crystal globe
Pierre Bezukhov from the novel "War and Peace" Leo Tolstoy sees in a dream crystal globe:
“This globe was a living, oscillating ball, without dimensions. The entire surface of the sphere consisted of drops tightly compressed together. And these drops all moved, moved, and then merged from several into one, then from one they were divided into many. Each drop strove to spread, to capture the largest space, but others, striving for the same, squeezed it, sometimes destroyed it, sometimes merged with it ... God is in the middle, and each drop seeks to expand in order to largest sizes reflect it. And it grows, and shrinks, and is destroyed on the surface, goes into the depths and emerges again.
Pierre Bezukhov
The aspiration of the drops to global merging, their readiness to contain the whole world - this is love, compassion for each other. Love as a complete understanding of all living things passed from Platon Karataev to Pierre, and from Pierre it should spread to all people. It became one of the innumerable centers of the world, that is, it became the world.
That is why Pierre laughs at the soldier guarding him with a rifle at the barn door: “He wants to lock me up, my infinite soul ...” This is what followed the vision of the crystal globe.
The epigraph of the novel about the need for the unity of all is not at all so banal. good people. The word "match", heard by Pierre in the second "prophetic" dream, is not accidentally combined with the word "harness". You have to harness it - you have to harness it. Everything that connects is the world; centers - drops, not striving for conjugation - this is a state of war, enmity. Enmity and alienation among people. It is enough to recall with what sarcasm Pechorin looked at the stars in order to understand what constitutes a feeling opposite to "conjugation".
Pierre Bezukhov. Museum. K.A. Fedina, Saratov
Probably not without the influence of cosmology Tolstoy built later Vladimir Solovyov his metaphysics, where the Newtonian force of attraction was called "love", and the force of repulsion became known as "enmity".
War and peace, conjugation and decay, attraction and repulsion - these are two forces, or rather, two states of one cosmic force, periodically overwhelming the souls of heroes Tolstoy. From the state of universal love (falling in love with Natasha and the whole universe, all-forgiving and all-encompassing cosmic love at the hour of Bolkonsky's death) to the same universal enmity and alienation (his break with Natasha, hatred and a call to shoot prisoners before the battle of Borodino). Such transitions are not characteristic of Pierre; he, like Natasha, is universal by nature. Fury against Anatole or Helene, the supposed assassination of Napoleon are superficial, without touching the depths of the spirit. Pierre's kindness is the natural state of his soul.
Pierre, Prince Andrei and Natasha Rostova at the ball
Pierre “saw” the crystal globe from the outside, that is, he went beyond the limits of the visible, visible space while still alive. He had a Copernican coup. Before Copernicus, people were in the center of the world, but here the universe turned inside out, the center became the periphery - many worlds around the "center of the sun". It is precisely this Copernican revolution that Tolstoy at the end of the novel:
“Since the law of Copernicus was found and proven, the mere recognition that it is not the sun that moves, but the earth, has destroyed the entire cosmography of the ancients ...
Just as for astronomy the difficulty of recognizing the movements of the earth was to renounce the immediate sense of the immobility of the earth and the same sense of the immobility of the planets, so for history the difficulty of recognizing the subjection of the individual to the laws of space, time and causes is to renounce the immediate sense of the independence of his personalities."
Pierre in a duel with Dolokhov
The ratio of unity to infinity is the ratio of Bolkonsky to the world at the moment of death. He saw everyone and could not love one. The relation of one to one is something else. This is Pierre Bezukhov. For Bolkonsky world disintegrated into an infinite number of people, each of whom was ultimately uninteresting to Andrei. Pierre in Natasha, in Andrei, in Platon Karataev, and even in a dog shot by a soldier, saw the whole world. Everything that happened to the world happened to him. Andrei sees countless soldiers - "meat for cannons." He is full of sympathy, compassion for them, but it is not his. Pierre sees one Plato, but the whole world is in him, and this is his.
The feeling of the convergence of the two sides of a diverging angle at a single point is very well conveyed in the "Confession" Tolstoy, where he very accurately conveys the discomfort of weightlessness in his sleepy flight, feeling somehow very uncomfortable in the infinite space of the universe, suspended on some kind of support, until a feeling of the center from where these assistance comes. This center, penetrating everything, was seen by Pierre in a crystal globe, so that, waking up from a dream, he could feel it in the depths of his soul, as if returning from a transcendental height.
So Tolstoy explained his dream in "Confessions" also after waking up and having also moved this center from the interstellar heights to the depths of the heart. The center of the universe is reflected in every crystal drop, in every soul. This crystal reflection is love.
War is someone else's, peace is ours. Pierre's crystal globe is preceded in the novel Tolstoy globe-ball, which is played by Napoleon's heir in the portrait. A world of war with thousands of accidents, really reminiscent of a game of bilbock. Globe - ball and globe - crystal ball - two images of the world. The image of the blind and the sighted, gutta-percha darkness and crystal light. A world obedient to the capricious will of one, and a world of unmerged, but united wills.
Pierre goes to watch the war
The artistic persuasiveness and integrity of such a cosmos does not require proof. The crystal globe lives, acts, exists as a kind of living crystal, a hologram that has absorbed the structure of the novel and the cosmos Lev Tolstoy.
"Light cobwebs - the reins of the Virgin", which connect people in prophetic dream Nikolenki, the son of Andrei Bolkonsky, will eventually unite in a single "center" of the crystal globe, somewhere out there, in space. Become a solid foundation for Tolstoy in his cosmic hovering over the abyss (a dream from "Confessions"). The tension of the "cosmic reins" - the feeling of love - is both the direction of movement and the movement itself. Tolstoy he loved such simple comparisons as an experienced horseman, a horseman and a peasant following a plow. You wrote everything correctly, he will tell Repin about his painting “Tolstoy on Plowed Field”, only they forgot to give the reins in their hands.
Pierre at the battle of Borodino between the Russian army and Napoleon
In Pierre's crystal globe, the drops and the center are correlated in this way, in Tyutchev's style: "Everything is in me, and I am in everything."
IN late period the personality-unit was sacrificed to the "single" world. One can and should doubt the correctness of such a simplification of the world. Pierre's globe, as it were, grew dim, ceased to glow. Why do we need drops if everything is in the center? And where is the center reflected if there are no those crystal drops?
The cosmos of the novel "War and Peace" is the same unique and majestic structure as the cosmos " Divine Comedy» Dante and Faust Goethe. “Without the cosmology of the crystal globe, there is no romance,” says TO. Kedrov-Chelischev. This is something like a crystal casket in which the death of Koshchei is hidden. Here, everything in everything is the great principle of a synergistic double helix, diverging from the center and simultaneously converging towards it.
Pierre Reader
If Tolstoy portrayed dreams as a transformation of external impressions (for example, the dream of Pierre Bezukhov, who perceives the words of his wake-up servant “it’s time to harness” in a dream as a decision philosophical problem- "conjugate"), then Dostoevsky believed that in a dream the forgotten experiences of people emerge into spheres controlled by consciousness, and therefore through their dreams a person knows himself better. The dreams of heroes reveal their inner essence - one that their waking mind does not want to notice.
Lev Tolstoy
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The episode of Prince Bolkonsky's dream begins again with a description internal state character, which is at the same time the author's attitude to the fact that further it is necessary to figuratively "prove".
“Prince Andrei not only knew that he would die, but he felt that he was dying, that he was already half dead. He experienced a consciousness of alienation from everything earthly and joyful and strange lightness of being. that terrible, eternal, unknown and distant, the presence of which he never ceased to feel throughout his life, was now close to him, and in that strange lightness of being that he experienced, almost understandable and felt "(7, p. .66).
"Know" is confirmed by feeling, in this case the "mental" becomes the property of the inner world of man. To know in the full sense of the word means sense cognition. And for the artist, the need to convey to the reader this "know" and "feel" with a convincing figurative picture, to convey the change of feelings of the character, his "alienation from everything earthly" and at the same time "the lightness of being", to convey that last state a man when he understands death and is no longer afraid of it.
“Before, he was afraid of the end. He twice experienced this terrible, painful feeling of fear of death, the end, and now he no longer understood it.
The first time he experienced this feeling was when a grenade was spinning like a top in front of him, and he looked at the stubble, at the bushes, at the sky and knew that death was in front of him. When he woke up after the wound and in his soul, instantly, as if freed from the oppression of life that held him back, this flower of love blossomed, eternal, free, not dependent on this life, he was no longer afraid of death and did not think about it "(7, p. 67).
The dream event is preceded by a conversation between the prince and Natasha (again, a narrative frame), that is, a description of what is most precious in the life of the prince, love for a woman.
"No one like you gives me that soft silence ... the other world" (7, p. 69). "Natasha, I love you too much. More than anything" (7, p. 69).
The depth, the extraordinary power of love, aggravated by the feeling of death, imminent separation, the whole scene is built on the transfer of this range of feelings.
Here are memories of the most touching moments of the recent past in the relationship between Prince Andrei and Natasha.
"In the Trinity Lavra, they talked about the past, and he told her that if he were alive, he would forever thank God for his wound, which brought him back to her; but since then they have never talked about the future" ( 7, p. 68).
Here is a description of the heightened feeling of each other: the approach of a loved one excites a "feeling of happiness."
"He dozed off. Suddenly a feeling of happiness swept over him.
"Ah, she came in!" he thought.
Indeed, Natasha, who had just entered with inaudible steps, was sitting in Sonya's place.
Since she began to follow him, he always experienced this physical sensation of her closeness" (7, p. 68).
“He looked at her without moving, and saw that after her movement she needed to take a deep breath, but she did not dare to do this and carefully caught her breath” (7, p. 68).
Here and bitter inner reflections prince about the love that has come and the need to die.
"Is it really only then that fate brought me together so strangely with her, so that I would die? .." (7, p. 69).
"Her face shone with enthusiastic joy", "Natasha was happy and excited", "His eyes shone towards her."
It is with this, with what is "more than anything in the world", that the prince will now have to part, understand and accept love that is stronger, omnipotent, secret.
How difficult it is for a person to part with life, with everything that he loves, what he is used to, what keeps him alive. This depicts Tolstoy with all the strength of his artistic skill, and the more complete and convincing the content of the dream-vision episode sounds.
Each person, with the onset of night, inevitably plunges into the power of dreams and dreams. Dreams are an integral part of our existence, the voice of our own "I", which in the unknown night hour tries to explain what we see, feel, experience in reality. IN literary works the dreams of heroes often anticipate the onset of turning points in the course of events.
In the novel by L.N. Tolstoy's "War and Peace" we see that dreams are inextricably linked with the life, soul and fate of the main characters - Andrei Bolkonsky and Pierre Bezukhov. These people are extremely wealthy. inner world, broad and receptive soul and, finally, exceptional fortitude. That is probably why the dreams of these people are very vivid and figurative, and, of course, they carry a certain symbolism.
Prince Andrei is seriously wounded on the Borodino field. From the novel we see how he suffers from pain and what physical torments he has to endure. But at the same time, despite all the suffering, the soul of Andrei Bolkonsky is occupied with thoughts about the true nature of happiness: “Happiness, which is outside the material forces, outside the material external influences on a person, the happiness of one soul, the happiness of love!”. The fruit of these reflections was Andrei's dream, more like delirium. In it, he saw how “a strange airy building of thin needles or splinters was erected above his face. He felt that he had to diligently keep his balance so that the building that was being erected would not collapse; but it still collapsed and slowly rose up again.
It seems to me that the building erected before the eyes of Prince Andrei is a symbol of love that awakens and grows in his soul. This love leads to a change in Bolkonsky's worldview, to his spiritual renewal, a deeper understanding of the meaning of life and himself. However, as we see from the description of the dream, Andrei's "building" of love is built of "needles" - it is still unstable, fragile and at the same time burdensome for him. In other words, the ideals of love and happiness have not yet fully established themselves in his soul and fluctuate under the influence of the torment and suffering that he endured, and in general under the influence of the circumstances of life.
One of the important symbols of this dream is the fly that hit the building. Depicting the new "world" of Andrei Bolkonsky as wavering, L.N. Tolstoy nevertheless speaks of its inviolability: "... hitting the very area of the building erected on its face, the fly did not destroy it." Compared to the magnificent “building” of love, everything else seems unimportant, small, insignificant, like the notorious fly.
There is another key moment in Bolkonsky's dream - "the statue of the sphinx, which also crushed him." Of course, the sphinx is associated with the image of Natasha Rostova, which remains unsolved for Prince Andrei. At the same time, the sphinx personifies the incompleteness of their relationship, which internally burdened the prince, became unbearable for him.
Through images and visions, Andrei's dream confirmed understanding in his soul. true love: “To love everything is to love God in all manifestations ... Loving human love You can go from love to hate, but divine love cannot change.” Under the influence of sleep, Prince Andrei realized how much he loved Natasha, felt “the cruelty of his break with her,” and from that moment on, the “sphinx” stopped crushing him.
So we see what this dream symbolizes crucial moment in the life of Andrei Bolkonsky.
The path of his friend Pierre Bezukhov is also a path of discovery and disappointment, a complex and dramatic path. Like Andrei Bolkonsky, in Pierre's dreams the main milestones of his path are indicated. He is more impressionable, more subtle, has a more sensitive and receptive soul than his friend. He is constantly looking for the meaning of life and the truth of life, which is reflected in his dreams.
After the Battle of Borodino, Pierre hears in a dream the voice of his Mason mentor: “Simplicity is obedience to God, you can’t get away from him. And they are simple. They don't talk, they do." By this moment, Pierre was already close to understanding who “they” were: “They were soldiers in Pierre’s concept - those who were on the battery, and those who fed him, and those who prayed to the icon.” When Bezukhov recalls his fear, he feels that he cannot connect with the soldiers and live the way they live: “But although they were kind, they did not look at Pierre, did not know him.” However, in a dream, a new truth is revealed to him: “It is not necessary to connect all this, but it is necessary to conjugate!”. To conjugate means to correlate, compare, compare oneself with those who in a dream were called the word “they”. This truth is what Pierre is striving for. From his dream we see that he discovers for himself one of the laws of being and becomes one step higher in his spiritual development.
Pierre sees his second dream after the murder of Karataev. Obviously, it is connected with the previous dream, where the dot at spiritual search still not set. After all, he stood before Pierre new question: "How to match everything?".
Pierre recalls Karataev's thoughts: “Life is everything. Life is God... To love life, to love God...”. In his second dream, Bezukhov sees an old geography teacher and an unusual globe - "a living, oscillating ball that has no dimensions." This globe is the personification of life, that is, God. The symbolism of this globe is deeply revealed in the words of the teacher: “In the middle, God and every drop strives ... to reflect him in the largest size and grows, merges ... goes into the depths and emerges again.” Here the idea is expressed that God is the basis of everything that exists, and people are just drops that seek to reflect it. The dream helps Pierre to understand that no matter how the drop people grow and grow, they will always be only a part of the great, a part of God.
This is, in my opinion, the symbolism of dreams in the novel by L.N. Tolstoy "War and Peace". With its help, the author managed to reveal the images of the characters more deeply, to show their internal dynamics. It seems to me that dreams unusually enliven the novel, make it more interesting.
crystal globe
Pierre Bezukhov from the novel "War and Peace" by Leo Tolstoy sees a crystal globe in a dream:
“This globe was a living, oscillating ball, without dimensions. The entire surface of the sphere consisted of drops tightly compressed together. And these drops all moved, moved, and then merged from several into one, then from one they were divided into many. Each drop aspired to spread, to capture the largest space, but others, striving for the same, squeezed it, sometimes destroyed it, sometimes merged with it ... God is in the middle, and each drop seeks to expand in order to reflect him in the largest size. And it grows, and shrinks, and is destroyed on the surface, goes into the depths and emerges again.
Pierre Bezukhov
The aspiration of the drops to global merging, their readiness to contain the whole world - this is love, compassion for each other. Love as a complete understanding of all living things passed from Platon Karataev to Pierre, and from Pierre it should spread to all people. It became one of the innumerable centers of the world, that is, it became the world.
That is why Pierre laughs at the soldier guarding him with a rifle at the barn door: “He wants to lock me up, my infinite soul ...” This is what followed the vision of the crystal globe.
The epigraph of the novel about the need for the unity of all good people is not at all so banal. The word "match", heard by Pierre in the second "prophetic" dream, is not accidentally combined with the word "harness". You have to harness it - you have to harness it. Everything that connects is the world; centers - drops, not striving for conjugation - this is a state of war, enmity. Enmity and alienation among people. It is enough to recall with what sarcasm Pechorin looked at the stars in order to understand what constitutes a feeling opposite to "conjugation".
Pierre Bezukhov. Museum. K.A. Fedina, Saratov
Probably not without the influence of cosmology Tolstoy built later Vladimir Solovyov his metaphysics, where the Newtonian force of attraction was called "love", and the force of repulsion became known as "enmity".
War and peace, conjugation and decay, attraction and repulsion - these are two forces, or rather, two states of one cosmic force, periodically overwhelming the souls of heroes Tolstoy. From the state of universal love (falling in love with Natasha and the whole universe, all-forgiving and all-encompassing cosmic love at the hour of Bolkonsky's death) to the same universal enmity and alienation (his break with Natasha, hatred and a call to shoot prisoners before the battle of Borodino). Such transitions are not characteristic of Pierre; he, like Natasha, is universal by nature. Fury against Anatole or Helene, the supposed assassination of Napoleon are superficial, without touching the depths of the spirit. Pierre's kindness is the natural state of his soul.
Pierre, Prince Andrei and Natasha Rostova at the ball
Pierre “saw” the crystal globe from the outside, that is, he went beyond the limits of the visible, visible space while still alive. He had a Copernican coup. Before Copernicus, people were in the center of the world, but here the universe turned inside out, the center became the periphery - many worlds around the "center of the sun". It is precisely this Copernican revolution that Tolstoy at the end of the novel:
“Since the law of Copernicus was found and proven, the mere recognition that it is not the sun that moves, but the earth, has destroyed the entire cosmography of the ancients ...
Just as for astronomy the difficulty of recognizing the movements of the earth was to renounce the immediate sense of the immobility of the earth and the same sense of the immobility of the planets, so for history the difficulty of recognizing the subjection of the individual to the laws of space, time and causes is to renounce the immediate sense of the independence of his personalities."
On a duel with Dolokhov
The ratio of unity to infinity is the ratio of Bolkonsky to the world at the moment of death. He saw everyone and could not love one. The relation of one to one is something else. This is Pierre Bezukhov. For Bolkonsky, the world fell apart into an infinite number of people, each of whom was ultimately uninteresting to Andrei. Pierre in Natasha, in Andrei, in Platon Karataev, and even in a dog shot by a soldier, saw the whole world. Everything that happened to the world happened to him. Andrei sees countless soldiers - "meat for cannons." He is full of sympathy, compassion for them, but it is not his. Pierre sees one Plato, but the whole world is in him, and this is his.
The feeling of the convergence of the two sides of a diverging angle at a single point is very well conveyed in the "Confession" Tolstoy, where he very accurately conveys the discomfort of weightlessness in his sleepy flight, feeling somehow very uncomfortable in the infinite space of the universe, suspended on some kind of support, until a feeling of the center from where these assistance comes. This center, penetrating everything, was seen by Pierre in a crystal globe, so that, waking up from a dream, he could feel it in the depths of his soul, as if returning from a transcendental height.
So Tolstoy explained his dream in "Confessions" also after waking up and having also moved this center from the interstellar heights to the depths of the heart. The center of the universe is reflected in every crystal drop, in every soul. This crystal reflection is love.
War is someone else's, peace is ours. Pierre's crystal globe is preceded in the novel Tolstoy globe-ball, which is played by Napoleon's heir in the portrait. A world of war with thousands of accidents, really reminiscent of a game of bilbock. Globe - ball and globe - crystal ball - two images of the world. The image of a blind man and a sighted man, gutta-percha darkness and crystal light. A world obedient to the capricious will of one, and a world of unmerged, but united wills.
Pierre goes to see the war
The artistic persuasiveness and integrity of such a cosmos does not require proof. The crystal globe lives, acts, exists as a kind of living crystal, a hologram that has absorbed the structure of the novel and the cosmos Lev Tolstoy.
"Light cobwebs - the reins of the Virgin", which connect people in prophetic dream Nikolenki, the son of Andrei Bolkonsky, will eventually unite in a single "center" of the crystal globe, somewhere out there, in space. Become a solid foundation for Tolstoy in his cosmic hovering over the abyss (a dream from "Confessions"). The tension of the "cosmic reins" - the feeling of love - is both the direction of movement and the movement itself. Tolstoy he loved such simple comparisons as an experienced horseman, a horseman and a peasant following a plow. You wrote everything correctly, he will tell Repin about his painting “Tolstoy on Plowed Field”, only they forgot to give the reins in their hands.
At the battle of Borodino, the Russian army with Napoleon
In Pierre's crystal globe, the drops and the center are correlated in this way, in Tyutchev's style: "Everything is in me, and I am in everything."
In the late period, the individual-unit was sacrificed to the "single" world. One can and should doubt the correctness of such a simplification of the world. Pierre's globe, as it were, grew dim, ceased to glow. Why do we need drops if everything is in the center? And where is the center reflected if there are no those crystal drops?
With Natasha Rostova
The space of the novel "War and Peace" is the same unique and majestic structure as the space of the "Divine Comedy" Dante and Faust Goethe. “Without the cosmology of the crystal globe, there is no romance,” says TO. Kedrov-Chelischev. This is something like a crystal casket in which the death of Koshchei is hidden. Here, everything in everything is the great principle of a synergistic double helix, diverging from the center and simultaneously converging towards it.
Pierre Reader
If Tolstoy portrayed dreams as a transformation of external impressions (for example, the dream of Pierre Bezukhov, who perceives the words of his wake-up servant “it’s time to harness” in a dream as a solution to the philosophical problem - “match”), then Dostoevsky believed that in a dream the forgotten experiences of people emerge into spheres controlled by consciousness, and therefore through their dreams a person knows himself better. The dreams of heroes reveal their inner essence - one that their waking mind does not want to notice.
Lev Tolstoy
Sectional modern crystal globe
Remember it at the right time
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The rumble of footsteps... The rumble of blood beating into the temples... He walked along the top floor, going from room to room... He arrived in Yekaterinburg the day before yesterday and only today was able to enter Ipatiev's house. It was transported here from Tobolsk royal family. On the wall of one of the rooms, by the window, he saw the sign of the empress drawn in pencil - she put it everywhere - for good luck. At the bottom was the date: April 17 (30). This is the day they were imprisoned in the Ipatiev house. In the room where Tsarevich Alexei was placed, the same sign painted on the wallpaper. The sign was also above the bed of the Tsarevich. Everywhere there was a terrible disorder. Heaps of ashes ominously darkened near the stoves. He squatted down in front of one of them and saw half-burnt hairpins, toothbrushes, buttons... What happened? Where were they taken? It most likely happened at night. They were taken away in what they were caught in, not allowing them to gather and grab the most necessary things.
During the imprisonment in Yekaterinburg, the only permitted place for Nicholas II and his family to walk was the roof of the Ipatiev house. Photo by Pierre Gilliard
He went down to the lower floor, to the basement, and froze in horror on the threshold. The low barred window let in almost no daylight. The walls and floor, like black wounds, were covered with traces of bullets and bayonets. There was no more hope. Did they raise their hand against the sovereign? But if so, then it was impossible to think that the Empress survived him. So they both became victims. But children? Grand Duchesses? Tsarevich Alexei? Everything proved that the victims were numerous ...
He sank down on the stone floor of this ominous, prison cell-like room, put his head in his hands and saw the sovereign and his daughters walking towards him. Snow-covered spruces surround Tsarskoye Selo Lake. Grand Duchess Olga is coming with his father by the arm, tightly clinging to his shoulder. Grand Duchess Tatyana, on the other hand, squeezes the sovereign's hand and says something quickly, quickly. The younger princesses now run ahead, then follow behind. Anastasia comes up with another prank, driving snow into the lapels of her velvet coat. The sovereign looks at his daughters with tenderness, he admires the faces shining with a blush. Blue kind eyes as if they were saying: “Look what glorious daughters I have!” ... He wanted to bow to the sovereign, but he could not get up from the floor. "But why winter?" he thought. And then it dawned on his mind that both the Ipatiev house and the Tsarskoye Selo park were just a dream... He woke up...
In the small cozy apartment of Pierre Gilliard there was a peaceful morning silence
E. Lipgart. "Portrait of Emperor Nicholas II"
I. Galkin. "Empress Alexandra Feodorovna"
Grand Duchess Anastasia
This dream he had, of course, is not accidental. Yesterday Pierre received a letter from Grand Duchess Olga Alexandrovna, sister of Emperor Nicholas II, living in Denmark. She wrote that a young woman who calls herself youngest daughter Emperor Nicholas II Anastasia. “Please go immediately to see this unfortunate woman. What if she turns out to be our baby ... And if it really is she, please let me know by telegram, and I will also come to Berlin.
Pierre Gilliard, together with his wife Alexandra, the former maid of the Grand Duchesses, the next day went to Berlin, to the hospital of St. Mary. The woman who declared herself Anastasia had been unconscious for several days. The emaciated body looked like a skeleton covered with skin. Who could recognize Princess Anastasia in her, even if it really was her?
At the insistence of Gilliard, the patient was transferred to a good clinic.
“The most important thing is that she stay alive,” he said to his wife, who did not leave the sick bed. "We'll be back as soon as she's better."
Three months later, Pierre Gilliard and Alexandra visited the sick woman. Pierre, sitting down beside her, said:
Please tell me what do you remember from your past?
She said in anger:
I don't know what "remember" means! If they wanted to kill you, like me, how much would you remember from what happened before?
Gilliard had to leave.
On the threshold, he ran into a woman in a lilac cloak. Gilliard recognized her: it was Princess Olga, the beloved aunt of the Grand Duchesses.
Coming to Anastasia's bed, she smiled at her and held out her hand.
Princess Olga adored her nieces. Every Saturday, the princesses who lived in Tsarskoye Selo looked forward to her. They went to Olga Alexandrovna's house, where they had fun, played and danced with other children...
Do you remember how you enjoyed every minute? she asked Anastasia with a smile. I can still hear your laughter ringing.
At these words, the impostor nodded and wept bitterly. Olga Alexandrovna kissed her on both cheeks:
You will definitely get better.
Again and again she peered into woman face, almost nothing like the face of her little Anastasia. Only the eyes were the same huge, bright, blue.
But she's been through so much! My heart tells me it's her! How I wish it was her!”
In October 1928, Dowager Empress Maria Feodorovna died. The next day, a document was published, later called the "Romanov Declaration." It was signed by twelve representatives of the Russian imperial family who unanimously confirmed that Frau Unbekannt was not the daughter of Tsar Nicholas II. This document, which cited the statements of Grand Duchess Olga, Pierre Gilliard and Baroness Buxgevden, maid of honor Alexandra Feodorovna, convinced the public that representatives of the Romanov dynasty rejected the impostor.
But the impostor continued to pretend to be Princess Anastasia, and there were always people who wanted to settle the “royal daughter” with them. She lived in America, then in England, then in Germany.
In 1968, Anastasia again moved to America, where she married Dr. Menahan. They lived together for fifteen years. In recent years, the impostor often ended up in a psychiatric clinic. On February 12, 1984, Anastasia Menahan died of pneumonia.
Royal martyrs. Icon
