desire to "draw up the true truthful history of Europe of the current century"; Work Adolf Thieres Adolf Tier (1797-1877) - French historian and politician. He was the first to write the scientific history of the French revolution, which was very popular - about 150 thousand copies were sold over half a century. He released the "history of consulate and empire" - detailed coverage of the era of Napoleon I. Tiere was a major political figure: he headed the government twice under the July monarchy and became the first president of the Third Republic. ⁠ Forced Tolstoy to devote entire pages of "War and Peace" by such a propalonian historiography. Extensive reasoning about the reasons, the war during the war, and in general, the power, moving nations, begin with a third volume, but fully crystallized in the second part of the epilogue of the novel, its theoretical conclusion, in which there is no place for Rostov, Bolkonsky, Bezukhov.

The main objection to the fat against the traditional interpretation of historical events (not only by Napoleonic Wars) is that the ideas, moods and orders of one person, in many respects caused by chance, cannot be genuine causes of large-scale phenomena. Tolstoy refuses to believe that the murder of hundreds of thousands of people may have the cause of the will of one person, whether it is great; He is more likely to believe that these hundreds of thousand manage some natural law, similar to those in the kingdom of animals. To the victory of Russia in the war with France, the connection of the set of Russian people, who individually can even be interpreted as selfish (for example, the desire to leave Moscow, which is about to enter the enemy), "however, they are unwilling to bring the invader. Transferring the emphasis from the activities of the rulers and heroes on the "homogeneous attachment of people", thicker anticipates French school "Annov", A group of French historians close to the journal "Annals of Economic and Social Theory". In the late 1920s, they formulated the principles of "new historical science": the story is not limited to political decrees and economic data, it is much more important to explore the privacy of a person, his worldview. "Annalists" first formulated the problem, and only then proceeded to the search for sources, expanded the concept of the source and used data from related disciplines. ⁠ which made a coup in the historiography of the XX century, and develops ideas Mikhail Pogodin Mikhail Petrovich Pogodin (1800-1875) - historian, prose, publisher of the magazine "Moskvatikan". Pogodin was born in the peasant family, and by the middle of the XIX century he became so influential figure that he gave advice to the emperor Nicholas I. Pogodin was considered the center of the literary Moscow, he published the Almana "Urania", in which Pushkin, Baratyan, Vyazemsky, Tyutchev published "Moskvatian" printed Gogol, Zhukovsky, Ostrovsky. The publisher divided the views of Slavophiles, developed the ideas of pancalavism, was close to the philosophical circle of Lubomuds. Pogodin professionally studied the history of ancient Russia, defended the concept, according to which the foundations of Russian statehood laid the Scandinavians. Assembled a valuable collection of ancient Russian documents, which the state was bought. ⁠ and partly Henry Thomas Side Henry Thomas Gloss (1821-1862) - English historian. His chief work is "the history of civilization in England" in which he creates his philosophy of history. By booze, the development of civilization has general principles and patterns, and even the most seemingly random event can be explained by objective reasons. The scientist builds the dependence of the progress of society from natural phenomena, disassembles the effect on it of climate, soil, food. "The history of civilization in England", which the shelter did not have time to finish, had a strong influence on historosophy, including Russian. ⁠ (both in their own way wrote about the unified laws of history and states). Another source of the historosophy of Tolstoy - the ideas of his friend, mathematics, chess player and the historian-amazing of Prince Sergey Urusov, obsessed with the discovery of "positive laws" of history and used these laws to the war of 1812 and the figure of Kutuzov. On the eve of the output of the sixth volume "War and Peace" (initially, the work was divided into six, and not four volumes) Turgenev wrote about the Tolstoy: "... maybe ... I managed a little thick - And instead of muddy philosophizing, let us drink a clean key water of your great talent. " The hopes of Turgenev were not justified: the Sixth Tom contained the quintessence of the historiosophical doctrine of Tolstoy.

Andrey Bolkonsky - Nobody, like any face of the novelist, not a writer of personalities or memoirs. I would be ashamed to be printed, if all my work would be to write off a portrait, to find out, remember

Lev Tolstoy

Partly the ideas of thick contradiction. Refusing to consider Napoleon or any other charismatic leader of the genius, changing the fate of the world, Tolstoy at the same time recognizes that others consider so much - and devotes many pages to this point. According to Efim Etkinda, "the novel is moving by actions and conversations of people who are all (or almost everything) are mistaken relative to their own role or the role of one who seems ruler 27 Etkind E. G. "Inner man" and external speech. Essays of psychopoethics of Russian literature of the XVIII-XIX centuries. M.: School "Languages \u200b\u200bof Russian Culture", 1998. C. 290. ⁠ . Tolstoy offers historians to "leave the kings, ministers and generals alone, and study homogeneous, infinitely small elements that are guided by the masses", but this prescription itself should not be: a significant part of his novel is dedicated to the kings, ministers and generals. However, in the end, Tolstoy makes judgments about these historical figures, according to whether they were expressive people. Kutuzov in his delay, reluctance to risk the lives of soldiers, leaving Moscow, the realization that the war was already won, coincided with the people's aspirations and understanding of the war. Ultimately, it is interesting to Tolstoy as a "representative of the Russian people", and not as a prince or commander.

However, the Tolstoy had to defend themselves from the criticism of the historical reliability of his novel, so to speak, on the other hand: he wrote about the reproaches that the "War of War and the World" does not show "the horrors of serfdom, laying a wing in the walls, a section of adult sons, Saltychikha, etc.. " Tolstoy objects that he did not find evidence of a special rampant "rarery" in numerous diaries, letters and legends studied by him: "In those days, they just loved, envied, they were looking for truths, virtues, were fond of passions; The same was a difficult mentally moral life, even sometimes more sophisticated than now, in the highest estate. " "The horrors of serfdom" for Tolstoy - what we would now be called "cranberries", stereotypes about Russian life and history.

Portrait of a lion thick. 1868

The novel "War and the World" is the largest work of Tolstoy, the top of his artistic creativity. According to the writer, he gave work on the novel "five years of incessant and exclusive labor, with the best conditions of life." In fact, this work continued even longer - from 1863 to 1869.

Starting in 1860, the historical novel "Decembrists", Lion Tolstoy wanted to tell about the time of the return of the Decembrists from the Siberian reference (mid of the 1850s.), And then he decided to portray the period of the Decembrists' uprising itself - 1825. This in turn led the writer to the thought of showing the epoch preceding the December uprising, that is, the Patriotic War of 1812 and events of even earlier pores - 1805-1807. So gradually the design of the work expanded and deepened until he acquired the form of a grandiose national heroic epic that had engulfed almost a quarter of a century of Russian life.

Pierre on Borodino field

The novel "War and the World" - a work equal to which is not in the whole world literature. With convincing force draws a lion thick courage and heroism of the Russian army, reflecting the blows of Napoleonic Halves. Injured by the consciousness of the rightness of their case, Russian warriors show unprecedented courage on the battlefield. Captain Tushina battery, left under Shengraban one on the battlefield, leads the whole day hurricane fire by the enemy, delaying his offensive. The legendary feats are killed by the Russian army on the Borodino field, where the fate of Moscow and all Russia was solved.

Lion Tolstoy shows that the power of the Russian army consisted not only in the courage of soldiers and military art of the commander, but also in supporting the entire people. "The goal of the people," said Lion Tolstoy, "there was one: to clean his land from the invasion." For the people there was no question - good or bad will be under the rule of the interventory. Life is incompatible with the domination of the interventory - this is what conviction lived in the soul of every Russian person. And in this - the origins of the extraordinary scope of the people's partisan movement and the "hidden warmth of patriotism", which defined the "spirit of troops" and the whole
countries. Hence the unstable strength of the "club of the People's War", which destroyed the enemy invasion.

"War and Peace" L.N. Tolstoy. The ball is in growth.

The war was a harsh test not only military power, but also the moral force of the people. And this test of the Russian people ended up with honor. With a sense of national pride shows a lion of thick courage, durability and spiritual nobility of the people who manifested in difficult years of war. To the people-Bogatyr, the best people of the noble society stretch to his life wisdom - Andrei Bolkonsky, Pierre Dzuhov, Natasha Rostov, Vasily Denisov and other heroes of Roman.

The secret to the people is the secret of huge cutuzov authority. The hated quarrel, the head of the court circles, the commander-in-chief of Kutuzov was strongly strong with his inseparable communications with the soldiers' mass, love of the people. The faithful son of the Motherland, he understood his whole being by the purpose of the Patriotic War, and therefore his activity was the best and complete expression of the will of the people.

Justice, however, requires noting that the Lion Tolstoy with all his amazing skills did not recreate the image of Kutuzov in all its versatility. Due to his false historical views, the writer in some copyright arguments dropped the image of the commander, underestimated its energy, foresight and strategic genius.

The fruit of erroneous views of the thick is in the novel, the image of a soldier of Plato Karataev. He is depicted by man submissive, indifferent, passive. In the soul of Karataev there is no protest against oppression, as not and burning hatred for the interventory. There were no Russian soldiers. Lion Tolstoy himself showed a powerful rise in nationwide activity and patriotism in his epic.

The epic "War and Peace" is a work in which the victorious spirit of the People's Liberation War is most fully embodied. With a huge force, the writer is captured by the Russian National Genius, the height of the self-consciousness and the military valor of the People-Warrior, the people of the hero.

Exhibits in the hall are located on the following sections:

1) "The image of war 1805-1807", 2) "From 1807 to 1812.", "Start of Patriotic War", 3) "1812. Borodino", 4) "People's War Dubube". The end of the Napoleonic invasion. Epilogue Roman. In the shop windows - materials characterizing the story of the creation of a novel, the creative laboratory of the writer, reviews about the novel.

Image of war 1805-1807

Anatole Kuragin. "War and Peace" 1866-1867

Exhibits illustrating the 1st volume of the novel, mainly dedicated to the war of 1805, are located on the wall on the left and on the scenes adjacent to the windows. Inspection should be started with the central simpleness, where the portrait of the thick 60s is exposed. And the review of A. M. Gorky about "War and the World".

On the simplest and on the right - artistic illustrations for the main events of this era (Shenagraben Battle, Austerlytsky Battle, etc.).

An outstanding interest in this section represents the illustrations of the artist M. S. Bashilova to the "War and Mire" approved by Tolstoy.

From 1807 by 1812, the beginning of the Patriotic War.

Pierre Duchevov

On the second wall of the hall, to the right of the entrance, - exhibits illustrating the 2nd and beginning of the 3rd volume of Roman "War and Peace" - the period between war 1805-1807. and the first stage of war 1812

1812 Borodino.

"War and Peace" L.N. Tolstoy. The militia build strengthening

On the central wall of the hall and simply adjacent to it, there are exhibits illustrating the formidable era of 1812, the events of which are imprinted in the third volume of the novel "War and Peace". The main theme of the novel is the theme of the People's War - reveals in paintings and illustrations dedicated to the Borodino battle and partisan movement.

The leading text to the section is the words of Tolstoy about Borodina: "Borodino battle is the best than the glory of Russian weapons. It is victory "(" War and Peace ", manuscript).

"Dubina People's War." The end of the Napoleonic invasion. Epilogue of the novel.

Natasha letters wounded into the yard of his house

On the fourth wall of the hall - exhibits illustrating the final stage of the war of 1812 - the defeat of French troops, the flight of the intervention from Moscow, their extermination by partisans. These events are described in the 4th Tome of Roman "War and Peace".

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© Gulin A.V., introductory article, 2003

© Nikolaev A.V., illustration, 2003

© Makeup series. Publishing House "Children's Literature", 2003

War and the world of Lion Tolstoy

From 1863 to 1869, near the ancient Tula in the silence of the Russian province was created, maybe the most unusual work in the entire history of domestic literature. The writer already known by that time, the prosperous landowner, the owner of the Nasal Polyana Count Lev Nikolayevich Tolstoy worked on a huge artistic book on the events of half a century ago, about the war of 1812.

Domestic literature knew before the story and novels inspired by the folk victory over Napoleon. Their authors often performed participants, eyewitnesses of those events. But Tolstoy - a man of the post-war generation, the grandson of General Ekaterininsky era and the son of the Russian officer of the beginning of the century - as he believed himself, wrote not a story, not a novel, not a historical chronicle. He sought to cover with a glance as if all the last era, show her in the experiences of hundreds of actors: fictional and really existed. Moreover, starting to this work, he did not think at all to limit himself in some time a temporary segment and recognized that he intends to spend many and many of his heroes through historical events 1805, 1807, 1812, 1825 and 1856. "The interchanges of the relations of these individuals," he said, "I can't foresee in any of these eras." The story about the past, according to his thought, was supposed to be completed in the present.

At that time, Tolstoy more than once, including himself, tried to explain the domestic nature of his year from the year of the increasing book. She threw the options for her preface to her and finally published an article in 1868, where he answered how it seemed to him, on those questions that his almost incredible work could cause his readers. And yet the spiritual core of this titanic work remained to the end is not named. "Those important is the good work of art," said the writer many years later, - that its main content in its entirety can only be expressed by them. " It seems that only once he managed to open the very essence of his plan. "The purpose of the artist," said Tolstoy in 1865, is not to dispense the question indisputably, but to make life love in countless, never exhaust all its manifestations. If I would tell me that I could write a novel, to [otor] I am indisputable I will defy the idea of \u200b\u200bme correctly leen on all social issues, I would not devote two hours of work on such a novel, but if I would tell me that what is that I will write, will read the present children in 20 years and will cry over it and laugh and love life, I would devote all my life to him and all my strength. "

Exceptional completeness, the joyful strength of the world weight was characterized by Tolstoy throughout the six years, when a new work was created. He loved his heroes, these "and young and old people, and men and women of that time," loved in their family everyday and events of the universal sweep, in their home silence and thunder of battles, idleness and writings, falls and take-offs ... He loved the historical era He dedicated his book, loved the country with his ancestors, loved the Russian people.

In all this, he was not tired of seeing the earthly, as he believed - the Divine, reality with her eternal movement, with her peace and passions. One of the main characters of the work - Andrei Bolkonsky in the moment of his mortal injury on the Borodino field experienced a feeling of the last burning attachment to everything that surrounds a man in the world: "I can't, I don't want to die, I love life, I love this grass, land, The air ... "These thoughts were not simply an emotional impulse of a person who saw the death face to face. They largely belonged not only to the hero of Tolstoy, but also his creator. That's the same, he himself infinitely treated at that time every moment of earthly existence. His grand creation of the 1860s from the beginning to the end penetrated a kind of faith in life. This concept is life - life - it became truly religious for him, received a special meaning.

The spiritual world of the future writer has developed in the peculiar era in that environment that the overwhelming number of outstanding figures gave Russia in all areas of her life. At the same time, here hotly were fond of the philosophical teachings of the West, digested under different types of new, very shaky ideals. Lowing in appearance, Orthodox, representatives of the chosen class were often very far from the original Russian Christianity. Breamed in childhood and educated in the Orthodox faith, Tolstoy for many years respectively belonged to the decent shrines. But his personal views were very different from those who confessed the Holy Rus and ordinary people of his era.

Still as soon as he believed all the soul into a kind of impersonal, a foggy deity, good without borders, which penetrates the universe. A man in nature seemed to him sinless and beautiful, created for joy and happiness on earth. Not the last role here was the writings of the beloved French novelist and the thinker of the XVIII century, Jean Jacques Rousseau, although perceived by Tolstoy in Russian soil and quite in Russian. The internal unconferencen of a separate person, war, disagreements in society, more - suffering as such looked from this point of view the fatal mistake, the generation of the main enemy of primitive bliss - civilization.

But this, according to his thoughts, the lost perfection of Tolstoy did not consider it forever lost. It seemed to him, it continues to be present in the world, and is very close, near. He probably could not have managed to clearly call his God, he was difficult in this and much later, already definitely consider himself the founder of a new religion. Meanwhile, his values \u200b\u200band the emotional sphere in the soul of a person were already the real idols. A tangible hearth shudder, his own pleasure or disgust was presented to him an unmistakable measure of good and evil. They believed the writer, were the echoes of the united for all living earthly deities - the source of love and happiness. He idolized the immediate feeling, experience, reflex - the highest physiological manifestations of life. In them, it was, according to his conviction, the only genuine life. All other things belonged to civilization - another, lifeless pole of being. And he dreamed that sooner or later, humanity will forget his civilized past, will acquire an infinite harmony. Perhaps then a completely different "sense civilization" will appear.

The era, when a new book was created, was alarming. It is often said that in the 60s of the XIX century, Russia stood before choosing a historic path. In fact, such a choice of the country made almost a thousand years earlier, with the adoption of Orthodoxy. Now the question was resolved, whether she stands in this choice whether as such. The abolition of serfdom, other government reforms responded in Russian society by real spiritual battles. The spirit of doubt and disclaim visited the once unified people. The European principle "How many people, so much truths," penetrating everywhere, gave rise to endless disputes. Appeared in many "new people", ready for their own whim to rebuild the life of the country. The Book of Tolstoy concluded a peculiar answer to such Napoleonic plans.

The Russian world of times of the Patriotic War with Napoleon was, according to the writer, the opposite of the spirit of the spirit of modernity was fulfilled. This clear, steady world of Tool in herself necessary for new Russia, in many ways forgotten durable spiritual guidelines. But Tolstoy himself was inclined to see in the national celebration of 1812 victory for the expensive religious values \u200b\u200bof the "living life". The writer seemed to be his own ideal - this is the ideal of the Russian people.

The events of the past, he sought to cover with unprecedented latter. As a rule, he watched and so that all of them said strictly to the smallest detail answered the facts of actual history. In the sense of documentary, the actual reliability, his book was noticeably losing the famous borders of literary creativity. She absorbed hundreds of innocent situations, the real statements of historical persons and the details of their behavior, many of the authentic documents of the era were placed in the artistic text. Tolstoy knew well essays of historians, read notes, memoirs, diaries of people began the XIX century.

Family legends, the impressions of childhood also mean a lot for him. Once he said that he writes "about the time that the smell and sound is heard and miles to us." The writer remembered, as in response to his children's questionings about his own grandfather, the old housekeeper of Praskovya Isaevna sometimes got "from the ward", fragile smoking - a berticle; It was probably incense. "According to her, he said," he said, - that this cleaned grandfather brought from under Ochakov. He lights a piece of paper from the icons and lights the fruit, and she smokes with a pleasant smell. " On the pages of the book about the past, a retired general, a participant in the war with Turkey in 1787-1791, the old prince Bolkonsky was like many features on this relative of Tolstoy - his grandfather, N. S. Volkonsky. Similarly, the old Graph Rostov resembled another grandfather of the writer, Ilya Andreevich. Princess Marya Bolkonskaya and Nikolai Rostov with his characters, by some of the circumstances of life, was given to the memory of his parents - the nee princess M. N. Volkonsky and N. I. Tolstoy.

Other actors, be it a modest artilleryrist Captain Tushin, a diplomat of Bilibin, the desperate soul of Doolohov or a relative of Rostova Sonya, the little princess Lisa Bolkonskaya, also had, as a rule, not one, but several real best practices. What to talk about Gusare Vaska Denisov, so similar (the writer, it seems, and did not hide it) on the famous poet and partisan Denis Davydov! The thoughts and aspirations of the really existed people, some features of their behavior and life turns were not difficult to distinguish between Andrei Bolkonsky and Pierre Beshov. But still put the sign of equality between the true face and the literary character turned out to be completely impossible. Tolstoy brilliantly knew how to create artistic types, characteristic of their time, medium, for Russian life as such. And each of them, to some extent, obeyed hidden in the very depths of the work by the author's religious ideal.

A year before the start of work on the book, thirty-four years old from the genus, Tolstoy married a girl from a prosperous Moscow family, the daughter of the court doctor Sophie Andreevna Bers. He was happy with his new position. In the 1860s, Tolsti was born sons Sergey, Ilya, Lev, Daughter Tatiana. Relations with his wife brought him an unknown force and completeness of feelings in the most subtle, volatile, sometimes dramatic shades. "I first thought," noticed three months after the wedding, "and now, married, even more convinced that in life, in all human relations, the basis of everything work is the drama of feelings, and reasoning, thought not only does not lead a sense and business , and fake beneath feeling. " In the diary of March 3, 1863, he continued to develop these new thoughts for him: "Ideal is harmony. One art feels it. And only the present, which takes itself a motto: no guilty in the world. Who is happy, that right! " His large-scale work of the following years has become a comprehensive statement of these thoughts.

In the youth, Tolstoy hit many who had a chance to find out, sharply disliked towards any distracted concepts. The idea, not attorable to feeling, unable to verify a person in tears and laughter, seemed to him stillborn. A judgment, free from direct experience, he called "phrase". Common problems set out of everyday, sensually distinguishable specifics, ironically called "questions." He liked to "catch on the phrase" in a friendly conversation or on the pages of the printed editions of the famous his contemporaries: Turgenev, Nekrasov. He also had merciless in this respect.

Now, in the 1860s, starting a new job, he all followed that there were no "civilized disturbances" in his story about the past. Tolstoy because he responded at that time with such irritation of the writings of historians (among them, for example, the works of A. I. Mikhailovsky-Danilevsky - Adjutant Kutuzov in 1812 and a brilliant military writer) that they, in his opinion, distorted their " scientists "tone, too" common "estimates a genuine picture of being. He himself sought to see the long-lasting days and days from a homely tangible private life, it doesn't matter - a general or a simple man, show people of 1812 in the only way for him, where the "shrine of feelings" lives and manifests itself. Everything else looked in the eyes of a thick contrived and not at all existing. He created on the material of genuine events as if a new reality, where his deity was, their universal laws. And he believed that the artistic world of his book was the most complete, finally found the truth of Russian history. "I believe in that," said the writer, completing his titanic work - that I opened a new truth. In this belief, I confirms me that the painful and joyful perseverance and excitement, with whom I worked in the continuation of seven years, opening a step by turning out what I consider the truth. "

The name "War and Peace" appeared at Tolstoy in 1867. It was made on the cover of six separate books, which came out for the two subsequent years (1868-1869). Initially, the work, according to the Wist of the Writer, later the revised, was divided into six volumes.

The meaning of this title is not immediately and is not fully revealed before the person of our time. A new spelling introduced by the revolutionary decree of 1918, a lot violated in the spiritual nature of the Russian letter, made it difficult for her understanding. Before the revolution in Russia there were two words "world", although related, but still different in meaning. One of them - MIP - answered material, subjectable concepts, meant certain phenomena: universe, galaxy, land, earthly ball, all light, society, community. Other - "Peace" - covered the concepts of moral: the lack of war, consent, dear, friendship, good, calm, silence. Tolstoy in the title used this is the second word.

The Orthodox tradition has long since seen in the concepts of peace and war, the reflection of the ever-irreconcilable spiritual began: God is a source of life, creation, love, truth, and his hater, the fallen angel of Satan - a source of death, destruction, hatred, lies. However, the war in the glory of God, to protect himself and the closest from the goggle aggression, whatever this aggression has taken, has always been understood as the righteous war. The words on the cover of the Tolstsky work could also be read as "Consent and Enmity", "Unity and Disagreement", "Floor and Disorder", ultimately - "God and the enemy of the human - Divolution." They apparently reflected the predetermined in its end (Satan only to the pores allowed to operate in the world) The Great Ecumenical Fight. But Tolstoy was still their deity and his hostile strength.

The words made in the title book reflected exactly the earthly faith of its creator. "Peace" and MIP For him, in fact, there were the same. The great poet of earthly happiness, Tolstoy wrote about life, as if never knew the sin, - the life that herself, according to his conviction, taled the resolution of all contradictions, gave a man eternal undoubted benefit. "Wonderful things are yours, Lord!" - they spoke for centuries generation Christians. And they repeated prayer: "Lord, nice!" "Long live all the world! (Die Ganze Welt Hoch!) "- Following the enthusiastic Austrian exclaimed Nicholas Rostov in Roman. It was difficult to express the exact idea of \u200b\u200bthe writer: "There is no guilty in the world." Man and earth, he believed, by nature, perfect and sinless.

At the angle of such concepts, the second word was obtained: "War". It began to sound like a "misunderstanding", "error", "absurd". The book about the most common ways of the Universe seems to reflect with all the completeness of the spiritual laws of genuine being. And yet it was a problem, in many respects generated by his own faith of the Great Creator. Words on the cover of the work in the most common features: "Civilization and natural life". Such faith could inspire only a very complicated artistic whole. It was difficult to reality his attitude. His hidden philosophy hid a large internal contradiction. But, as often happens in art, these difficulties and paradoxes have become the key to the creative discoveries of the highest sample, formed the basis of unparalleled realism in everything that concerned the emotionally and psychologically distinguishable parties to Russian life.

* * *

Almost in world literature there is still a work, so widely embraced by all the circumstances of the earth's existence. At the same time, Tolstoy always knew how to not just show changeable life situations, but also to imagine in these situations to the last degree truthfully "work" of feelings and reason in people of all ages, nationalities, ranks and provisions, always only in their nervous device. Not only the experiences in reality, but the unscrewing area of \u200b\u200bdreams, dreams, half fees were portrayed in the "war and the world" with unsurpassed art. This giant "Sleeping of Being" was distinguished by some exceptional, still unprecedented likelihood. Whatever the writer spoke - everything appeared like a living. And one of the main reasons for this dope, this gift of "clairvoyance of the flesh", as was once expressed by the philosopher and the writer D. S. Merezhkovsky, consisted in the constant poetic unity on the pages of the "war and the world" of the life of the inner and external.

The spiritual world of Tolstoy's heroes, as a rule, came into motion under the influence of external impressions, even stimuli, who gave rise to the most tense activity of the feeling and the next thought behind him. The sky of the Austerlitz, seen by the wounded Borodinsky field, the sounds and paints of the Borodino field, so hitting Pierre Dzuhov at the beginning of the battle, the hole on the chin of the French officer, taken in captivity, Nikolai Rostov, - Big and Small, even the smallest details as if tipped into the soul of one or another character, became "acting" the facts of his innermost life. In the "war and the world" almost no objective shown by the parties, paintings of nature. She also looked "such a partner" in the experiences of the heroes of the book.

Similarly, the inner life of any of the characters through unmistakably found features responded in external, as if he returned to the world. And then the reader (usually from the point of view of another hero) followed the changes in the face of Natasha Rostova, distinguished the shades of the voices of Prince Andrew, saw - and it seems to be the most striking example - the eyes of the princes Mary of Mary Bolkonsky during her farewell to the brother, leaving for war , Her meetings with Nikolai Rostov. So it arose like the highlighted from the inside, eternally permeated with feeling, only on the feeling of the picture of the universe. it the unity of the emotional world, reflected and perceivedIt looked like a thick as an inexhaustive light of the earthly deity - a source of life and morality in the "War and the World".

The writer believed: the ability of one person to "infect" the feelings of another, his ability to ride the voice of nature is direct echoes of all-pervasive love and good. He also wanted to "wake up" emotional, as he believed, the Divine, reader's susceptibility. Creativity was a truly religious thing for him.

Arguing the "shrine of feelings" is hardly not every description of the "war and the world", Tolstoy could not get around the party and the most difficult, painful theme of his life - the theme of death. In no Russian, nor in world literature, there is perhaps no more artist who would be so constantly, insistently thinking about the earthly end of all things, so tensely peered into death and showed it in different bleits. Not only the experience earlyly experienced losses of relatives and loved ones forced him again and again try to raise the veil over the most significant moment in the fate of all living things. And not only passionate interest in living matter in all without exception, including the deathly, its manifestations. If the basis of life is a feeling, then what happens to man at that time when his sensual abilities die together with the body?

The horror of death, which Tolstoy and before and after the "war and the world", of course, had to be experienced with an extraordinary, all being a stunning force, was rooted, obviously, in his earthly religion. It was not peculiar to every Christian fear for the coming fate in the afterlife. Do not explain it and such an understandable fear of suicide suffering, sadness from the inevitable parting with the world, with expensive and loved ones, with short joys released by man on earth. It is inevitably necessary to recall the thick-world ruler, the creator of the "new reality", for which his own death in the end and should mean no little wreck of the whole light.

The religion of feelings in its origins did not know the "Resurrection of the Dead and the Life of the Future Age." Waiting for personal being behind the coffin, from the point of view of Tolstovsky Pantheism (this word, for a long time, it was customary to call any deification of terrestrial, sensual being), it was necessary to seem inappropriate. So he thought then, so thought on the slope of his days. It remained to believe that the feeling, dying in one person, does not disappear at all, and merges with his absolute start, finds a continuation in the feelings of those who remained to live in all of nature.

In 1867, Lion Nikolayevich Tolstoy finished work on the development of "War and Peace". Speaking of his novel, Tolstoy admitted that in "War and the World" he "loved the thought of folk". The author poets the simplicity, kindness, morality of the people. Tolstoy sees the people the source of morality necessary for the whole society. S. P. Bychkov wrote: "According to the thoughts, the closer the nobles stand to the people, the sharper and brighter their patriotic feelings, richer and meaningful of their spiritual life. And, on the contrary, the farther they are from the people, the land and rustle their souls. , the unquesting on their moral principles. " ***

Lion Nikolayevich Tolstoy denied the opportunity to actively influence the person on history, since it is impossible to provide or change the direction of historical events, because they depend on all and from anyone separately. In his philosophical - historical retreats, Tolstoy considered the historical process as an amount folded from the "countless number of human arbitals", that is, the efforts of each person. The combination of these efforts is poured into the historical need, no one can cancel.

According to Tolstoy, the story makes masses, and its laws cannot depend on the desire of a separate historical person. Lydia Dmitrievna Opubovskaya wrote: "Tolstoy refuses to recognize by force, the leading historical development of mankind, whatever the" idea ", as well as the desire or power of individual, even if the" great "historical figures." There are laws that manage events, partly unknown , in part soldiers, "writes Tolstoy. - The discovery of these laws is possible only when we completely disgraced from finding the reasons in the will of one person, just as the opening of the laws of the motion of the planets became possible only when people were renounced from the idea of \u200b\u200bthe approval of the Earth. "

Before historians, Tolstoy puts the task "Instead of finding the reasons ... Laying laws." Tolstoy stopped in bewilderment before the awareness of the laws, which determine the "spontaneous" life of the people. According to his view, the participant of the historical event can not know any meaning and meaning, no matter however, the result of the actions performed. By virtue of this, no one can wisely manage historical events, but must obey the spontaneous, unreasonable go of them, as ancient Fatum obeyed.

However, the internal, objective meaning of the "war and the world" depicted in the "war and the world" led to the awareness of these patterns. In addition, in explaining specific historical phenomena, the thickness itself was very close to the definition of the actual forces who managed the events. Thus, the outcome of the war of 1812 was determined, from its point of view, not a mysterious and inaccessible human understanding of the Fatum, and the "Bubina of the People's War", acting with "simplicity" and "expediency." *** The people of Tolstoy acts as the Creator of History: Millionic masses of ordinary people, and not the heroes and commander do the story, move the society forward, create everything valuable in material and in spiritual life, makes all the great and heroic. And this thought is the "thought of people" - Tolstoy proves the example of the war of 1812.

Lev Nikolayevich Tolstoy denied war, argued with those who found the "beauty of horror" in the war. When describing the war of 1805, Tolstoy acts as a writer - pacifist, but when describing the war of 1812, the author passes to the position of patriotism. The war of 1812 appears in the image of Tolstoy as a war of people. The author creates many images of men, soldiers, the judgments of which are in aggregate constitute a folk care. The merchant of Ferapontov is convinced that the French will not be allowed to Moscow, "do not", but, having learned about the delivery of Moscow, he understands that "the race decided!". And if Russia is dying, then there is nothing to save his good. He shouts with soldiers to take his goods, if only nothing went to "devils". Men Carr and Vlas refused to sell the hay to the French, took the weapons and went into the partisans. During the grave tests for the Fatherland of the Motherland, the Motherland's defense becomes universal. All the heroes of the novel are checked from this side: whether they are animated with a nationwide feeling, whether they are ready for a feat, to a high sacrifice and selflessness.

In love for the Motherland, the patriotic feeling is equal to the prince Andrei Bolkonsky and the soldier of his regiment. But the prince Andrei is not only an universal feeling, but he knows how to say about him, analyze it, understands the general course of affairs. The mood of all the troops before the Borodino battle is it is able to appreciate and determine. The numerous participants in the majestic event themselves act on the same feeling, and not even unconsciously, they are simply very few of them.

"Soldiers in my battalion, believe it, did not drink vodka: not such a day, they say," that's all that the prince Andrei hears about the soldiers from Timokhina's battle commander. Pierre Duhov fully understands the meaning of "unclear" and also too short words of soldiers: "All the people want to fall, one word - Moscow. One end to make it wants." Soldiers express confidence in victory, readiness to die for their homeland. In the novel, "War and Peace" Tolstoy describes a war of 1812 only in Russia, a fair war. D. S. Likhachev wrote: "The historical side of the novel in its moral - the victorious part of the whole ends in Russia, and no event at the end of the novel goes beyond the Russian Earth. No in the" war and the world "nor the Leipzig battle of peoples or take Paris. This is emphasized by death at the most borders of Kutuzov. Then this folk hero "is not needed". Tolstoy in the actual side of events see the same popular concept of defensive war ... invading enemy, the invader cannot be kind and modest. Therefore, the ancient Russian historian does not need Have accurate information about Battered, Birger, Torkal Knutton, Magnus, Mamaa, Torkhantamyshe, Tamerlane, Edieca, Stefan Data or any other Estimation in the Russian land: It, naturally, due to just one of this his act, will be proud, self-confident, It is noted, there will be loud and empty phrases. The image of the invading enemy is determined only by his act - his invasion. On the contrary, the defender of the Fatherland will always be modest, will pray Before the campaign, it is waiting for help over and confident in its right. True, ethical truth on his side, and this is defined by his image. "***

In Tolstoy, it is useless to oppose the natural course of events, it is useless to try to fulfill the role of the fate of humanity. During the Borodino battle, from which much depended on the Russian, Kutuzov, "did not make any orders, but only agreed or did not agree to the fact that he was offered." In this apparent passivity, a deep mind of the commander, his wisdom appear. The insightful judgments of Andrei Bolkonsky are said and confirm:

"He will listen to everything, everything will remember, everything will not hurt any useful anything and it will not allow anything harmful. It understands that there is something stronger and more considerable to his will, is the inevitable course of events, and he knows how to see them, Able to understand their meaning and, in view of this, knows how to renounce participation in these events, from his personal willief directed to another. " Kutuzov knew that "the fate of the fighting is not ordered by the commander-in-chief, not the place where the troops cost, not the number of guns and killed people, and the elusive force, called the spirit of the troops, and he watched this force and led it as much as it was His power. " The nipsy with the people, the unity with simple people makes Kutuzov for the writer the ideal of a historic figure and a person's ideal.

It is always modest and simple. The winning pose, the actor to him alien. Kutuzov on the eve of the Borodino battle read the sentimental French Roman Madame Zhanlis "Knights Swan". He did not want to seem a great man - he was him. The behavior of Kutuzov is natural, the author constantly emphasizes his old weakness. Kutuzov in the novel - expressive of folk wisdom. His power is that he understands and well knows what the people worries, and acts according to this. The director of Kutuzov in his dispute with Benigsen on the Council in filients as it should be supported by the fact that the side of the "grandfather" of Kutuzov sympathy of the peasant girl Malashi. S. P. Bychkov wrote:

"Tolstoy, with the artist inherent in him, correctly guessed and superbly captured some features of the character of the great Russian commander of Kutuzov: his deep patriotic feelings, his love for the Russian people and hatred of the enemy, his proximity to the soldier. Contrary to false legend created by official historiography About Alexandra I - Savor of the Fatherland and allocated to Kutuzov, a secondary role in the war, Tolstoy restores the historical truth and shows Kutuzov as the leader of the Fair People's War. Kutuzov was associated with the people of close spiritual bonds, and this was his strength as a commander. "The source of the extraordinary force of insight In the meaning of the phenomena, "says Tolstoy about Kutuzov," he lay in the folk feeling that he wore in himself in all purity and strength. Only the recognition in it of this feeling forced the people with such strange ways of him, in the disgraces of the old man, to choose, against the will of the king, to the representative of the People's War. "***

In the "war and the world" are created as if two ideological center: Kutuzov and Napoleon. The idea of \u200b\u200bthe spread of Napoleon arose at a fat connection with the final understanding of the nature of the war of 1812 as a fair war from the Russians. The image of Napoleon is revealed to Tolstoy from the position of "thoughts of folk". S. P. Bychkov wrote: "In the war with Russia, Napoleon performed in the role of the invader, who sought to enslave the Russian people, he was an indirect killer of many people, this gloomy activity and did not give him, on the thought of the writer, the right to greatness.

Tolstoy twisted the legend of Napoleon from the standpoint of genuine humanism. From the first appearance of Napoleon in the novel, deeply negative traits of its character are revealed. Tolstoy thoroughly, the item for the detail, discharges the portrait of Napoleon, a forty-year-old, fattened and barish of a fused man, arrogant and self-free. "Round belly", "Fatty short legs", "White Punk Neck", "Skilled short figure" with a wide, "thick shoulders" - these are characteristic features of the appearance of Napoleon. When describing the morning toilet Napoleon, on the eve of the Borodino battle of Tolstoy, the disturbance character of the initial portrait characteristic of the emperor of France: "thick spin", "crossed fatty breasts", "Folded body", "swollen and yellow" face, "thick shoulders" - all these details are drawn A man who is far from labor life, dying, deeply alien to the basics of people's life. Napoleon was a selfishly self-flawed person, who was self-administratively considered that the whole universe will obey his will. People for him did not imagine interest. The writer with a subtle irony, sometimes turning into sarcasm, exposes the claims of Napoleon to world domination, its constant posing for history, his acting.

Napoleon played all the time, in his behavior and in his words there was nothing simple and natural. This is expressively shown in a thick in the scene of the admission of Napoleon. Portrait of a son on a Borodino field. Napoleon went to the portrait, feeling, "that what he says and will do now, - there is a story"; "His son in Bilbok played a globe" - The greatness of Napoleon was expressed in this, but he wanted to show "the most simple deceo tenderness." Of course, it was pure acting. He did not express here sincere feelings of the "fatherless tenderness", namely, I posted for the story, I was hijacked. This scene clearly reveals the arrogance of Napoleon, who believed that Russia would be conserved with the occupation of Moscow and his plans to conquer world domination would be implemented.

As a player and actor, the writer depicts Napoleon and in a number of subsequent episodes. On the eve of Borodin, Napoleon says: "Chess are delivered, the game will start tomorrow." On the day of the battle after the first cannon shots, the writer notes: "The game has begun." Next, Tolstoy shows that this "game" cost the lives of tens of thousands of people. So the bloody character of Napoleon's wars was revealed, who had sought to enslave the whole world. War is not a "game", but a cruel necessity, thinks Prince Andrei. And this included a fundamentally different approach to the war, the point of view of the peaceful people was forced to take up the weapons under the exceptional circumstances, when the harvest of enslave was hung over the birthplace. "***

The whole Russian people rose to the fight against invaders. Lion Nikolayevich Tolstoy believed that the role of a separate personality in history is insignificant that we create the history of the millions of ordinary people. Tushin and Tikhon Shcherbatoy - typical representatives of the Russian people, rising to the fight against the enemy. Lydia Dmitrievna Opubskaya wrote about Tushina: "Tolstoy deliberately and many times emphasizes the unbelief of his hero:" A small short man, a tushin officer, stumbling on a trunk, ran out forward, without noticing the general and peeping out - under the little handle ";" ... shouted He is a thin voice that he tried to give a moldiness that did not go to his figure. - Second, he regained. - Crush, Medvedev! ";" Little man, with weak, awkward movements ... ran out forward and looked at the French under a small handle. "Tolstoy was not confused by even the fact that the word" small "was twice used in one phrase. Following it - his formidable Order: "Clear guys! ", Although the shots make him" shout every time. "Then it will still be said about" weak, thin, indecisive voice. "However, the soldiers," as always in the battery company, two heads above their officer and twice the wider "(" As always, "this is Tolstoy saw in the Caucasus and in Sevastopol) -" Everything, as children in a difficult situation, looked at their commander, and the expression that was on his face was invariably reflected on their faces. "As a result, the author's description occurs Transfiguration: "He himself seemed to himself a great growth, a powerful man who ends with both hands by French kernels." The chapter ends unexpectedly, but quite in the spirit of the Tolstov ideas about the people of the feat:

"- Goodbye, darling," Tishin said, "a cute soul! Farewell, the darling," said Tushin with tears, which is unknown why suddenly spoke to his eyes. " Andrei Bolkonsky will have to defend Tushina before the bosses, and his words will be solemn already solemnly: "I was there and found two-thirds of people and horses kicked up, two weapons endorsal and no covers ... We are owned by the success of this battery and the Heroic Captain Stability Tushina with his mouth. " So from the contradictions, from the combination of "small" and "great", modest and truly heroic, the image of the ordinary defender of the Motherland is created. It is not difficult to see that the appearance of the head of the People's War - Kutuzov - is built on the same art law. "***

Tolstoy creates a bright image of a tireless guerrilla, a man of Tikhon Shcherbat, attached to the detachment of Denisov. Tikhon was distinguished by heroic health, huge physical strength and endurance. In the fight against the French, he manifests dexterity, courage and fearlessness. The story of Tikhon is characterized about how four Frenchmen "with herps" attacked him, and he went to them with an ax. This energizes the Frenchman - a fencing man and a Russian carbon black. Tikhon and there is an artistic concretization of "Bubina People's War". Lydia Dmitrievna Opubovskaya wrote: "Tikhon - the image is quite clear. He, as it would be personified by the" Congue of People's War ", which rose with the terrible force of the French man until all the invasion was died. He himself, voluntarily asked for a detachment Vasily Denisova. In the detachment that constantly attacked the enemy calls, there was a lot of weapons. But it was not necessary for Tikhon - he acts differently, and his fight with the French, when it was necessary to get a "language", quite in the spirit of the general reasoning of Tolstoy about popular liberation War: "Let's go, say to the Colonel. Howlogging. And they are four here. Rushed to me with skewers. I am on them with such a manner of the ax: that you, they say, Christ with you, "Tikhon cried out, scratching and grungely frowning, exposing the chest." ***

Folk patriotism Tolstoy contrasts lzpatrothism of secular nobility, the main purpose of which is to catch "crosses, rubles, ranks." The patriotism of the Moscow aristocrats was that they were eating Russian soup instead of French dishes, and for French words a fine was appointed. The appearance of Alexander I in the Tolstsky depiction is not a little. Damage features and hypocrisy, which were inherent in the "highest light", and manifest themselves in the nature of the king.

They are especially brightly visible in the scene of the sovereign to the army after the victory over the enemy. Alexander concludes Kutuzov in the arms, mumbling at the same time: "old comedian". S. P. Bychkov wrote: "No, not Alexander I was the" Savior of the Fatherland ", as it was dragged to portray the executed patriots, and not among the approaching king it was necessary to look for true organizers of the fight against the enemy. On the contrary, at the courtyard, in the nearest setting of the king, There was a group of candid prisoners led by the Grand Duke and Chancellor Rumyantsev, who was afraid of Napoleon and stood for conclusion with him the world. " ***

Plato Karataev is a computation of "all Russian, kind and round", patriarchy, humility, non-resistance, religiosity - all those qualities that Lion Nikolayevich Tolstoy in the Russian peasantry so appreciated. Lydia Dmitrievna Opubovskaya wrote: "Plato's image is more difficult and controversial, it is extremely much means for the entire historical - the philosophical concept of the book. Not more, however, than Tikhon Shcherbaty. Just this is the other side of the people's mind. ***

Patriotism and proximity to the people mostly inherent in Pierre Bezuhov, Prince Andrei Bolkonsky, Natasha Rostova. In the People's War of 1812, such a huge moral force was concluded, which purified and reborn the favorite heroes of Tolstoy, burned in their soul many estate prejudices, selfless feeling. In the Patriotic War, the fate of Prince Andrei goes the same way as fateful fate. Andrey Bolkonsky comes closer to simple soldiers. "He was called" our prince "to the regiment, they were proud and loved him," wrote Tolstoy. He begins to see the main purpose of man in serving people, people. Even before the war, 1812, Prince Andrei realized that the future of the people did not depend on the will of the rulers, but from the most norrive. Lydia Dmitrievna Opubovskaya wrote: "I already understood the inner springs of war, Andrei Bolkonsky was still mistaken about the world.

He was drawn into the top spheres of state life, "there, where the future was preparing, from which fate of millions." But the fate of millions decide not to Adam Charterzhsky, not Speransky, not the emperor Alexander, but these millions themselves are one of the main ideas of the Tolstovsky Philosophy of History. Meeting with Natasha Rostova and love for it clearly suggest Bolkonsky that converting plans of cold and self-confident Speransky can not make it, Prince Andrew, "happier and better" (and this is only more important in life!) And have nothing to do with his Bogucharov's life. men. So for the first time the people's point of view enters as a criterion in the consciousness of Bolkonsky. "***

Simple Russian soldiers also played a decisive role in the moral update of Pierre Duzhov. He passed through the passion for Masonry, charity, and nothing gave him moral satisfaction. Only in close communication with ordinary people, he realized that the purpose of life in the lifetime itself: "While there is a life, there is and happiness." Already on the Borodino field, even before the meeting with Karataev, Pierre Probrachova is an emergence idea of \u200b\u200bsupporting: "the soldier to be, just a soldier!" Meetings with simple soldiers made a strongest action on his soul, shocked his mind, opened a desire to change their life, rebuild his whole life. Lydia Dmitrievna Opubovskaya wrote: "There is peace of mind, confidence in the life of life Pierre turns, surviving the heroic time of the 12th year and the suffering of captivity next to ordinary people, with Plato Karataev. He experiences" the feeling of his insignificance and falsehood in comparison with the truth, simplicity and The strength of that category of people who finished in his soul called they are. "" The soldier to be, just a soldier, "Pierre thinks with delight. It is characteristic that Solddata, even not immediately, but willingly accepted Pierre in their Wednesday and Nickname" Our Barin, "like Andrei" Our Prince. "Pierre cannot become a" just a soldier ", a droplet merging with the entire surface of the ball. Consciousness of his personal responsibility for the life of the whole ball is indestructible in him. He's hot thinks that people should come to his senses , understand all the crime, all the impossibility of war. " ***

Positive features of Natasha Rostova with special brightness are revealed at the moment when it, before the joining the French in Moscow, an insane with a patriotic feeling, makes it thoroughly and take the wounded and when it is to another, happy and happy minute - Russian dating and happy and joyful minute The admiration of folk music shows the power of the national spirit concluded in it. From Natasha proceeds the energy of updates, liberation from the fake, false, habitual, withdrawing "on free Light".

And here her role is equivalent to what gives the heroes of thick communication with the people. Lydia Dmitrievna Opubovskaya wrote: "In the image of Natasha, one of the main ideas of the novel is embodied: the beauty and happiness is not there where there is no good, simplicity and truth." ***

In the novel "War and Peace" the appearance of each hero inseparable with his language characteristic. The language of the noble nobility is the film, expressions and turns, despite his sophistication, became familiar stamps used in a secular conversation for any occasion. Lev Nikolayevich Tolstoy - the connoisseur and connoisseur of the Great Russian language. For the speech of the heroes of the work, we can judge the attitude of the author to them. Tolstoy does not invest in the mouth of their favorite heroes of the film-based Russian language.

"Folk Thought" - the main idea of \u200b\u200bthe novel "War and Peace". Tolstoy knew that life, a simple life of people, with her "private" destinies, interests and joys, is going on, regardless of Napoleon's meetings with Alexander, a diplomatic game or state plans for Speransky. Only those historical events that lead the masses in motion relate to the national fate, are able to change - let it be dramatically, but always a beneficial person. So cleared and tower in the disasters of the Patriotic War. His favorite characters: Andrei Bolkonsky, Pierre Duhov, Natasha Rostov. Each participant in historical events for thick is no less important than Napoleon. The direction of the will of millions of people who, from the point of view of Napoleon and the then historical science, were infinitely small units, determines historical development.