AT novelL. N. Tolstoy female images play a significant role. It is with them that the theme of “peace”, that is, society, family, happiness, is connected in the novel. The writer showed us different families: the Rostovs, the Bolkonskys, the Kuragins, the Bezukhovs, the Drubetskys, the Dolokhovs, and others. Women in them are different, but their role is significant everywhere. The fate of the family, its way of life depend on the character of women, on their mental make-up, moral values ​​are formed.

Most of all, Tolstoy loves two of his heroines: Natasha Rostova and Marya Bolkonskaya. The girls who read the novel generally like the cheerful, spontaneous and unpredictable Natasha.

I like both girls. But if I had to choose one of them as a friend, I would choose Princess Marya. Maybe with Natasha it would be more fun, brighter, but with Marya I would be more interesting and reliable.

It was not easy for her to live with an old father and a French governess. Ugly, lonely, with all the wealth of the Bolkonskys, she is deprived of much: she has no close friends, no mother. The despotic father and the coldly reserved brother, busy with the service and his own problems, did not dispose to communication and the manifestation of tender feelings.

But Princess Marya built her spiritual castle, strict and pure. She is smart, truly kind and natural in every step she takes. Even her religiosity is respected, because God for Princess Mary is, first of all, justice, her faith is demanding of herself; to all others she asks for weaknesses, to herself - never.

In the actions and words of Princess Marya there is no vanity, no frivolity. Self-esteem does not allow her to cheat, keep silent, not stand up for the person she respects. When Julie Kuragina wrote in a letter about Pierre that he “always seemed to her an insignificant person,” the princess answered her: “I cannot share your opinion about Pierre. It seemed to me that he always had a beautiful heart, and this is the quality that I most appreciate in people. Princess Mary in a letter expresses her sympathy for Pierre: “So young to be burdened with such a huge fortune - how many temptations he will have to go through!”

An amazing understanding of people and the complexities of life for a young girl!

She will be able to understand the stumbled Natasha, she will be able to understand and forgive her father, she understands the situation of the peasants and orders them to give them the master's bread.

The death of her father freed Princess Mary from eternal fear, from constant control and guardianship. But now, surrounded by enemies, with a young nephew in her arms, she herself had to make decisions. In difficult moments, the decisiveness and dignity of her father and brother woke up in her: “So that Prince Andrei knows that she is in the power of the French! So that she, the daughter of Prince Nikolai Andreevich Bolkonsky, asked Mr. General Ramo to protect her and enjoy his blessings! And her offended vanity results in quick and decisive action. In this difficult period for the princess, Nikolai Rostov appears as a savior and protector. She drives away thoughts that she would like to see her future husband in him. Self-doubt prevents her from believing that happiness has come to her.

The inner beauty of Princess Marya, her mind, purity, naturalness make you forget about her external ugliness. Nikolai Rostov also sees only her radiant, shining eyes, which by the end of the novel are filled with a radiance of happiness.

Of course, every girl should have a thirst for life, love and happiness, as in Natasha Rostova. But in every girl there should be Princess Marya, with her self-doubt, with her secret conviction that love will come to anyone, but not to her, with a deeply hidden dream of happiness. Without this, she will turn into Helen Bezukhova.

The female theme occupies an important place in L.N. Tolstoy "War and Peace" (1863-1869). The work is the writer's polemical response to supporters of women's emancipation. At one of the poles of artistic research are numerous types of high-society beauties, mistresses of magnificent salons in St. Petersburg and Moscow - Helen Kuragina, Julie Karagina, Anna Pavlovna Sherer. The cold and apathetic Vera Berg dreams of her own salon...

Secular society is immersed in eternal vanity. In the portrait of the beautiful Helen, Tolstoy draws attention to the “whiteness of the shoulders”, “the gloss of her hair and diamonds”, “a very open chest and back”, “an unchanging smile”. These details allow the artist to highlight

Inner emptiness, the insignificance of the "high society lioness". The place of genuine human feelings in luxurious living rooms is occupied by monetary calculation. The marriage of Helen, who chose the wealthy Pierre as her husband, is a clear confirmation of this. Tolstoy shows that the behavior of the daughter of Prince Vasily is not a deviation from the norm, but the norm of life of the society to which she belongs. Indeed, does Julie Karagina behave differently, having, thanks to her wealth, a sufficient choice of suitors; or Anna Mikhailovna Drubetskaya, placing her son in the guard? Even

The bed of the dying Count Bezukhov, Pierre's father, Anna Mikhailovna feels

A feeling of compassion, but the fear that Boris will be left without an inheritance.

Tolstoy also shows high-society beauties in “family life”. Family, children do not play a significant role in their lives. Helen finds Pierre's words funny that spouses can and should be bound by feelings of heartfelt affection and love. Countess Bezukhova with

Thinks with disgust about the possibility of having children. With amazing ease, she throws

Husband. Helen is a concentrated manifestation of a deadly lack of spirituality, emptiness,

Vanity. The insignificance of the life of the “socialite” is fully consistent with the mediocrity of her death.

Excessive emancipation, according to Tolstoy, leads a woman to a misunderstanding of her own role. In the salons of Helen and Anna Pavlovna Scherer, political disputes, judgments about Napoleon, about the position of the Russian army are heard ... Thus, high society beauties have lost the main features that are inherent in a real woman. On the contrary, in the images of Sonya, Princess Marya, Natasha Rostova, those features are grouped that make up the type of "woman in the full sense."

At the same time, Tolstoy does not try to create ideals, but takes life "as it is." In fact, we will not find in the work of “consciously heroic” female natures, like Turgenev’s Marianne from the novel “Nov” or Elena Stakhova “from “On the Eve”. The very method of creating female images of Tolstoy and Turgenev differs. Turgenev was a realist at the same time Let us recall the finale of the novel “The Nest of Nobles.” Lavretsky visits the remote monastery where Lisa has hidden. ... What did they think, what did both feel? Who will know? Who will say? There are such moments in life, such feelings ... You can only point at them - and pass by. "Is it necessary to say that Tolstoy's favorite heroines are deprived of romantic elation? Female spirituality lies not in intellectual life, not in the passion of Anna Pavlovna Scherer, Helen Kuragina, Julie Karagina for political and other “male issues”, but exclusively in the ability to love, in particular food for the family hearth. Daughter, sister, wife, mother - these are the main life positions in which the character of Tolstoy's favorite heroines is revealed. This conclusion may raise doubts on a superficial reading of the novel. Indeed, we see the patriotism of Princess Marya and Natasha Rostova during the period of the French invasion, we see Marya Volkonskaya's unwillingness to take advantage of

The patronage of the French general and the impossibility for Natasha to stay in Moscow

With the French. However, the connection between female images and the image of war in the novel is more complex; it is not limited to the patriotism of the best Russian women. Tolstoy shows that it took the historical movement of millions of people so that the heroes of the novel - Marya Volkonskaya and Nikolai Rostov, Natasha Rostova and Pierre Bezukhov - could find their way to each other.

Tolstoy's favorite heroines live with their hearts, not their minds. All the best, cherished memories of Sonya are associated with Nikolai Rostov: common childhood games and pranks, Christmas time with fortune-telling and mummers, Nikolai's love impulse, the first kiss ... Sonya remains faithful to her beloved, rejecting Dolokhov's offer. She loves

Resignedly, but she is not able to refuse her love. And after the marriage of Nicholas

Sonya, of course, continues to love him. Marya Volkonskaya with her gospel

Humility is especially close to Tolstoy. And yet it is her image that personifies the triumph

Natural human needs over asceticism. The princess secretly dreams of

Marriage, about his own family, about children. Her love for Nikolai Rostov is high,

Spiritual feeling. In the epilogue of the novel, Tolstoy draws pictures of the Rostovs' family happiness, emphasizing that it was in the family that Princess Marya found the true meaning of life.

Love is the essence of Natasha Rostova's life. Young Natasha loves everyone: the resigned Sonya, and the mother countess, and her father, and Nikolay Petya, and Boris Drubetskoy. Rapprochement, and then separation from Prince Andrei, who made her an offer, makes Natasha suffer internally. An excess of life and inexperience is the source of mistakes, rash acts of the heroine, proof of this is the story of Anatole Kuragin.

Love for Prince Andrei awakens with renewed vigor in Natasha after leaving Moscow with a convoy, in which the wounded Bolkonsky also finds himself. The death of Prince Andrei deprives Natasha's life of meaning, but the news of Petya's death forces the heroine to overcome her own grief in order to keep her old mother from insane despair. Natasha “thought her life was over. But suddenly love for her mother showed her that the essence of her life - love - was still alive in her. Love woke up, and life woke up.

After marriage, Natasha renounces social life, from “all her charms” and

Wholeheartedly devoted to family life. Mutual understanding of the spouses is based on the ability "with unusual clarity and speed to understand and communicate each other's thoughts, in a way contrary to all the rules of logic." This is the ideal of family happiness. Such is Tolstoy's ideal of "peace."

It seems to me that Tolstoy's thoughts about the true destiny of a woman have not become outdated even today. Of course, a significant role in today's life is played by people who have dedicated themselves to

Political, social or professional activity. But still, many of our contemporaries chose Tolstoy's favorite heroines for themselves. And is it really not enough - to love and be loved?!
The famous novel by L.N. Tolstoy depicts many human destinies, different

Characters, good and bad. It is the opposition of good and evil, morality and recklessness that underlies Tolstoy's novel. In the center of the story are the fates of the writer's favorite characters - Pierre Bezukhov and Andrei Bolkonsky, Natasha Rostova and Marya Volkonskaya. All of them are united by a sense of goodness and beauty, they are looking for their way in the world, striving for happiness and love.

But, of course, women have their own special purpose, given by nature itself, she is, first of all, a mother, a wife. For Tolstoy, this is undeniable. The world of the family is the basis of human society, and the mistress in it is a woman. The images of women in the novel are revealed and evaluated by the author with the help of his favorite technique - the opposition of the internal and external image of a person.

We see the ugliness of Princess Marya, but "beautiful, radiant eyes" illuminate this face with an amazing light. Having fallen in love with Nikolai Rostov, the princess at the moment of meeting with him

She is transformed in such a way that Mademoiselle Bourienne almost does not recognize her: “chest, feminine notes” appear in her voice, grace and dignity appear in her movements. "For the first time, all that pure spiritual work that she had lived until now came out" and made the face of the heroine beautiful.

We do not notice any particular attractiveness in appearance with Natasha Rostova either. Eternally changeable, on the move, responding violently to everything that happens around Natasha can "dissolve her big mouth, becoming completely bad", "cry like a child", "just because Sonya is a jackal", she can grow old and unrecognizably change from grief after Andrew's death. It is this vital variability in Natasha that Tolstoy likes because her appearance is a reflection of

The richest world of her feelings.

Unlike Tolstoy's favorite heroines - Natasha Rostova and Princess Marya, Helen is

The embodiment of external beauty and at the same time a strange immobility, a fossil.

Tolstoy constantly mentions her "monotonous", "unchanging" smile and "ancient beauty of the body". She resembles a beautiful, but soulless statue. No wonder the author does not mention her eyes at all, which, on the contrary, in positive heroines always attract our attention. Helen is good on the outside, but she is the personification of immorality and depravity. For the beautiful Helen, marriage is the way to enrichment. She cheats on her husband all the time, the animal nature prevails in her nature. Pierre - her husband - is struck by her inner rudeness. Ellen is childless. "I'm not so stupid to have children" -

She speaks blasphemous words. Not being divorced, she solves the problem, for

Whom should she marry, unable to choose one of her two suitors. Mysterious

Helen's death is due to the fact that she is entangled in her own intrigues. Such is this heroine, her attitude to the sacrament of marriage, to the duties of a woman. But for Tolstoy,

That is the most important thing in assessing the heroines of the novel.

Princess Marya and Natasha become wonderful wives. Not everything is available to Natasha

Pierre's intellectual life, but with her soul she understands his actions, helps her husband in

Everyone. Princess Mary captivates Nicholas with spiritual wealth, which is not given to his uncomplicated nature. Under the influence of his wife, his unbridled temper softens, for the first time he realizes his rudeness towards the peasants. Marya does not understand the economic concerns of Nikolai, she is even jealous of her husband. But the harmony of family life lies in the fact that the husband and wife, as it were, complement and enrich each other, constitute one whole. Temporary misunderstanding, light conflicts are resolved here by reconciliation.

Marya and Natasha are wonderful mothers, but Natasha is more concerned about the health of her children (Tolstoy shows how she takes care of her youngest son), Marya surprisingly penetrates into the character of the child, takes care of spiritual and moral education. We see that the heroines are similar in the main, most valuable qualities for the author - they are given the ability to subtly feel the mood of loved ones, share someone else's grief, they selflessly love their family. A very important quality of Natasha and Marya is naturalness, artlessness. They are not able to play a role, do not depend on

A prying eye can violate etiquette. At her first ball Natasha

It is distinguished precisely by immediacy, sincerity in the manifestation of feelings. Princess

Marya, at the decisive moment of her relationship with Nikolai Rostov, forgets what she wanted

Be aloof and polite. She sits, thinking bitterly, then cries, and Nikolai, sympathizing with her, goes beyond the scope of secular conversation. As always with Tolstoy,

Ultimately, everything is decided by a look that expresses feelings more freely than the words: "and distant,

The impossible suddenly became close, possible and inevitable.

In his novel "War and Peace" the writer conveys to us his love for life, which appears in all its beauty and fullness. And, considering the female images of the novel, we are once again convinced of this.

La mort est secourable et la mort est tranquille
Ah! contre les douleurs il n "y a pas d" autre asile

Aliment de poison d "une âme trop sensible,
Toi, sans qui le bonheur me serait impossible,
Tendre melancolie, ah! viens me consoler,
Viens calmer les tourments de ma sombre retraite
Et mêle une douceur secrete
A ces pleurs, que je sens couler.

"Rural trees, your dark boughs shake off gloom and melancholy on me"

Death is saving, and death is peaceful.

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Be poor, yes if you get it

Souls of a thousand two tribal,

That and the groom.

Pushkin's heroine, Tatyana Larina, speaks with deep sorrow about her marriage:

Me with tears of spells

Mother prayed for poor Tanya

All the lots were equal ...

The same sad thoughts are expressed by Baroness Shtral, the heroine of the drama "Masquerade" by Lermontov:

What is a woman? Her from her youth

In the sale of benefits, as a victim, they are removed.

As you can see, the analogy is complete, with the only difference being that the heroines of the cited works act as victims of vile high-society morality, while in Tolstoy, the principles of Prince Vasily are fully professed by his daughter Helen.

Tolstoy shows that the behavior of the daughter of Prince Vasily is not a deviation from the norm, but the norm of life of the society to which she belongs. Indeed, does Julie Karagina behave differently, having, thanks to her wealth, a sufficient choice of suitors; or Anna Mikhailovna Drubetskaya, placing her son in the guard? Even in front of the bed of the dying Count Bezukhov, Pierre's father, Anna Mikhailovna does not feel compassion, but fear that Boris will be left without an inheritance.

Tolstoy also shows Helen in family life. Family, children do not play a significant role in her life. Helen finds Pierre's words funny that spouses can and should be bound by feelings of heartfelt affection and love. Countess Bezukhova thinks with disgust about the possibility of having children. With surprising ease, she leaves her husband. Helen is a concentrated manifestation of complete lack of spirituality, emptiness, vanity.

Excessive emancipation leads a woman, according to Tolstoy, to a misunderstanding of her own role. In the salon of Helen and Anna Pavlovna Scherer, there are political disputes, judgments about Napoleon, about the position of the Russian army. A sense of false patriotism makes them speak exclusively in Russian during the period of the French invasion. High-society beauties have largely lost the main features that are inherent in a real woman.

Helen Bezukhova is not a woman, she is a superbe animal. No novelist has yet met this type of harlot of the big world, who loves nothing in life but her body, lets her brother kiss her shoulders, and does not give money, cold-bloodedly chooses her lovers, like dishes on a map, and is not such a fool, to wish to have children; who knows how to maintain the respect of the world and even acquire a reputation as an intelligent woman thanks to her air of cold dignity and social tact. This type can only be developed in the circle where Helen lived; this adoration of one's own body can only develop where idleness and luxury give full play to all sensual impulses; this shameless calm - where a high position, providing impunity, teaches to neglect the respect of society, where wealth and connections provide every means to hide intrigue and shut up chatty mouths.

Another negative character in the novel is Julie Kuragina. One of the acts in the general chain of selfish aspirations and actions of Boris Drubetskoy was his marriage to the middle-aged and ugly, but rich Julie Karagina. Boris did not love her and could not love her, but the Penza and Nizhny Novgorod estates did not give him peace. Despite his disgust for Julie, Boris proposed to her. Julie not only accepted the offer, but, admiring the handsome, young groom, forced him to express everything that is said in such cases, although she was convinced of the complete insincerity of his words. Tolstoy notes that “she could demand this for the Penza estates and Nizhny Novgorod forests, and she got what she demanded” Tolstoy L.N. Full coll. cit.: [Jubilee edition 1828 - 1928]: In 90 volumes. Series 1: Works. T. 10: War and peace. - M.: Goslitizdat, 1953. - S. 314. .

The arguments on this issue by M.A. Volkova in a letter to her friend, V.I. Lanskoy: “Before you said that wealth is the last thing in marriage; if you meet a worthy person and fall in love with him, then you can be content with small means and be a thousand times happier than those who live in luxury. So you argued three years ago. How your views have changed since you lived in luxury and vanity! Is it impossible to live without wealth? Are all those who have fifteen thousand a year really unhappy? Vestnik Evropy. - 1874. - No. 9. - S. 150. .

And elsewhere: “I know young people who have more than 15 thousand a year, who did not dare to marry girls, also not without a fortune, but, in their opinion, not rich enough for them; that is, they believe that it is impossible to live with a family without having from eighty to one hundred thousand incomes ”Vestnik Evropy. - 1874. - No. 9. - S. 156. .

It was considered necessary to have a luxurious house with beautiful and expensive furnishings, approximately the same as D. Blagovo describes in his notes: “Until 1812, the house was decorated according to the then very well stucco figures; the interior of the count's house: piece floors, gilded furniture; marble tables, crystal chandeliers, damask tapestries, in a word, everything was in proper order...” Grandmother's stories, from the memoirs of five generations, recorded and collected by her grandson D. Blagovo. - St. Petersburg, 1885. - S. 283. .

The house was furnished properly, otherwise you could quickly drop the reputation of your family name. But it was not only about luxurious surroundings, expensive dinners or outfits. All this, perhaps, could not cause such colossal expenses. It was also about burning life, in a card game, as a result of which whole fortunes were lost overnight. Tolstoy does not exaggerate at all, putting sad words about his riotous son Anatole into the mouth of Prince Vasily: “No, you know that this Anatole costs me 40,000 a year ...” Tolstoy L.N. Full coll. cit.: [Jubilee edition 1828 - 1928]: In 90 volumes. Series 1: Works. T. 9: War and peace. - M.: Goslitizdat, 1953. - S. 8. .

M-lle Bourienne is exposed in the same unseemly light.

Tolstoy creates two significant episodes: Prince Andrei and m-lle Bourienne and Anatole and m-lle Bourienne.

Princess Mary's companion m-lle Bourienne, not without intent during the day, tries three times in secluded places to catch the eye of Prince Andrei. But, seeing the stern face of the young prince, without saying a word, he quickly leaves. The same m-lle Bourienne "conquers" Anatole in a few hours, finding herself in his arms at the first solitary meeting. This unseemly act of Princess Mary's fiancé is not at all an accidental or thoughtless step. Anatole, seeing an ugly, but rich bride and a pretty young Frenchwoman, “decided that here, in the Bald Mountains, it would not be boring. “Very stupid! - he thought, looking at her, - this demoiselle de compagnie (companion) is very pretty. I hope that she will take her with her when she marries me, he thought, la petite est gentille (little sweet) ”Tolstoy L.N. Full coll. cit.: [Jubilee edition 1828 - 1928]: In 90 volumes. Series 1: Works. T. 9: War and peace. - M.: Goslitizdat, 1953. - S. 270 - 271. .

Thus, we see that Tolstoy does not try to create ideals, but takes life as it is. We see that these are living women, that this is exactly how they should feel, think, act, and any other image of them would be false. In fact, there are no consciously heroic female natures in the work, like Turgenev's Marianne from the novel "Nov" or Elena Stakhova from "On the Eve". Needless to say, Tolstoy's favorite heroines are devoid of romantic elation? Women's spirituality does not lie in intellectual life, not in the passion of Anna Pavlovna Scherer, Helen Kuragina, Julie Karagina for political and other male issues, but exclusively in the ability to love, in devotion to the family hearth. Daughter, sister, wife, mother - these are the main life positions in which the character of Tolstoy's favorite heroines is revealed.

In general, Tolstoy painted a historically correct picture of the position of a noblewoman in the conditions of life of both high society and the estate nobility. But having duly condemned the former, he turned out to be unjust in his attempts to surround the latter with a halo of supreme virtue. Tolstoy was deeply convinced that a woman, wholly devoting herself to the family, raising children, performs work of great social importance. And in this he is certainly right. It is impossible to agree with the writer only in the sense that all the interests of a woman should be limited to the family.

The solution of the women's issue in the novel caused sharp critical judgments already among Tolstoy's contemporaries, S.I. Sychevsky wrote: “Now, from all of the above, we will try to determine the attitude of the author, as a person with a wonderful mind and talent, to the so-called women's issue. None of the women is completely independent in him, with the exception of the depraved Helen. All others are only suitable to complement a man. Not one of them interferes with civil activity. The brightest of all the women of the novel "War and Peace" - Natasha - is happy with the joys of family and personal life ... In a word, Mr. Tolstoy solves the women's issue in the most so-called backward, routine sense "Kandiev B.I. Epic novel by L.N. Tolstoy "War and Peace": Commentary. - M.: Enlightenment, 1967. - S. 334. .

But Tolstoy remained true to his point of view on the women's issue until the end of his life.

Conclusion

Thus, as a result of the work done, the following conclusions can be drawn.

In the work of Tolstoy, the world of heroes appears before us in all its versatility. Here is a place for the most diverse, sometimes opposite characters. The female images of the novel only confirm this. Together with his heroines, the writer discovers the meaning and truth of life, looking for a way to happiness and love. Tolstoy, a subtle psychologist with a rare gift to penetrate into the innermost depths of human experiences, managed to create different psychological individualities with amazing power. At the same time, Tolstoy's individualization of heroes carries a broad typification. Tolstoy perfectly captured the pattern of life, revealing the diverse world of human thoughts and aspirations. There is an undoubted connection between the moral image of a person in everyday life, his attitude towards family, friends, and how he manifests himself on the battlefield. People who are unscrupulous in everyday life are bad citizens of the state, unreliable defenders of the motherland.

The female theme occupies an important place in L.N. Tolstoy "War and Peace". This work is the writer's polemical response to supporters of women's emancipation. Female images are not a background for male images, but an independent system with its own laws. Tolstoy's favorite heroines live with their hearts, not their minds.

Marya Bolkonskaya, with her evangelical humility, is especially close to Tolstoy. And yet it is her image that embodies the triumph of natural human needs over asceticism. The princess secretly dreams of marriage, of her own family, of children. Her love for Nikolai Rostov is a high, spiritual feeling. In the epilogue of the novel, Tolstoy draws pictures of the Rostovs' family happiness, emphasizing that it was in the family that Princess Marya found the true meaning of life.

Love is the essence of Natasha Rostova's life. Young Natasha loves everyone: the resigned Sonya, and the mother countess, and her father, and Nikolai, and Petya, and Boris Drubetskoy. Rapprochement, and then separation from Prince Andrei, who made her an offer, makes Natasha suffer internally. An excess of life and inexperience is the source of mistakes, rash acts of the heroine (the story of Anatole Kuragin).

Love for Prince Andrei awakens with renewed vigor in Natasha. She leaves Moscow with a convoy, in which the wounded Bolkonsky ends up. Natasha is again seized by an exorbitant feeling of love, compassion. She is selfless to the end. The death of Prince Andrei deprives Natasha of meaning. The news of Petya's death makes the heroine overcome her own grief in order to keep her old mother from insane despair. Natasha “thought her life was over. But suddenly love for her mother showed her that the essence of her life - love - was still alive in her. Love woke up, and life woke up.

After marriage, Natasha renounces social life, from “all her charms” and completely devotes herself to family life. Mutual understanding of the spouses is based on the ability "with unusual clarity and speed to understand and communicate each other's thoughts in a way that is contrary to all the rules of logic." This is the ideal of family happiness. Such is Tolstoy's ideal of "peace."

Tolstoy's thoughts about the true destiny of a woman, I think, have not become outdated even today. Of course, a significant role in today's life is played by women who have devoted themselves to political or social activities. But still, many of our contemporaries choose what Tolstoy's favorite heroines have chosen for themselves. And is it really not enough to love and be loved?

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24. Zhikharev S.A. Notes of a contemporary. - St. Petersburg, 1859. - 485 p.

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26. Kandiev B.I. Epic novel by L.N. Tolstoy "War and Peace": Commentary. - M.: Enlightenment, 1967. - 390 p.

27. Pictures of Russian life in the old days: From the notes of N.V. Sushkova // Raut for 1852: Sat. - M., 1852. - S. 470 - 496.

28. Kuzminskaya T.A. My life at home and in Yasnaya Polyana. - Tula, 1960. - 419 p.

29. Lev Nikolaevich Tolstoy: Sat. Art. about creativity / Ed. N.K. Gudziy. - M.: Publishing House of Moscow. un-ta, 1955. - 186 p.

30. Lev Nikolaevich Tolstoy: Index of Literature / State. Public library them. M.E. Saltykov-Shchedrin; Comp. E.N. Zhilina; ed. N.Ya. Morachevsky. - Ed. 2nd, rev. and additional - L., 1954. - 197 p.

31. Leo Tolstoy: Problems of Creativity / Editorial Board: M.A. Karpenko (responsible editor) and others - Kyiv: Vishcha school, 1978. - 310 p.

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45. The first illustrators of L.N. Tolstoy / Compiled by T. Popovkina, O. Ershova. - M., 1978. - 219 p.

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48. Pushkin A.S. Poly. coll. cit.: In 10 vols. T. 3. - 2nd ed. - M., L.: Publishing House of the Academy of Sciences of the USSR, 1957. - 582 p.

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Application

Lesson plans in grade 10 based on the work of L.N. Tolstoy

Lesson 1. "What an artist and what a psychologist!" A word about a writer.

"This is a revelation for us young people, a whole new world," said Guy de Maupassant about Tolstoy. Life of L.N. Tolstoy is a whole era, almost the entire 19th century, which fit into his life and his works.

A lesson on the life and work of a writer can be done in two ways.

The first option is to draw up a detailed plan.

1. The secret of human happiness, the secret of the green stick is the main goal of L.N. Tolstoy.

2. Period of loss. Early death of parents. The role of Yasnaya Polyana in the life of a boy. Thoughts about life, a passionate dream of a feat. The first love. On the way to creativity.

3. Admission to Kazan University. Finding Yourself: The Arab-Turkish Branch and the Dream of Diplomacy, Faculty of Law, Dropping Out of University. The desire to comprehend and understand the world is a passion for philosophy, the study of the views of Rousseau. own philosophical experiences.

4. Yasnaya Polyana. From extreme to extreme. Painful search for the meaning of life. progressive transformations. Pen test - the first literary sketches.

5. Where it is dangerous and difficult. Test of oneself. 1851 - a trip to the Caucasus to the war with the highlanders. War is the comprehension of the way of the formation of man.

6. Autobiographical trilogy: "Childhood" - 1852, "Boyhood" - 1854, "Youth" - 1857. The main question - what should one be? What to strive for? The process of mental and moral development of a person.

7. Sevastopol epic. Transfer to the Danube army, to the fighting Sevastopol (1854) after an unsuccessful resignation. Anger and pain for the dead, the curse of the war, cruel realism in "Sevastopol Tales".

8. Ideological searches of 50 - 60 years:

· The main evil is the miserable, plight of the peasants. "Morning of the landowner" (1856).

· Feeling of impending peasant revolution.

· Rebuking the ruling circles and preaching universal love.

· Worldview crisis of the writer.

· An attempt to find answers to disturbing questions while traveling abroad. "Lucerne".

· The idea of ​​raising a new person. Pedagogical and educational activities. The opening of schools, the creation of the "ABC" and books for children.

· Attitude towards reform. Active participation in public life, the activity of a conciliator. Disappointment.

Changes in personal life. Marriage to Sofya Andreevna Bers.

1. The idea and creation of the novel "War and Peace" (1863 - 1869). The new genre is the epic novel. "People's Thought" in the novel.

2. "Family Thought" in the novel "Anna Karenina" (1877). Happiness is personal and happiness of the people. Family life and life in Russia.

3. Spiritual crisis of the 70s - 80s. Waiting for the revolution and disbelief in it. Renunciation of the life of the noble circle. "Confession" (1879 - 1882). The main thing is to protect the interests of the peasantry.

4. Intense reflections on the renewal of the reborn soul, on the movement from moral decline to spiritual rebirth. Protest against the lawlessness and lies of society - the novel "Resurrection" (1889 - 1899).

5. The cry of the soul - the article "I can not be silent" (1908). Protecting the people with a word.

6. Persecution by the government and the church. Widespread popularity.

7. The result of the tragedy is the departure from Yasnaya Polyana. Death at the Astapovo station.

The second option is to create a table. (The principle given in the book by I.A. Fogelson "Literature teaches" Fogelson I.A. Literature teaches grade 10 is used. - M .: Education, 1990. - S. 60 - 62.).

You can finish the conversation about the life and work of Tolstoy with the thought that Count L.N. Tolstoy was close to the people, and the people remember this:

To Tolstoy, to Yasnaya Polyana! -

Tell the coachman:

I just look, I just look

What does a genius look like up close?

Here he sits, furrowing his brows,

At that famous table

Where in the word the heroes came to life,

Russia saved in the past.

How deftly mows with men

In a white shirt in front

And the famous sweatshirt

Hanging on a carnation, go.

That he is a count, forgetting

He goes with everyone to the spring.

And what is the glory of the world,

When he is close to a man.

And believing in worldly happiness,

To the displeasure of the authorities,

In his Yasnaya Polyana school

He teaches peasant children.

I would tell the coachman

Yes late:

Long time ago Tolstoy was gone.

But, as if he was recognized by the oncoming ones,

It's about to get back to the office.

And like rivers to the ocean

Roads run here.

To Tolstoy, to Yasnaya Polyana

The people of all the earth are striving.

Lesson 2. "As an epic writer, Tolstoy is our common teacher." The history of the creation of the novel "War and Peace". genre features.

"I want to get to the bottom of everything." With these words, B.L. Pasternak, you can start the first lesson about "War and Peace", because L.N. wanted to get to the very essence. Tolstoy, conceiving his grandiose epic. Tolstoy the writer has always been characterized by an ambivalent attitude towards life. In his work, life is given in unity, uniting the writer's interest in both the "history of the human soul" and "the history of a whole people."

Therefore, when in the mid-50s. the surviving Decembrists began to return from Siberia, the writer saw in this both a historical event and the state of a person who experienced this incredible event.

The formation of the idea was determined by himself

1856 - the beginning of the plan.

"In 1856, I began to write a story with a well-known direction and a hero who should be a Decembrist returning with his family to Russia."

1825 - the uprising of the Decembrists.

"Involuntarily, I passed from the present to 1825, the era of my hero's delusions and misfortunes."

1812 - war.

"In order to understand him, I had to go back to his youth, and his youth coincided with the glorious era of 1812 for Russia."

1805 - 1807 - foreign campaigns of the Russian army.

"I was ashamed to write about our triumph in the fight against Bonaparte France without describing our failures and our shame."

The novel reflects the problems of both the beginning of the century and its middle. Therefore, in the novel, as it were, two planes: the past and the present.

Problems of the beginning of the century:

1. "Most of all in the novel, I loved the thought of the people." The main problem is the fate of the people, the people are the basis of the moral and moral foundations of society.

2. "Who is the true hero?" - the social role of the nobility, its influence on the life of society and the country.

3. True and false patriotism.

4. The purpose of a woman is to preserve the family hearth.

Mid-Century Issues:

1. The fate of the people, the question of the abolition of serfdom - the reforms of the 60s.

2. The gradual departure of the nobility from the "arena" of struggle, the failure of the nobility, the beginning of the raznochinskoe movement.

3. The question of patriotism associated with the defeat in the Crimean War.

4. The question of the liberation of women, their education, women's emancipation.

The novel has 4 volumes and an epilogue:

Volume I - 1805.

Volume II - 1806 - 1811.

Volume III - 1812.

Volume IV - 1812 - 1813.

Epilogue - 1820.

Work with the class to identify the specifics of the epic novel genre:

1. Explanation of the concept of "epic novel". The epic novel is the largest and most monumental form of epic literature. The main feature of the epic is that it embodies the fate of peoples, the historical process itself. The epic is characterized by a broad, multifaceted, even comprehensive picture of the world, including historical events, and the appearance of everyday life, and a many-voiced human choir, and deep reflections on the fate of the world, and intimate experiences. Hence the large volume of the novel, often several volumes. (According to the "Dictionary of Literary Terms" edited by L.I. Timofeev).

2. Revealing the features of the epic in the novel "War and Peace".

· Pictures of Russian history (Battles of Shengraben and Austerlitz, Peace of Tilsit, war of 1812, Moscow fire, partisan movement).

· Events of social and political life (freemasonry, Speransky's legislative activities, the first organizations of the Decembrists).

· Relations between landowners and peasants (transformation of Pierre, Andrei; rebellion of the Bogucharov peasants, indignation of Moscow artisans).

· Display of various segments of the population (local, Moscow, St. Petersburg nobility; officials; army; peasants).

· A wide panorama of everyday scenes of noble life (balls, high society receptions, dinners, hunting, visiting the theater, etc.).

· A huge number of human characters.

Long duration (15 years).

· Wide coverage of space (Petersburg, Moscow, Lysyye Gory and Otradnoye estates, Austria, Smolensk, Borodino).

Thus, Tolstoy's idea required the creation of a new genre, and only an epic novel could embody all the author's conditions.

John Galsworthy wrote of "War and Peace": "If I had to name a novel that fits the definition so dear to the compilers of literary questionnaires:" the greatest novel in the world "- I would choose" War and Peace ".

How does the novel begin?

What is the originality of such a beginning?

What is the intonation of the first chapters? Is she justified?

How does the world of the novel change from one scene to another?

Conclusion. The main artistic techniques used by Tolstoy to create a panorama of Russian life are:

1. Reception of comparison and opposition.

2. "Tearing off all and sundry masks."

3. The psychologism of the narrative is an internal monologue.

Lessons 3 - 5. "To live honestly ...". Life quests of the heroes of the novel "War and Peace" by Andrei Bolkonsky and Pierre Bezukhov

At the beginning of the lesson, an excerpt from a letter from L.N. Tolstoy, explaining his life position:

"In order to live honestly, one must tear, get confused, fight, make mistakes, start and quit, and start again, and quit again, and always fight and lose. And peace is spiritual meanness." (From a letter from L.N. Tolstoy dated October 18, 1857).

Work in the lesson can be carried out in 4 groups:

Group 1 - "biographers" of Prince Andrei, they build the hero's life path.

Group 2 - "observers", they determine the author's techniques used to develop the image of Andrei Bolkonsky.

Group 3 - "biographers" of Pierre Bezukhov, they build the hero's life path.

Group 4 - "observers", they determine the author's techniques used to create and develop the image of Pierre.

In the course of working with the class, you can write down the main points in solving the problem of the lesson in the form of a table.

General conclusions of the lessons. The path of Tolstoy's favorite heroes is the path to the people. Only when they are on the Borodino field do they understand the essence of life - to be close to the people, because "there is no greatness where there is no simplicity, goodness and truth."

Lesson 6 Women's images in the novel "War and Peace"

The 20th-century poet Nikolai Zabolotsky had this to say about this problem:

What is beauty

And why do people deify her?

She is a vessel in which there is emptiness,

Or fire flickering in a vessel.

Features of L.N. Tolstoy in the depiction of the inner world of the heroes of N.G. Chernyshevsky called the "dialectics of the soul", meaning development based on internal contradictions. The female nature in the image of the writer is contradictory and fickle, but he appreciates and loves in her:

the keeper of the hearth, the basis of the family;

moral high principles: kindness, simplicity, disinterestedness, sincerity, connection with the people, understanding of the problems of society (patriotism);

naturalness;

the movement of the soul.

From these positions, he approaches his heroines, treating them ambiguously.

What can be said about the heroines of the novel by the author's attitude towards them?

Vocabulary work: To distribute these words, correlating them with different groups of heroines - these will be their main features.

Vanity, arrogance, love, mercy, hypocrisy, hatred, responsibility, conscience, disinterestedness, patriotism, generosity, careerism, dignity, modesty, posturing.

One should dwell on one image, examining it in detail, and give the rest in comparison with it.

For example, Natasha Rostova. "The essence of her life is love."

1. Acquaintance with Natasha during the name day (vol. 1. part 1. ch. 8, 9, 10, 16).

· Compare the portrait of Natasha, Sonya and Vera. Why in one the author emphasizes "ugly, but alive", in the other - "a thin miniature brunette", in the third - "cold and calm".

What does the comparison with a cat give for understanding the image of Sonya? "The kitty, glaring at him with her eyes, seemed every second ready to play and express all her feline nature."

In the story "Childhood" Tolstoy wrote: "One smile consists of what is called the beauty of the face: if a smile adds charm to the face, then the face is beautiful; if it does not change it, then it is ordinary; if it spoils it, then it is bad."

Watch how the characters smile:

Natasha: “laughed at something,” “everything seemed funny to her,” “she burst out laughing so loudly and loudly that everyone, even the prim guest, laughed against her will,” “through tears of laughter,” “bursted with her ringing laughter.”

Sonya: "her smile could not deceive anyone for a moment," "a feigned smile."

Julie: "entered into a separate conversation with the smiling Julie."

Faith: "But a smile did not adorn Vera's face, as is usually the case; on the contrary, her face became unnatural and therefore unpleasant."

Helen : "what was in the general smile that always adorned her face" (vol. 1. part 3 ch. 2).

· Compare the explanation of Sonya and Nikolai, Natasha and Boris.

How do the faces of Sonya and Natasha change when they cry?

Compare the behavior of A.M. Drubetskaya at the evening with A.P. Scherer, at the name day of the Rostovs and at the time of the death of Count Bezukhov (vol. 1. part 1. ch. 18, 19, 20, 21, 22).

· Compare Natasha Rostov and Princess Mary. What do they have in common? (vol. 1. part 1. ch. 22, 23). Why does the author draw them with love?

· Why does the author bring Sonya and Lisa Bolkonskaya closer in one line: Sonya is a cat, Liza is a "brutal, squirrel expression"?

· Remember the evening at A.P. Scherer. How do the characters behave there?

1. Natasha's behavior during the return of Nikolai (vol. 2. part 1. ch. 1).

· Compare the behavior of Sonya, Natasha and Vera.

How does the phrase "Natasha became in love from the very moment she entered the ball" reveal Natasha's condition? (vol. 2. part 1. ch. 12)?

· Watching the verbs in the scene "Evening at Yogel's", tell us about Natasha's condition (vol. 2. part 1. ch. 15).

1. Natasha in Otradnoe. Lunar night (vol. 2. part 3. ch. 2).

Compare the behavior of Sonya and Natasha.

What did Prince Andrei feel in Natasha?

1. Natasha's first ball (vol. 2. part 3. ch. 15 - 17).

What attracted Natasha to Prince Andrei?

What did he see and feel in her?

Why did Andrey connect his hopes for the future with her?

1. Natasha at her uncle's (vol. 2, part 4, ch. 7).

· The true beauty of the soul and the spirit of the people in the uncle's song and Natasha's dance. How is Natasha's character revealed in this episode?

1. An episode with Anatole and a break with Andrey.

· Compare Natasha's behavior in the theater with Helen's behavior at A.P.'s evening. Scherer. (vol. 2. part 4. ch. 12-13).

How does Natasha change under the influence of Helen?

1. Natasha during a spiritual crisis (vol. 3, part 1, ch. 17).

What does the fact that Natasha has lost her cheerfulness mean?

What helps her come back to life? ( Prayer).

1. Condition during the war of 1812.

· What qualities of Natasha are revealed in the scene of handing over the cart to the wounded? (vol. 3. part 4. ch. 16).

· Why does Tolstoy connect Natasha and the wounded Andrey? (vol. 4. part 4. ch. 31-32).

· What spiritual strength is contained in Natasha, who helps her mother after Petya's death? (vol. 4. part 4. ch. 2).

1. Family happiness. (Epilogue part 1. ch. 10 - 12). How did Tolstoy's idea about the place of a woman in society come true in the image of Natasha?

Conclusion. Natasha, like other beloved heroes, goes through a difficult path of searching: from a joyful, enthusiastic perception of life, through seeming happiness from her engagement with Andrei, through life's mistakes - betrayal of Andrei and Anatole, through a spiritual crisis and disappointment in herself, through rebirth under the influence of necessity help relatives (mother), through high love for the wounded Prince Andrei - to comprehend the meaning of life in the family in the role of wife and mother.

A lesson on this topic may include numerous written works:

1. Observations of the dynamics of Natasha's portrait.

2. The search for the most characteristic details in the portraits of various heroines.

3. Comparison of heroines (Natasha Rostova - Princess Marya - Helen - Sonya).

4. External and internal features:

Is beautiful or ugly?

state of mind, ability to experience, fidelity, responsiveness, love, naturalness.

Lesson 7 The Rostov family and the Bolkonsky family

Tolstoy portrays the Rostov and Bolkonsky families with great sympathy, because:

They are participants in historical events, patriots;

they are not attracted by careerism and profit;

They are close to the Russian people.

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1.1. "I'm still the same ... But there is another in me, .."

The novel "Anna Karenina" was created in the period 1873-1877. Over time, the idea has undergone great changes. The plan of the novel changed, its plot and compositions expanded and became more complicated, the characters and their very names changed. Anna Karenina, as millions of readers know her, bears little resemblance to her predecessor from the original editions. From edition to edition, Tolstoy spiritually enriched his heroine and morally elevated her, making her more and more attractive. The images of her husband and Vronsky (in the first versions he had a different surname) changed in the opposite direction, that is, their spiritual and moral level decreased.

But with all the changes that Tolstoy made to the image of Anna Karenina, and in the final text, Anna Karenina remains, in Tolstoy's terminology, both a "lost herself" and an "innocent" woman. She stepped back from her sacred duties as a mother and wife, but she had no other choice. Tolstoy justifies the behavior of his heroine, but at the same time, her tragic fate turns out to be inevitable.

In the image of Anna Karenina, the poetic motifs of "War and Peace" develop and deepen, in particular, they affected the image of Natasha Rostova; on the other hand, at times the harsh notes of the future Kreutzer Sonata are already breaking through in it.

Comparing "War and Peace" with "Anna Karenina", Tolstoy noted that in the first novel he "loved folk thought, and in the second - family thought." In "War and Peace" the immediate and one of the main subjects of the narrative was precisely the activities of the people themselves, who selflessly defended their native land, in "Anna Karenina" - mainly the family relations of the characters, taken, however, as derived from general socio-historical conditions. As a result, the theme of the people in Anna Karenina received a peculiar form of expression: it is given mainly through the spiritual and moral quest of the characters.

The world of goodness and beauty in Anna Karenina is much more closely intertwined with the world of evil than in War and Peace. Anna appears in the novel "seeking and giving happiness". But the active forces of evil stand in her way to happiness, under the influence of which, in the end, she dies. Anna's fate is therefore full of deep drama. The whole novel is also permeated with intense drama. The feelings of a mother and a loving woman experienced by Anna are shown by Tolstoy as equivalent. Her love and maternal feeling - two great feelings - remain unconnected for her. With Vronsky, she has an idea of ​​herself as a loving woman, with Karenin - as an impeccable mother of their son, as a once faithful wife. Anna wants to be both at the same time. In a semi-conscious state, she says, turning to Karenin: “I am still the same ... But there is another in me, I am afraid of her - she fell in love with that one, and I wanted to hate you and could not forget about the one that was before. But not me. Now I'm real, I'm all." "All", that is, both the one that was before the meeting with Vronsky, and the one that she became later. But Anna was not yet destined to die. She had not yet had time to experience all the suffering that fell to her lot, she also had not had time to try all the roads to happiness, to which her life-loving nature was so eager. She could not become Karenin's faithful wife again. Even on the verge of death, she understood that it was impossible. She was also no longer able to endure the position of "lie and deceit".