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
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 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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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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At the heart of the composition "War and Peace" - narration about events and characters. According to the classification proposed by A. A. Saburov, it has several varieties. This is a historical-documentary narrative; storytelling based on fiction; storytelling that recreates processes mental life heroes in particular. epistolary(for example, Marya Bolkonskaya's correspondence with Julie Karagina) and diary(diary of Pierre Bezukhov, diary of Countess Marya Rostova). important place in "War and Peace" are copyrighted descriptions And reasoning.
The main element of the composition of "War and Peace" is a stage episode, consisting of stage dialogue And copyright remarks. Stage episodes in their sequence and form narrative flow.
In "War and Peace" many storylines.
The very title of the novel defines two main storylines. The first part of the first volume is devoted mainly to the theme of the world. It serves as an exposition of the main storylines of the work. Here pictures are drawn of the life of the social circles to which they belong. the most important heroes. Tolstoy depicts the salon of Anna Pavlovna Scherer, introduces the reader to Andrei Bolkonsky and Pierre Bezukhov, shows the life of Moscow, the Rostov family, the dying Count Bezukhov, then takes the reader to Lysy Gory. The first transition from peace to war is marked by the line between the first and second parts of the first volume of the novel. In the second part of the first volume, it is planned heroic theme people, which will be developed in the third and fourth volumes.
The second volume is almost entirely devoted to peace, the third volume - mainly to the war. Starting from the third volume, the themes of war and peace are constantly intertwined. The personal life of the heroes is included in the flow of events in 1812. In the fourth volume, the theme war is coming on the wane, the theme of peace again begins to prevail.
Within the two main lines - war and peace - in the novel, private story lines. Let's call some of them. This is the theme Petersburg nobility, in particular, the salon of Anna Pavlovna Scherer, the circle of Prince Vasily Kuragin and Helen, the circle of Anatole Kuragin and Dolokhov. In addition, storylines related to the fates are tied here. Andrei Bolkonsky And Pierre Bezukhov, with life the Rostov family.
Separate story lines reflect the fate Natasha Rostova And Nicholas Rostov. Let's also call the storyline associated with life in the Bald Mountains, the history of the old Prince Bolkonsky, the fate of Princess Marya. In addition, we note lines of Kutuzov and Bagration, Napoleon and the French, and freemasonry theme.
Transition from one storyline to the other is carried out, as a rule, according to principle of antithesis. Antithesis – the most important compositional technique in War and Peace.
important in Tolstoy's novel acquires scenery. Landscape in Tolstoy is always an element of a large and whole picture life.
An important place in the composition of "War and Peace" is occupied by author's digressions - historical, journalistic, philosophical. So, at the beginning of the third volume, Tolstoy considers the question of the role of the individual in history. Important role play the author's thoughts before the description of the Battle of Borodino. At the beginning of the third part of the fourth volume special interest presents a digression on the peculiarities of guerrilla warfare. A significant part of the epilogue is occupied philosophical digressions author. Copyright digressions enhance the epic beginning"War and Peace".
"Dialectics of the soul" (principles and means psychological analysis)
The term "dialectic of the soul" was introduced into Russian criticism by N. G. Chernyshevsky. In a review of early works Tolstoy Chernyshevsky noted that the writer is most interested in “the mental process itself, its forms, its laws, dialectics of the soul to be expressed in a definitive term.
"Dialectics of the soul", according to Chernyshevsky, is direct depiction of the "mental process". In addition, there is also a broader understanding of the "dialectics of the soul": many researchers call it general principles and specific methods of psychological analysis in the works of Tolstoy.
Consider some general principles"dialectics of the soul" in "War and Peace".
Tolstoy portrays the inner world of man is in constant motion, in contradictory development.“People are rivers, man is a fluid substance,” he wrote. This thesis can be illustrated by the example of the spiritual quests of Andrei Bolkonsky and Pierre Bezukhov. Heroes are constantly looking for the meaning of life, their inner world is constantly changing. Image of the state of mind of Andrei and Pierre - important aspect"dialectics of the soul".
Let us also pay attention to Tolstoy's interest in turning points, crisis moments in a person's spiritual life. The inner world of his heroes is often revealed precisely at such moments (Pierre in Torzhok, Andrei Bolkonsky under the sky of Austerlitz).
The most important feature of Tolstoy's psychologism is close connection of external events with the internal life of the characters. Let us point out, for example, the significance of such events as the birth of a child and the death of his wife for Andrei Bolkonsky. Let's remember the role Patriotic War 1812 in the spiritual life of heroes.
We also note some specific techniques psychological analysis in Tolstoy.
The main means of depicting the internal state of the hero in Tolstoy's novel is internal monologue. Let's give examples.
After a break with his wife and a duel with Dolokhov, being in a difficult state of mind, Pierre leaves Moscow and goes to St. Petersburg. Stopping at the post station in Torzhok, the hero sadly reflects on his life: “What's wrong? What well? What should you love, what should you hate? Why live, and what am I? What is life, what is death? What power governs everything?
Carried away by Anatole Kuragin, Natasha is in a state of mental confusion. "My God! I died! she said to herself. How could I let this happen?
Being seriously wounded, Andrei Bolkonsky reflects on his new view of the world. “Yes, a new happiness has opened up to me, inalienable from a person,” he thought, lying in a half-dark, quiet hut and looking ahead with feverishly open, stopped eyes. “Happiness, which is outside the material forces, outside the material external influences on a person, the happiness of one soul, the happiness of love!”
Sometimes the character's internal monologue turns into "mindflow", that is a chain of memories, impressions, logically unrelated to each other. For example, Tolstoy conveys the inner state of Nikolai Rostov during his first battle on the Enns River: “There is so much happiness in me alone and in this sun, and here ... groans, suffering, fear and this ambiguity, this haste ... Here again shouting something, and again everyone ran somewhere back, and I run with them, and here it is, here it is, death, above me, around me ... A moment - and I will never see this sun, this water , this gorge.<...>“And the fear of death and a stretcher, and the love of the sun and life - everything merged into one painfully disturbing impression.” Another example is the drowsy state of Nikolai Rostov in the flanker chain on the eve of Austerlitz: “Yes, I mean, what was I thinking? - not forget. How will I speak with the sovereign? No, not that - it's tomorrow. Yes Yes! Step on a tashka ... blunt us - who? Gusarov. And the hussars and the mustaches... This hussar with the mustache was riding along Tverskaya, I also thought of him, opposite Guryev's house... Old man Guryev... Oh, glorious little Denisov! Yes, it's all bullshit..."
An important means of psychological analysis in Tolstoy is monologues And dialogues heroes. Communicating with each other, Tolstoy's heroes often share their innermost thoughts. For example, the words of Andrei Bolkonsky, addressed to Pierre, sometimes take on the character confessions. At the beginning of the novel, Andrei Bolkonsky explains to his friend why he goes to war: “For what? I don't know. So it is necessary. Besides, I'm going... I'm going because this life I'm leading here, this life, is not for me!”
Let's take another example. In a conversation with Andrey on the ferry, Pierre expresses his opinion about the meaning of life: “This is what I know, and I know for sure, that the pleasure of doing good is the only true happiness of life.”
An important means of psychological analysis are also letters heroes. Let us cite as an example the correspondence between Princess Marya Bolkonskaya and Julie Karagina. Princess Marya's letter reveals spiritual world Christian, her sincere faith in God and selfless love to the neighbor. On the other hand, the discussions about the newfangled mystical teachings that we find in Julie's letter seem empty and full of secular mannerisms.
An essential means of disclosure inner world the hero can also be called diary. A striking example- a diary that Pierre kept during the period of passion for Freemasonry. In the diary entries of the hero, we find his innermost thoughts about life and death. It reflects his emotional experiences, dreams, memories. We also note diary Countess Marya Rostova, fragments of which are given at the end of the work.
Dream- a special means of psychological analysis in the novel "War and Peace". Of particular note Pierre's two dreams. One of them he saw in Mozhaisk after the Battle of Borodino, the other - in captivity. These dreams have a symbolic meaning.
Dream seen by Pierre in Mozhaisk conveys a sense of belonging common life”, consciousness of the need to subordinate one’s freedom to the Divine will. Pierre is seized by the idea of conjugation of everything that exists in the moral being of man.
An important point in the spiritual life of Pierre becomes another dream - about the globe, seen by the hero in captivity. In this dream, Pierre comes to feel that life is God. Meaning human existence is to love life, to love God.
We also note dream of Nikolenka Bolkonsky at the end of the novel.
An important means of psychological analysis in the novel "War and Peace" is the image inconsistencies between internal state hero and outward manifestation this state.
For example, Nikolai Rostov, having lost a huge amount of money in cards to Dolokhov, cheekily informs his father about this, although in his heart he feels like the last scoundrel and then asks his father for forgiveness.
Let's take another example. After the break with Natasha, Andrei Bolkonsky talks with Pierre about politics, but in his heart he continues to experience this gap. At the same time, Pierre feels that his friend’s thoughts are about something completely different.
Tolstoy in his work, as a rule, does not give detailed psychological portraits heroes. From here - special meaning psychological detail. Usually, it's a recurring detail(Princess Marya's radiant eyes, Dolokhov's cold gaze, Helen's bare shoulders).
Often the internal state of the hero is transmitted through description of nature. For example, sky Austerlitz- a symbol of eternity, against which Andrei Bolkonsky becomes clear the vanity of his dreams of glory. Two meetings with an old oak transmit state of mind Andrei before and after his first meeting with Natasha Rostova. IN spring night in Otradnoye, the hero involuntarily overheard Natasha's conversation with Sonya, imbued with the joy of life, the optimism emanating from Natasha.
Let's draw conclusions.
Tolstoy appears in the novel "War and Peace" as a writer-psychologist. The image of the inner world of a person in constant motion, contradictory development, interest in turning points, crises in the spiritual life of a person, the close connection of external events with the inner life of the characters are the most important principles of the “dialectic of the soul”.
Tolstoy uses in his work such means of psychological analysis as internal monologue, monologue-confession, dialogue, letters, dreams, diary entries. The writer depicts the discrepancy between the internal state of the hero and the external manifestation of this state, conveys the movements of the hero's soul through descriptions of nature. An important role in psychological characteristics characters are played by a recurring detail.
When preparing materials on the work of L. N. Tolstoy, fragments of the monograph by A. A. Saburov “War and Peace” by L. N. Tolstoy were used. Problematics and Poetics. - M, 1959. In addition, the studies of such authors as S. G. Bocharov, N. K. Gudziy, L. D. Opulskaya, A. P. Skaftymov are taken into account.
The material of this section is presented in accordance with the concept of A. P. Skaftymov.
2 The issue of Tolstoy's fatalism continues to be controversial. See, for example, the studies of Ya. S. Lurie.
N. G. Chernyshevsky. Childhood and Adolescence. The writings of Count Tolstoy. Military stories of Count Tolstoy.
Tolstoy used in his novel the real diary of the freemason Ya. P. Titov - almost verbatim. In addition, there is an autobiographical moment here: as already noted, from 1847 until the end of his days, Tolstoy himself kept a diary, which became creative laboratory writer.
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I'll take a break. All these internal and external changes make me think that a person who has acquired such spiritual values and looks at the world with different eyes needs some other auxiliary, nourishing forces. “He remembered that he now had a new happiness and that this happiness had something in common with the gospel. That's why he asked for the gospel." Prince Andrei was as if under a shell from the outside world and watched him away from everyone, and at the same time his thoughts and feelings remained, so to speak, not damaged by external influences. Now he was his own guardian angel, calm, not passionately proud, but wise beyond his years. “Yes, a new happiness has opened up to me, inalienable from a person,” he thought, lying in a half-dark, quiet hut and looking ahead with feverishly open, stopped eyes. Happiness that is outside of material forces, outside of material external influences on a person, the happiness of one soul, the happiness of love! .. ”And, in my opinion, it was Natasha who, with her appearance and care, partly pushed him to realize his inner wealth. She knew him like no one else (although now less) and, without noticing it herself, gave him the strength to exist on earth. If divine love was added to earthly love, then, probably, Prince Andrei began to love Natasha somehow differently, namely, more strongly. She was a link for him, she helped soften the "struggle" of his two beginnings ...
Sorry! she said in a whisper, raising her head and looking at him. - Excuse me!
I love you, - said Prince Andrei.
Sorry…
What to forgive? asked Prince Andrew.
Forgive me for what I did, - Natasha said in a barely audible, interrupted whisper and began to kiss her hand more often, slightly touching her lips.
I love you more, better than before, - said Prince Andrei, raising her face with his hand so that he could look into her eyes ...
Even Natasha's betrayal with Anatole Kuragin did not matter now: to love, to love her more than before - that was the healing power of Prince Andrei. “I experienced that feeling of love,” he says, “which is the very essence of the soul and for which no object is needed. I still have that blissful feeling. Love your neighbors, love your enemies. To love everything is to love God in all manifestations. You can love a dear person human love; but only the enemy can be loved with divine love. And from this I experienced such joy when I felt that I love that person [Anatole Kuragin]. What about him? Is he alive ... Loving with human love, one can move from love to hatred; but divine love cannot change. Nothing, not death, nothing can destroy it…”
It seems to me that, if we forget about the physical pain from the injury, thanks to Natasha, the “illness” of Prince Andrei turned almost into paradise, to say the least, because some part of Bolkonsky’s soul was already “not with us”. Now he has found a new height, which he did not want to reveal to anyone. How is he going to live with this?
When Prince Andrei's health seemed to be recovering, the doctor was not happy about this, because he believed that either Bolkonsky would die now (which is better for him), or a month later (which would be much harder). Despite all these predictions, Prince Andrei was still fading away, but in a different way, so that no one noticed it; maybe outwardly his health was improving - inwardly he felt in himself an endless struggle. And even “when they brought Nikolushka [son] to Prince Andrei, who looked at his father in fright, but did not cry, because no one was crying, Prince Andrei ... did not know what to say to him.”
“He not only knew that he was going to die, but he felt that he was dying, that he was already half dead. He experienced the consciousness of alienation from everything earthly and the joyful and strange lightness of being. He, without haste and without anxiety, expected what lay ahead of him. That formidable, eternal, unknown, distant, the presence of which he never ceased to feel throughout his life, was now close to him and - by that strange lightness of being that he experienced - almost understandable and felt ... "
At first, Prince Andrei was afraid of death. But now he did not even understand the fear of death, because, having survived after being wounded, he realized that there was nothing terrible in the world; he began to realize that to die is only to move from one “space” to another, moreover, without losing, but gaining something more, and now the border between these two spaces began to gradually blur. Physically recovering, but internally "fading", Prince Andrei thought about death much more simply than others; it seemed to them that he no longer grieved that his son would be left without a father, that his loved ones would lose a loved one. Maybe that’s the way it is, but at that moment Bolkonsky was worried about something completely different: how to stay at the achieved height until the end of his life? And if we even envy him a little in his spiritual attainment, then how can Prince Andrei combine two principles in himself? Apparently, Prince Andrei did not know how to do this, and did not want to. Therefore, he began to give preference to the beginning of the divine ... “The further he, in those hours of suffering solitude and semi-delusion that he spent after his wound, pondered over the new beginning open to him eternal love Moreover, he himself, without feeling it, renounced earthly life. Everything, to love everyone, to always sacrifice oneself for love, meant not to love anyone, meant not to live this earthly life.
Andrei Bolkonsky has a dream. Most likely, it was he who became the culmination of his spiritual wanderings. In a dream, “it”, that is, death, does not allow Prince Andrei to close the door behind him and he dies ... “But at the same moment as he died, he remembered that he was sleeping, and at the same moment as he died, Prince Andrei, having made an effort on himself, woke up ... “Yes, it was death. I died - I woke up. Yes, death is an awakening,” his soul suddenly brightened, and the veil that had hidden the unknown until now was lifted before his spiritual gaze. He felt, as it were, the release of the previously bound strength in him and that strange lightness that has not left him since then ... ”And now the struggle ends with the victory of ideal love - Prince Andrei dies. This means that the “weightless” devotion to death turned out to be much easier for him than the combination of two principles. Self-consciousness awakened in him, he remained outside the world. Perhaps it is no coincidence that death itself as a phenomenon is almost never given a line in the novel: for Prince Andrei, death did not come unexpectedly, it did not creep up - it was he who had been waiting for her for a long time, preparing for it. The land, to which Prince Andrei passionately reached out at the fateful moment, never fell into his hands, sailed away, leaving in his soul a feeling of anxious bewilderment, an unsolved mystery.
“Natasha and Princess Marya were now also crying, but they were crying not from their own personal grief; they wept from the reverent tenderness that seized their souls before the consciousness of the simple and solemn mystery of death that took place before them.
Now, summing up everything written above, I can conclude that the spiritual quest of Prince Andrei Bolkonsky had an outcome perfectly chosen by Tolstoy: one of his favorite heroes was awarded such inner wealth that there was no other way to live with him, how to choose death (protection), and not find. The author did not wipe Prince Andrei off the face of the earth, no! He gave his hero a blessing that he could not refuse; In return, Prince Andrei left the world the ever-warming light of his love.
