To this day, Tolstoy's work remains a treasure trove of literary and artistic experience. Tolstoy's realism is especially dear to us - his realistic style, represented by such masterpieces as "War and Peace" and "Anna Karenina". In these works, Tolstoy's artistic skill unfolded with the greatest brilliance.
What are the roots of the extraordinary vitality and persuasiveness of Tolstoy's realistic style? The opinion of one modern reader is extremely instructive in its direct accuracy. Adjuster of the automatic-turning shop of the plant "Ball bearing" them. L. M. Kaganovich writes: “Tolstoy's heroes are endowed with all the features of living people, each has its own characteristics, character, habits and inclinations. Therefore, they are easily remembered, just as the face of a living person is remembered ”(“ Pravda ”of November 20, 1935).
Indeed, all Tolstoy's characters are unusually clear and vital; reading his novels, we seem to feel introduced into the circle of living people, close acquaintances, perhaps relatives. We seem to live among these characters ourselves. We feel the pulse of the life of these faces, hear them breathe, as if we ourselves are talking to them. And the faces we hate among these new acquaintances do not become hateful to us because they are some exceptional villains; they are heavy and repulsive to us precisely because we know too well their ins and outs, their very vital and unattractive underside. Romain Rolland wrote about the same thing for Tolstoy's anniversary in 1935 in his memo about Tolstoy: “Tolstoy penetrates into living beings not from the outside, but from the inside, for he reincarnates in them, for they are he. He identifies himself with each character, lives his life. He takes no position for or against anyone. The laws of life do this instead of him. The means by which Tolstoy achieved this liveliness in images goes back to his earliest literary experiments, when he was not yet a complete realist, but was already cultivating this side of his skill. In a note devoted to Tolstoy's first works ("Childhood" and "Adolescence", "Military Stories"), Chernyshevsky wrote: "Tolstoy's attention is most of all drawn to how some feelings and thoughts develop from others; it is interesting for him to observe how a feeling that directly arises from a given position or impression, subject to the influence of memories and the power of the combinations represented by the imagination, passes into other feelings, returns again to the same starting point, and again and again wanders, changing, along the entire chain of memories; how a thought, born of the first sensation, leads to other thoughts, is carried away further and further, merges dreams with real sensations, dreams of the future with reflection on the present. Psychological analysis can take different directions: one poet is occupied most of all by the outlines of characters; the other - the influence of social relations and worldly clashes on the characters; third - the connection of feelings with actions; the fourth, the analysis of the passions; Tolstoy is more than just the mental process itself, its forms, its laws, the dialectics of the soul, to put it in a definitive term. The ability to master the elements of mental life and to paint the "dialectic of the soul" is the root of Tolstoy's mastery. This empathy into someone else's life, this penetrating listening to all the thoughts, moods, movements of human individuality, make Tolstoy's heroes unforgettable because of the exceptional reality and artless liveliness of their display. And this mastery of Tolstoy is revealed in his very first literary experience - we see it in his writings of 1852, and it remains in force in 1910.
But in the first period of Tolstoy's work, this empathy had not yet unfolded in its life span, it was limited to the narrow sphere of Nikolenka's individuality and his closed family world, his lonely thoughts and dreams. Tolstoy did not stay in this secluded corner of romantic dreams, he got out of the impasse where his socially limited past drove him. In the previous chapter, on the analysis of three moments of the closed tale of his "Childhood", we showed the presence of an emotionally rich exposé with an analysis of the hero's internal movements and thoughts. In his subsequent works, Tolstoy used this method of analysis to characterize broad life clashes. The first member of the triad has changed radically. Tolstoy emerged from the vicious circle of his home nest. The place of modest theses of the story about how maman was sitting at the samovar or how Karl Ivanovich put on his wadded robe was taken by the themes of large epic and socially significant canvases. Individual and family events have been replaced by themes of global importance. The old romantic endings are also gone. Not with a sigh and regret, and not with the thought of the loss of an unfulfilled dream, Tolstoy began to conclude his masterpieces; he found simpler means for artistic expression of deep life themes.
But in Tolstoy's style, not only a break and a search for new forms are revealed, but continuity is also revealed. Isn't the art of depicting individuality from the inside, showing every character in his unique, completely original and exclusively personal depiction, not the strength and persuasiveness of such artistic images as the members of the Rostov and Bolkonsky families in War and Peace, as the living image of Anna, which remains forever before the reader's eyes? Karenina, with one of her characteristic gait, knocked out by a masterful strand of curly hair, and further - the unique power of love, affection, torment of jealousy and despair. Was it not the skill of artistic empathy with the psychology of his heroes that Tolstoy made them so chased?
True, the images of Tolstoy's great novels of the 1960s and 1970s are deeper and wider than the sketches of Childhood and Adolescence. With the same manner of "sculpting" his heroes, by the same inconspicuous inclusion of literary characters in the circle of people close and well known to readers, Tolstoy both in War and Peace and in Anna Karenina gives a more comprehensive display of his characters. Recall papa in "Childhood"; we know him well and have studied him at home, both in our countryside and in Moscow; we can say we know all his postures, all his gestures, all his remarks when he is at his place - at the dinner table, in the drawing room, in his study, on the hunt; how he talks to his wife, children, mother-in-law, Karl Ivanovich, tutor Jerome, clerk. But this is all with a caveat - we don’t really know the same dad’s office, we got there by chance together with Nikolenka and sort of overheard the conversation between dad and Yakov, but, in essence, “classes in the office” (the title of chapter XI) flow for us in a rather mysterious way. Nikolenka says: “Against me was the door to the office, and I saw how Yakov and some other people in caftans and with beards entered there. The door immediately closed behind them. "Well, classes have begun!" I thought. It seemed to me that nothing in the world could be more important than the things that were done in the office; In this thought, I was also confirmed by the fact that everyone usually approached the door of the study, whispering and on tiptoe; from there I could also hear papa’s loud voice and the smell of a cigar, which always, I don’t know why, attracted me very much.” We learn about classes in the office only by guesswork, they seem to be veiled by that attractive fragrant cigar smoke that envelops the figure of daddy outside of close family relationships.
Dad's office in Moscow is even more mysterious, and it is placed separately, in an outbuilding. Only illegally, thanks to the selected key, Nikolenka gets into the forbidden world of his father. What is dad like in the club, how does he beat others, how do his partners treat him, what are dad's love affairs, what is he like in society outside the home - not in his living room and not in grandma's hall, but in wide circles of strangers, not domestic faces - all it's hidden. Nikolenka's "window" is too narrow for that. After all, the last passion of daddy - la belle Flamande, we will only know when she moves to the Irtenevs' house already as a stepmother.
Let's take another, modified, later type of pope, the same zhuire, epicurean, bon vivant, pure-blooded aristocrat and carefree family man - Steve Oblonsky from Anna Karenina. The era is different. Papa is an untouched landowner, a full-fledged nobleman in the little world of his nearest district, not chasing service, living in his villages. Steve Oblonsky is of the same clan and tribe, but his estates are not to be seen, he, to the chagrin of Levin, sells the last groves of his wife to the merchant Ryabinin, the eternally needy Dolly no longer has the cherished Khabarovka maman; Stiva is chairman of the presence, and in the future, maybe a member of the commission from the joint credit and mutual balance agency of the southern railways. The point, however, is not the difference in the social position of these two representatives of the same type and rank of people. Let's take a closer look at the differences in the display of these two heroes, separated by twenty years of Tolstoy's artistic experience.
In the very first chapter, we immediately recognize the skill of the young Tolstoy: “Everything was mixed up in the Oblonskys' house. The wife found out that her husband was in connection with a Frenchwoman, a governess, who was in their house, and announced to her husband that she could not live with him in the same house. We recognize the first member of the triad we discovered in Childhood. A theme is immediately exposed, a living life conflict, a situation, starting from which the further course of the story unfolds. Then comes the exposé: first, the awakening Steve is shown in bright strokes, expelled by his wife from the bedroom to the study, then his thoughts and reflections are given; Stiva in a family setting is immediately in front of us in the most convex, visual form - at the end of the chapter he is already a familiar, living face for us. But already in the second chapter, Steve is taken out of the narrow limits in which dad is included in Childhood. Stiva rides into the presence. We immediately get a vivid idea of him among colleagues and subordinates. Next, Steve is in a restaurant; Steve in a dispute on socio-political topics. His love affairs are not hidden from us either - Stiva goes to a ballet rehearsal with a gift for a young dancer. But it's not about the details. As a result, we have before us a complete type with a definite social attitude. With all the frivolity of Stiva, we find in him a certain formation of a person, with a clearly expressed social physiognomy: this is a liberal, an aristocrat, already declassed, who has entered into a social and psychological connection with people of a different circle (for example, he does not disdain to sit for two hours in a row in the waiting room wealthy Jewish businessman).
Ovsyaniko-Kulikovsky remarks about Steve: “By birth, by heredity, and by the conditions of upbringing and life, he was destined for a high society form; but the latter did not materialize in him or disintegrated, and only as a result of this inhibition or disintegration did the general features of the nobility come to the fore in him. Without these traits in him, I would call his psychological form "general bourgeois" 34 .
In terms of psychological form, Stiva is characterized by the function that constitutes the positive side of this, at first glance, too opportunistic, even petty nature. This is his property, which is captured in Tolstoy by the description of his smile, the property of Stiva's sympathetic consideration, with the presence of "that sea of good nature that overflowed from the banks in the soul of Stepan Arkadyevich." Such a sea absorbs and heals the wounds of others. Only Stiva alone could break the ice of the frozen, withdrawn Karenin with this sea of his good nature, only he alone knew how to somehow approach the gaping wounds of the spiritual emptiness of his sister, Anna Karenina.
We do not see these general psychological functions in papa; Stiva is taken deeper and wider, since by that time Tolstoy had already left the closed little world of Nikolenka. But dad and Stiva are brothers, not only in terms of belonging to the same class, but also in the nature of their show.
Thus, Tolstoy's writing skills in the 1970s were prepared by the early experiments of the beginning of his literary activity.
Notes
33 Sovremennik, 1856, No. 12, pp. 54-55.
34 Ovsyaniko-Kulikovskiy, L. N. Tolstoy as an artist, p. 195.
(parts one and two of the second volume)
The first part of the second volume begins with a description of Nikolai Rostov's arrival home. Pay attention to how Tolstoy “overheard” such close and understandable feelings for all of us of a person returning to his native places after a long separation. Impatience: hurry, hurry home, where Nikolai has been striving for all the last months and days. “Soon? Is it soon? Oh, these unbearable streets, shops, rolls, lanterns, cabbies! And joy of recognition here is a “cornice with chipped plaster”; “the same doorknob of the lock, for the cleanliness of which the countess was angry, opened just as feebly”, “the same card tables, the same chandelier in a case” ... And the happiness of love all to you alone, and joy, joy ...
After returning home, Nikolai Rostov got "his own trotter and the most fashionable trousers, special ones that no one else in Moscow had, and boots, the most fashionable, with the sharpest socks" and turned into a "fellow hussar." Rostov (i.e., responsiveness, sensitivity) and hussar (i.e., recklessness, dashing, rudeness of an unreasoning warrior) - these are the two opposing sides of the character of Nikolai Rostov.
Rostov promises to pay his big loss to Dolokhov tomorrow, gives his word of honor and realizes with horror the impossibility of keeping it. He returns home, and it is strange for him, in his state, to see the usual peaceful comfort of the family: “They have everything the same. They don't know anything! Where should I go? Natasha is going to sing. This is incomprehensible and irritates him: why can she rejoice, “a bullet in the forehead, and not sing” ...
In man, according to Tolstoy, live a variety of feelings, aspirations, desires. Therefore, the writer sees his hero "either as a villain, or as an angel, or as a sage, or as an idiot, or as a strong man, or as a powerless being."
The events of everyday life for the characters of the novel are always meaningful. Nikolai listens to his sister's singing, and an unexpected thing happens to him: “suddenly the whole world for him concentrated in anticipation of the next note, the next phrase, and everything in the world became divided into three tempos ... Oh, our stupid life! Nikolai thought. - All this, and misfortune, and money, and Dolokhov, and anger, and honor - all nonsense ... but here it is - the real one.
The demands of "honor" are everything for Rostov. They determine his behavior. But at the moment when he listens to his sister's singing, these demands seem to him nonsense, useless conventions. And having just been the most unhappy person, Nikolai experiences a minute of the most complete happiness. “For a long time Rostov has not experienced such pleasure from music as on this day.” The importance and obligation of the nobility and hussar rules disappears in the stream of a truly human, real feeling caused by music. The present is most often revealed to a person through a shock, through a crisis.
The dynamics of character development, its inconsistency is reflected in the portrait characteristics.
Here Dolokhov. He is poor, unknown, and friends (Kuragin, Bezukhov, Rostov) - counts, princes - money, lucky. Kuragin and Rostov have beautiful sisters, Dolokhov has a hunchback. He fell in love with a girl of "heavenly purity", and Sonya is in love with Nikolai Rostov. As in Pechorin, the light killed the best qualities of the soul in Dolokhov. But if Pechorin did not value secular society and despised it, then Dolokhov exerts all his strength to be equal in this society. To do this, it was necessary to constantly play the role of a secular lion. Over time, the mask became his face. And it is already difficult to understand who he is: a loving son, brother, friend or secular dude, duelist, gambler.
Let's pay attention to the details of the portrait: "his mouth ... always had a semblance of a smile"; look "light, cold." During a card game, Nikolai Rostov is irresistibly attracted to "big-boned, reddish hands with hair visible from under his shirt." "Similar to a smile", "cold look", predatory, greedy hands - these are the details that draw the cruel, inexorable appearance of one of the mask people.
A dynamic detail: a look, a gesture, a smile (usually in the form of a common definition or participle, participle turnover) - indicates to the attentive reader the state of mind or the instantaneous internal movement of the hero:
“Having met Sonya in the living room, Rostov blushed. He didn't know how to deal with her. Yesterday they kissed in the first moment of the joy of meeting, but today they felt that it was impossible to do this; he felt that everyone, both mother and sisters, looked at him inquiringly and expected from him how he would behave with her. He kissed her hand and called her you - Sonya. But their eyes, having met, said “you” to each other and kissed tenderly. She asked with her eyes forgiveness for the fact that at Natasha's embassy she dared to remind him of his promise and thanked him for his love. He thanked her with his eyes for the offer of freedom and said that, one way or another, he would never stop loving her, because it was impossible not to love her. (Volume II, part one, I).
The method of penetration into the psychology of the protagonist of a work of art is internal monologue - reflections, thoughts, internal (“to oneself”) speech, reasoning of the character. Tolstoy, on the other hand, often combines an internal monologue with improperly direct speech, i.e. intrudes into the hidden thoughts of the hero, interrupts them, explains, looks for the reasons for certain actions, conveys the impressions of the character from himself.
Here is one example: Pierre Bezukhov's reflections after the duel with Dolokhov:
“He lay down on the sofa and wanted to fall asleep in order to forget everything that happened to him, but he could not do it. Such a storm of feelings, thoughts, memories arose in his soul that he not only could not sleep, but could not sit still and had to jump up from the sofa and walk around the room with quick steps. Then she seemed to him at the first time after her marriage, with bare shoulders and a tired, passionate look, and immediately next to her he saw Dolokhov’s beautiful, arrogant and firmly mocking face, as it was at dinner, and the same face of Dolokhov, pale, trembling, as it had been when he turned and fell into the snow.
What happened? he asked himself. - I killed lover Yes, his wife's lover. Yes, it was. From what? How did I get there? “Because you married her,” answered the inner voice. (T. II, part one, VI).
One thought causes another; each in turn generates a chain reaction of considerations, conclusions, new questions...
The attraction of searching, thinking, doubting heroes lies precisely in the fact that they passionately want to understand what life is, what is its highest justice? Hence - the continuous movement of thoughts and feelings, movement as a collision, struggle ("dialectic") of various solutions. The "discoveries" that the heroes make are steps in the process of their spiritual development.
The dialectic of spiritual movements is reflected in the dialogues: the interlocutors interrupt each other, the speech of one wedged into the speech of the other, and this creates not only a natural discontinuity in the conversation, but also a lively confusion of thoughts.
The dialogues reveal either complete mutual understanding (Pierre - Andrey; Pierre - Natasha; Natasha - her mother), or confrontation of thoughts and feelings (Pierre - Helen; Pierre - Anatole; kN. Andrey - Bilibin).
And in dialogues, the artist is often used in indirect speech, so that the author's attitude is completely clear to the reader.
“Dialectics of the soul…” - this is how N.G. Chernyshevsky called the peculiarities of L. Tolstoy’s artistic manner in revealing the inner world of the characters. "Dialectics of the soul" defines the complex syntactic structure of the sentence. The artist is not embarrassed by either the cumbersomeness of a word or sentence, or the length of an expression. The main thing for him is to fully, reasonably, exhaustively express everything that he considers necessary.
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The grandiose artistic canvas of the epic novel "War and Peace" incorporates a wide variety of artistic techniques and means, one of which is a detail. A master of psychological analysis, Tolstoy reveals to the reader the "dialectics of the soul" of his characters, fixing our attention on the most important moments with the help of characteristic details.
Tolstoy's psychological portrait is dynamic, since it must reveal the connections between the inner world of a person and his external manifestations. That is why the details that characterize
Various states of the hero. For example, researchers have calculated that in "War and Peace" Tolstoy uses 85 different shades to describe the expression of the eyes, which are not without reason called the "mirror of the soul." In terms of number, this can only be compared with the variety of shades of a smile, which helps to reveal the emotional state of the hero.
The variability of the internal state of a person is emphasized by Tolstoy and other kinds of details - constant, repeating with each appearance of the hero. There are two types of portraits that use such details. Creating images of their "favorite" heroes who are in
Constant movement, development, the writer uses repetitive details that are designed to shade and highlight this quality. Such details include Natasha's brilliant eyes and large mouth, Princess Mary's heavy gait and radiant eyes. Repeatedly, these details are remembered by the reader as something unchanging, recognizable in the hero, who is constantly changing.
Repetitive details are also found in the characterization and portraits of Tolstoy's "unloved" heroes: Helen, Anatole, Berg, Scherer and others. They never change because they are empty inside. “Calm is a meanness of the soul,” said Tolstoy. This is precisely what is emphasized by the repetitive details in the masked portraits depicting these characters. They are static and always unchanged, just as these heroes themselves are unchanged. Details such as Helen's luxurious shoulders and her frozen "monotonously beautiful" smile are intended to demonstrate the immobility of the mask, which hides spiritual emptiness and moral ugliness behind external attractiveness.
Landscape details are very important in the novel, which correlate with the internal state of the hero and help to understand him. They become a kind of images-symbols. Such is the sky over the field of Austerlitz, the oak that Prince Andrei sees on the road to Otradnoe.
Some details in Tolstoy become not only symbolic, but also filled with deep philosophical meaning, as in the description of Platon Karataev. Outwardly, he is “round”, similar to a “drop”, but he speaks with a “gentle melodious caress”. It was in it that Tolstoy's idea of the swarm principle as the basis of folk life, the idea of the circle as a symbol of stability and proportionality, was embodied. A similar symbolic detail appears in Pierre's dream, for whom a new idea of the world, based on the idea of "coupling" with the people, is embodied in the form of a water ball.
Summing up, we can say that the role of detail in Tolstoy's novel is not only great, it reflects the position of the writer-thinker. Just as a drop of water for him can contain all the fullness of the world, as in one person - everything that is inherent in the nation as a whole, so the whole ideological depth of a grandiose epic novel is reflected in one detail.
At the beginning of the 20th century, L.N. Tolstoy was called "a teacher in life and in art" and these lines still express the attitude of the people of the 21st century towards him, the legacy of the brilliant writer continues to amaze with both life and creative discoveries. The reader of any age will find here the answer to his questions, he reveals the secrets of the human soul, consciousness from the very beginning of humanity, childhood. The works of Leo Tolstoy are read, remembered and loved by people all over the world. They are close and understandable to everyone, because they pose the eternal problems of life that excite all people and which they themselves have experienced more than once.This is primarily a problem of the moral purity of people, their souls.
What is it that attracts us to the heroes of the works of L.N. Tolstoy? They attract us with their originality, their bright individual character, originality, richness of the soul.
His heroes, like living people, make us think, dream, experience, feel the same way as they do. Thanks to the skill of the writer, it seems unwillingly that the characters of the works exist, continuing their journey somewhere nearby, you can really see them, turn to them with urgent questions. Sometimes it even seems that he has fallen into another dimension, into the life that the heroes live, into that environment of society that L.N. Tolstoy.
The images created by Tolstoy are different from all other literary heroes. They can be recognized from thousands of others, because no other author has ever had such living, real characters, the heroes of L.N. Tostoy's novels always live in the soul of each of us.
The novel by L.N. is very dear to me. Tolstoy "War and Peace". How many wonderful evenings I spent behind this work! The novel left an indelible impression on my soul. I admire the author for his ability to show readers all the secrets of the human soul. Yes, in his novel "the human soul is depicted with a reality that is still unprecedented in our literature."
N.N. Strakhov noted this very accurately. I think L.N. Tolstoy truthfully and without embellishment showed all the emotional experiences of the characters, the inner world of each of them. And this speaks of the author's great understanding of the human soul. Novel "War and Peace"
- simply the greatest work! It accurately depicts the world of the human soul, its wealth and shortcomings.
There are many characters in the novel, but it seems to me that they can be divided into two large groups. In the first group there are people who have lost their spirituality, deaf to the dictates of conscience, the call of the heart, they hide their spiritual emptiness behind euphonious, hypocritical speeches. These include the families of the Kuragins, Drubetskys, A.P. Sherer and her "important" guests.
L.N. Tolstoy is irreconcilable to them: he accompanies almost every word and movement of the author with ironic comments.
Another group are members of old noble families who have preserved certain traditions and have a rich spiritual heritage. The writer feels frank sympathy for them, although he does not hush up the class prejudices prevailing here. Andrei and Marya Bolkonsky, Natasha Rostova, Pierre Bezukhov are Tolstoy's favorite characters. They express his thoughts and feelings.
The author forces his characters to be extremely sincere, kind, noble.
A. Bolkonsky and N. Rostova are my favorite characters, it was their experiences and thoughts, spiritual searches that the writer showed with all his inherent writerly power.
Andrei Bolkonsky is a rich, whole, strong-willed nature. He is a man of duty, honor, ready to give everything for a noble goal.
The thoughts of Andrei Bolkonsky are noble, although he spends all his talent and inquisitive mind in St. Petersburg salons, among fake masks. It seems to me that Leo Tolstoy's skill in depicting the soul lies in the fact that he showed a person in different situations, because the state of mind of a person is constantly changing, it is looking for the higher, is in search of the truth of human existence. For the first time seeing him in the salon of A.P. Scherer "all those who were in the living room not only knew each other, but were already so tired of him that it was very boring for him to look at them and listen to them", it seems to us that he is a boring phlegmatic of society, but the appearance of Pierre makes you forget about it: L. N. Tolstoy more than once uses the word "kind", look, smile, these small details, to the greatest extent show us the soul of the hero. Andrei strives for his Toulon, he goes to war, this manifested his love for the Motherland. I, as a reader, was struck by the way L.N. Tolstoy portrayed the scene of farewell between father and son, he showed what a truly Bolkonsky spirit is, the relationship between father and son seems sometimes strange, but this is exactly what the family traditions of the proud and valiant Bolkonsky family show .
Field of Austerlitz, “it has begun, here it is” these are the thoughts that emanate from everywhere, in this line you can hear the voice of the people, Russian fearlessness and endless love for the motherland. The field of Austerlitz, the battle ended, the wounded Prince Andrei. This scene, in my opinion, is the apogee of Leo Tolstoy's literary gift. To show the feelings and thoughts of a seriously wounded man in the way that Tolstoy did, in my opinion, no one has yet succeeded in literature. Prince Andrei opened his eyes, he saw the sky, only one sky. And he was struck by something he had never noticed: how calm it was. "Yes! Everything is empty, everything is a lie, except for this endless sky, thought Andrei. So life opened up in a new way for Prince Andrei. He realized that in addition to war and glory, there is a simple human life with its joys and hardships. He wanted to love and be loved, probably, like all mortal people. This scene made me look at many things in a different way, it seemed to open for me the curtain of the soul of a person who got into a difficult situation. After Austerlitz, the hero's life changed a lot: the death of his wife, the birth of a son. He became completely different, the change in the soul of the hero, the author showed a dialogue with Pierre, his impressions “... he was struck by the change that had taken place in Prince Andrei. The words were affectionate, the smile was on the lips and face of Prince Andrei, but the look was extinct, dead” Tolstoy often uses
the phrase “dead look”, this expresses the state of the hero’s soul, he seems to freeze, does not strive for the best, high spiritual aspirations - this is the basis of life, the writer showed that the hero has lost this, this is Tolstoy’s talent, that he showed spiritual collapse, crisis and at the same time how a person overcomes it with the help of a great feeling of love. The writer showed this revival in meetings with oak in May and June. Oak in May: “old with broken branches, which can be seen for a long time, and with broken bark, overgrown with old sores. With their huge clumsy, asymmetrically spread, clumsy hands and fingers, this is the state of the oak!
the state of the hero's soul, his attitude to the world around him. An indelible mark on the soul of Andrei Bolkonsky was left by a meeting with the young Rostova, and such an unexpected confusion of young thoughts and hopes suddenly rose to his soul, "L.N. Tolstoy opens this spiritual and moral revival through" the same oak. clumsy fingers, no sores, no old grief and distrust, nothing was visible. The oak came back to life again and our hero is morally alive again, full of strength, energy, that apathetic attitude towards the world has disappeared "No, life is not over at 31, -
suddenly finally, without change, Prince Andrei decided. “Not only do I know everything that is in me, it is necessary that everyone should know it.” Using the description of nature, Tolstoy showed not only the worldview and spiritual renewal, but also how nature affects the human soul. This connection between the inner life of a person and the life of nature is especially tangible, because Tolstoy speaks of nature, inspiring it, endowing it with human!
features; looking at an oak tree, Prince Andrey sees not branches, not bark, not growths on it, but “fingers”, “hands”, “old sores”.
“We must live in such a way that everyone knows me, so that my life goes on not for me alone ... so that it affects everyone and that they all live with me together!” - this is the conclusion the hero comes to after experiencing unfamiliar feelings.
In continuation of the whole story about the fate of Andrei L.N. Tolstoy very realistically depicts the soul of the hero, his desire for a new life. This once again proves that in the novels of L.N. Tolstoy "the human soul is depicted with a reality that has not yet been seen in our literature." Tolstoy revealed the soul of his heroes, he showed the state of mind of people very deeply and truthfully. We see the enrichment of the human soul and its rebirth. And in conclusion, I want to say: “Tolstoy is a wonderful Russian writer!” Roman L.N. Tolstoy, I think, will always attract with its truth and originality. Tolstoy, like no one else, was able to depict with great artistic power all the movements of the human soul.
L. N. Tolstoy managed to combine in one novel, perhaps, as many as two: a historical epic novel and a psychological novel. Page after page reveals to the reader the characters of Leo Tolstoy's heroes, conveying the finest details, nuances of their similarity or diversity, static or variability.
“People are like rivers”, “man is fluid” - this is what underlies the views of L, N, Tolstoy on man. One of the most valuable properties of a person, the writer considered the ability to internal change, the desire for self-improvement, for moral
Search. Favorite heroes of Leo Tolstoy change, unloved ones are static. The psychological pattern of the latter is extremely simple, and in many ways they are like a friend to a friend. It is indicative that they are all beautiful, but they are beautiful with a deathly, frozen beauty. They are forever the same. For the psychological analysis of these characters, the author uses repetitive details, and many times pass in front of the reader, causing irritation, the flat self-satisfied face of Prince Vasily, the curls of the handsome Anatole, the marble-white bare shoulders of Helen. In general, the portrait of the hero by Leo Tolstoy never becomes a meticulous description of a person's appearance. The writer seeks only to highlight the main thing: eyes, hands, a smile. The same applies to human behavior. One trifle can say everything about a person. The beautiful gestures of Napoleon are the best confirmation of his failure as a historical figure, because he is not able to understand the spirit of the army. And - on the contrary - Kutuzov, who remains natural in any situation.
Unlike the unloved ones, Leo Tolstoy's favorite heroes are usually ugly on the outside, but endowed with inner beauty. They are natural, constantly in motion, capable of self-improvement, of moral and spiritual quests. They are introspective. Let us recall the behavior of the heroes of the novel during the Battle of Shengraben. The real heroes for Tolstoy are those in whose appearance everything unheroic is emphasized, who blame themselves, and not others, who are modest and honest. Tushin, Timokhin, Prince Andrei, who overcomes his fear, are heroes. Boastful and self-confident Zherkov only seems like a hero.
The ability for self-improvement is shown by the author on the example of Pierre and Andrey. In the process of searching for the true, important, enduring in life, they gradually get out of the influence of a system of false values. Pierre is disappointed in Freemasonry, Prince Andrei - in public service.
L. N. Tolstoy was the first in Russian literature to depict moments of change in the mental states of his heroes, discovered what N. G. Chernyshevsky later called “the dialectic of the soul.” That is why in his novel such a significant place is given to the internal monologue of the hero. Let us recall, for example, that scene in the novel in which Nikolai, who lost a huge amount of finances to Dolokhov, returns home in a state of complete mental confusion, but, having heard Natasha's singing, he understands that this is important forever, and everything else is transient. For Prince Andrei, such moments of spiritual change are Austerlitz with his sky, his son’s illness with a canopy over a crib, under which Prince Andrei
A new view of life opens up, the last moments before death, when Andrey's “I” completely dissolves in the world. A man in the face of the eternal, at a moment when there is no need for any conventions - these are the situations in which Tolstoy tests his heroes.
For L. N. Tolstoy, in general, it is important how a person relates to other people, to what extent he is able to renounce himself, spilling like a small drop in a sea of human lives like a Karataev. Not everyone is able to overcome their "I" (Helen, Anatole Kuragin), some exist purely within the framework of the family (the mother of the Rostovs), some know how to merge with the world, people (Marya Bolkonskaya), and only a few favorite characters of L. N. Tolstoy are able to dissolve in eternity, rise to the highest peaks of the universe. Although, although in general, many heroes of the novel have “star moments”, for example, Nikolai Rostov, Denisov, Marya. Such eternal human values as love, nature, art help in this, and therefore the hero's attitude towards them is one of the most important characteristics of a person. For the writer, it is extremely important how developed the feeling of the family is in the hero, and also what the hero’s family is like, because any person, among other things, is a carrier of family traits. The unloved heroes are shown separated from their families, devoid of feelings of affection.
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