Appendix - individual cards according to vol. III

Introduction

Historical figures have always been of particular interest in Russian literature. dedicated to some individual works, others are key images in the plots of novels. The image of Napoleon in Tolstoy's novel "War and Peace" can also be considered as such. With the name of the French emperor Napoleon Bonaparte (Tolstoy wrote precisely to Bonaparte, and many heroes called him only Buonoparte) we meet already on the first pages of the novel, and part only in the epilogue.

Heroes of the novel about Napoleon

In the living room of Anna Scherer (the ladies-in-waiting and close empress) the political actions of Europe towards Russia are discussed with great interest. The mistress of the salon herself says: “Prussia has already announced that Bonaparte is invincible and that all of Europe can do nothing against him ...”. Representatives of secular society - Prince Vasily Kuragin, the emigrant Viscount Mortemar invited by Anna Scherer, Abbé Maurio, Pierre Bezukhov, Andrei Bolkonsky, Prince Ippolit Kuragin and other members of the evening were not united in their attitude towards Napoleon. Someone did not understand him, someone admired him. In War and Peace, Tolstoy showed Napoleon from different angles. We see him as a commander-strategist, as an emperor, as a person.

Andrey Bolkonsky

In a conversation with his father, the old prince Bolkonsky, Andrei says: “... but Bonaparte is still a great commander!” He considered him a "genius" and "could not allow disgrace for his hero." At the evening at Anna Pavlovna Scherer, Andrey supported Pierre Bezukhov in his judgments about Napoleon, but still retained own opinion about him: “Napoleon, as a man, is great on the Arkol bridge, in the hospital in Jaffa, where he gives a hand to the plague, but ... there are other actions that are difficult to justify.” But after a while, lying on the field of Austerlitz and looking into the blue sky, Andrei heard Napoleon's words about him: "Here is a beautiful death." Bolkonsky understood: “... it was Napoleon - his hero, but at that moment Napoleon seemed to him such a small, insignificant person ...” During the inspection of the prisoners, Andrei thought “about the insignificance of greatness.” Disappointment in his hero came not only to Bolkonsky, but also to Pierre Bezukhov.

Pierre Bezukhov

The young and naive Pierre, who had just appeared in the world, zealously defended Napoleon from the attacks of the viscount: “Napoleon is great because he rose above the revolution, suppressed its abuses, retaining all that was good, both the equality of citizens, and freedom of speech and the press, and only therefore acquired power. Pierre recognized the "greatness of the soul" for the French emperor. He did not defend the murders of the French emperor, but the calculation of his actions for the good of the empire, his willingness to take on such a responsible task - to raise a revolution - it seemed to Bezukhov a real feat, the strength of a great man. But confronted face to face with his "idol", Pierre saw all the insignificance of the emperor, cruelty and lack of rights. He cherished the idea - to kill Napoleon, but realized that he was not worth it, because he did not even deserve a heroic death.

Nikolay Rostov

This young man called Napoleon a criminal. He believed that all his actions were illegal and, out of the naivety of his soul, hated Bonaparte "as best he could."

Boris Drubetskoy

A promising young officer, a protege of Vasily Kuragin, spoke about Napoleon with respect: “I would like to see a great man!”

Count Rostopchin

The representative of secular society, the protector of the Russian army, said about Bonaparte: "Napoleon treats Europe like a pirate on a conquered ship."

Characteristics of Napoleon

The ambiguous characterization of Napoleon in Tolstoy's novel "War and Peace" is presented to the reader. On the one hand, he is a great commander, ruler, on the other hand, he is an “insignificant Frenchman”, a “servile emperor”. External features lower Napoleon to the ground, he is not as tall, not as handsome, he is fat and unpleasant, as we would like to see him. It was "a stout, short figure with broad, thick shoulders and an involuntarily protruding belly and chest." The description of Napoleon is present in different parts of the novel. Here he is before the battle of austerlitz: “... his thin face did not move a single muscle; shiny eyes were motionless directed at one place ... He stood motionless ... and on his cold face there was that special shade of self-confident, deserved happiness that happens on the face of a boy in love and happy. By the way, this day was especially solemn for him, as it was the day of the anniversary of his coronation. But we see him at a meeting with General Balashev, who arrived with a letter from Tsar Alexander: “... firm, decisive steps”, “round belly ... fat thighs of short legs ... White plump neck ... On a youthful full face... an expression of gracious and majestic imperial greetings. The scene of Napoleon awarding the bravest Russian soldier with an order is also interesting. What did Napoleon want to show? His greatness, the humiliation of the Russian army and the emperor himself, or admiration for the courage and stamina of the soldiers?

Portrait of Napoleon

Bonaparte appreciated himself very much: “God gave me a crown. Woe to whoever touches her." These words were spoken by him during his coronation in Milan. Napoleon in "War and Peace" is an idol for some, an enemy for some. “There is a trembling of my left calf great sign" Napoleon said about himself. He was proud of himself, he loved himself, he glorified his greatness over the whole world. Russia stood in his way. Having defeated Russia, it was not worth the trouble for him to crush the whole of Europe under him. Napoleon behaved arrogantly. In the scene of a conversation with the Russian General Balashev, Bonaparte allowed himself to pull his ear, saying that it was a great honor to be pulled up by the ear by the emperor. The description of Napoleon contains many words containing a negative connotation, Tolstoy especially vividly characterizes the emperor’s speech: “condescendingly”, “mockingly”, “wickedly”, “angrily”, “dryly”, etc. Bonaparte also boldly speaks about the Russian Emperor Alexander: “War is my trade, and his business is to reign, and not to command troops. Why did he take on such a responsibility?

The image of Napoleon in "War and Peace" revealed in this essay allows us to conclude that Bonaparte's mistake was in overestimating his capabilities and excessive self-confidence. Wanting to become the ruler of the world, Napoleon could not defeat Russia. This defeat broke his spirit and confidence in his strength.

Artwork test

Portrait of Napoleon

Lev Nikolaevich emphasizes the limitedness and self-confidence of this commander, which is manifested in all his words, gestures and deeds. The portrait of Napoleon is ironic. He has a "short", "fat" figure, "fat thighs", a fussy, impetuous gait, "a plump white neck", a "round belly", "thick shoulders". This is the image of Napoleon in the novel "War and Peace". Describing the morning toilet of the French emperor before the battle of Borodino, Lev Nikolaevich is a revealing character portrait characteristics, given originally in the work, enhances. The emperor has a "groomed body", "overgrown fat breasts", a "yellow" and "swollen" face. These details show that Napoleon Bonaparte ("War and Peace") was a man far from working life and alien to folk roots. The leader of the French is shown as a narcissistic egoist who thinks that the whole universe obeys his will. For him, people are of no interest.

Napoleon's behavior, his manner of speaking

The image of Napoleon in the novel "War and Peace" is revealed not only through the description of his appearance. In his manner of speaking and behavior, narcissism and narrow-mindedness also show through. He is convinced of his own genius and greatness. Good is what came to his mind, not what is actually good, as Tolstoy notes. In the novel, each appearance of this character is accompanied by the author's merciless commentary. So, for example, in the third volume (first part, sixth chapter), Lev Nikolaevich writes that it was clear from this person that only what was happening in his soul was of interest to him.

In the work "War and Peace" Napoleon's characterization is also marked by the following details. With subtle irony, which sometimes turns into sarcasm, the writer exposes Bonaparte's claims to world domination, as well as his acting, incessant posing for history. All the time the French emperor was playing, there was nothing natural and simple in his words and behavior. This is shown very expressively by Lev Nikolaevich in the scene when he admired the portrait of his son on the Borodino field. In it, the image of Napoleon in the novel "War and Peace" acquires some very important details. Let's describe this scene briefly.

Episode with a portrait of Napoleon's son

Napoleon approached the painting, feeling that what he would do and say now "is history." The portrait depicted the son of the emperor, who played the globe in a bilbock. This expressed the greatness of the leader of the French, but Napoleon wanted to show "fatherly tenderness." Of course it was clean water acting. Napoleon did not express any sincere feelings here, he only acted, posed for history. This scene shows the arrogance of this man, who believed that all of Russia would be subdued with the conquest of Moscow and thus his plans for dominating the whole world would be realized.

Napoleon - actor and player

And in a number of further episodes, the description of Napoleon ("War and Peace") indicates that he is an actor and a player. On the eve of the Battle of Borodino, he says that the chess has already been set, tomorrow the game will begin. On the day of the battle, Lev Nikolaevich remarks after cannon shots: "The game has begun." Further, the writer shows that it cost tens of thousands of people their lives. Prince Andrei thinks that war is not a game, but only a cruel necessity. A fundamentally different approach to it was in this thought of one of the main characters of the work "War and Peace". The image of Napoleon is set off by this remark. Prince Andrei expressed the opinion of the peaceful people, who were forced under exceptional circumstances to take up arms, since the threat of enslavement hung over their homeland.

Comic effect produced by the French emperor

It did not matter to Napoleon what was outside of himself, since it seemed to him that everything in the world depended only on his will. Tolstoy gives such a remark in the episode of his meeting with Balashev ("War and Peace"). The image of Napoleon in it is complemented by new details. Lev Nikolaevich emphasizes the contrast between the insignificance of the emperor and his inflated self-esteem. The comic conflict that arises in this case is the best proof of the emptiness and impotence of this historical figure, who pretends to be majestic and strong.

Spiritual world of Napoleon

According to Tolstoy spiritual world the leader of the French is an "artificial world" inhabited by "ghosts of some greatness" (volume three, part two, chapter 38). In fact, Napoleon is living proof one old truth that "the king is the slave of history" (volume three, part one, chapter 1). Considering that he is doing his own will, this historical figure just played the "heavy", "sad" and "cruel" "inhuman role" that was intended for him. He would hardly have been able to endure it if this person had not had a darkened conscience and mind (volume three, part two, chapter 38). The writer sees the obscuration of the mind of this commander-in-chief in the fact that he consciously cultivated in himself spiritual callousness, which he took for true greatness and courage.

So, for example, in the third volume (part two, chapter 38) it is said that he liked to examine the wounded and killed, thereby testing his mental strength(as Napoleon himself believed). In an episode when a squadron of Polish lancers swam across the Neman River and the adjutant, before his eyes, allowed himself to draw the attention of the emperor to the devotion of the Poles, Napoleon called Bertier to him and began to walk along the shore with him, giving orders to him and occasionally looking with displeasure at the drowned lancers who entertained his attention. For him, death is a boring and familiar sight. Napoleon takes for granted the selfless devotion of his own soldiers.

Napoleon is a deeply unhappy person

Tolstoy emphasizes that this man was deeply unhappy, but did not notice this only due to the absence of at least some moral feeling. The "great" Napoleon, the "European hero" is morally blind. He cannot understand either beauty, or goodness, or truth, or the meaning of his own actions, which, as Leo Tolstoy notes, were "opposite to goodness and truth," "far from everything human." Napoleon simply could not understand the meaning of his deeds (volume three, part two, chapter 38). To come to truth and goodness, according to the writer, is possible only by abandoning the imaginary greatness of one's personality. However, Napoleon is not at all capable of such a "heroic" act.

Napoleon's responsibility for what he did

Despite the fact that he is doomed to play a negative role in history, Tolstoy by no means diminishes the moral responsibility of this man for everything he has done. He writes that Napoleon, destined for the "not free", "sad" role of the executioner of many peoples, nevertheless assured himself that their good was the goal of his actions and that he could control and direct the destinies of many people, to do by his power of beneficence. Napoleon imagined that the war with Russia took place at his will, his soul was not struck by the horror of what had happened (volume three, part two, chapter 38).

Napoleonic qualities of the heroes of the work

In other heroes of the work, Lev Nikolaevich connects the Napoleonic qualities with the lack of a moral feeling in the characters (for example, Helen) or with their tragic delusions. So, in his youth, Pierre Bezukhov, who was fond of the ideas of the French emperor, remained in Moscow in order to kill him and thereby become the "deliverer of mankind." In the early stages of his spiritual life, Andrei Bolkonsky dreamed of rising above other people, even if this required sacrificing loved ones and family. In the image of Lev Nikolaevich, Napoleonism is a dangerous disease that divides people. She makes them wander blindly on the spiritual "off-road".

August 25, on the eve of the Battle of Borodino, prefect of the emperor's palace French m-r de Beausset and Colonel Fabvier arrived, the first from Paris, the second from Madrid, to the Emperor Napoleon at his headquarters near Valuev. Having changed into a court uniform, m-r de Beausset ordered the parcel brought by him to the emperor to be carried in front of him and entered the first compartment of Napoleon's tent, where, talking with Napoleon's adjutants surrounding him, he began to uncork the box. Fabvier, without entering the tent, stopped talking with familiar generals at the entrance to it. Emperor Napoleon had not yet left his bedroom and was finishing his toilette. He, snorting and groaning, turned now with his thick back, then with his fat chest overgrown with a brush, with which the valet rubbed his body. Another valet, holding the bottle with his finger, sprinkled cologne on the well-groomed body of the emperor with an expression that said that he alone could know how much and where to sprinkle cologne. Short hair Napoleon were wet and matted on the forehead. But his face, though swollen and yellow, expressed physical pleasure. "Allez ferme, allez toujours..." he kept saying, shrugging and groaning to the rubbing valet. The adjutant, who entered the bedroom in order to report to the emperor on how many prisoners had been taken in yesterday's case, handing over what was needed, stood at the door, waiting for permission to leave. Napoleon, grimacing, looked frowningly at the adjutant. "Point de prisonniers," he repeated the adjutant's words. — Ils se font demolier. Tant pis pour l "armée russe," he said. "Allez toujours, allez ferme," he said, hunching over and raising his fat shoulders. - C "est bien! Faites entrer monsieur de Beausset, ainsi que Fabvier," he said to the adjutant, nodding his head. - Oui, sire, - and the adjutant disappeared through the door of the tent. Two valets quickly dressed His Majesty, and he, in the blue uniform of the Guards, with firm, quick steps, went out into the waiting room. Bosse at that time was hurrying with his hands, setting the gift he had brought from the empress on two chairs, right in front of the emperor's entrance. But the emperor dressed and went out so unexpectedly quickly that he did not have time to fully prepare the surprise. Napoleon immediately noticed what they were doing and guessed that they were not yet ready. He didn't want to deprive them of the pleasure of surprise him. He pretended not to see Monsieur Bosset, and called Fabvier to him, Napoleon listened, with a stern frown and in silence, to what Fabvier told him about the courage and devotion of his troops, who fought at Salamanca on the other side of Europe and had only one thought - to be worthy of their emperor, and one fear - not to please him. The result of the battle was sad. Napoleon made ironic remarks during Fabvier's story, as if he did not imagine that things could go differently in his absence. “I have to correct this in Moscow,” said Napoleon. “A tantôt,” he added, and called de Bosset, who at that time had already managed to prepare a surprise by placing something on the chairs and covering something with a veil. De Bosset bowed low with that courtly French bow that only the old servants of the Bourbons knew how to bow, and approached, handing the envelope. Napoleon turned to him cheerfully and tugged him by the ear. - You hurried, very glad. Well, what does Paris say? he said, suddenly changing his formerly stern expression to the most affectionate. “Sire, tout Paris regrette votre absence,” answered de Bosset, as he should. But although Napoleon knew that Bosset should say this or the like, although he knew in his clear moments that it was not true, he was pleased to hear this from de Bosset. He again honored him with a touch on the ear. “Je suis fâché de vous avoir fait faire tant de chemin,” he said. — Sir! Je ne m "attendais pas à moins qu" à vous trouver aux portes de Moscou, said Bosse. Napoleon smiled and, absently raising his head, looked to his right. The adjutant came up with a floating step with a golden snuffbox and held it up. Napoleon took her. “Yes, it happened well for you,” he said, putting an open snuffbox to his nose, “you like to travel, in three days you will see Moscow. You probably did not expect to see the Asian capital. You will make a pleasant trip. Bosse bowed in gratitude for this attentiveness to his (hitherto unknown to him) propensity to travel. - A! what's this? - said Napoleon, noticing that all the courtiers were looking at something covered with a veil. Bosse, with courtly agility, without showing his back, took a half-turn two steps back and at the same time pulled off the veil and said: “A gift to Your Majesty from the Empress. It was a portrait painted by Gerard in bright colors of a boy born from Napoleon and the daughter of the Austrian emperor, whom for some reason everyone called the king of Rome. A very handsome curly-haired boy, with a look similar to that of Christ in Sistine Madonna, was depicted as playing bilbock. The orb represented the globe, and the wand in the other hand represented the scepter. Although it was not entirely clear what exactly the painter wanted to express by imagining the so-called King of Rome piercing the globe with a stick, this allegory, like everyone who saw the picture in Paris, so Napoleon obviously seemed clear and very pleased. “Roi de Rome,” he said, pointing gracefully at the portrait. — Admirable! - With the Italian ability to change the expression at will, he approached the portrait and pretended to be thoughtful tenderness. He felt that what he would say and do now was history. And it seemed to him that the best thing he could do now was that he, with his greatness, as a result of which his son in bilbock played with the globe, so that he showed, in contrast to this greatness, the simplest paternal tenderness. His eyes dimmed, he moved, looked around at the chair (the chair jumped under him) and sat down on it opposite the portrait. One gesture from him and they all left on tiptoe, leaving the great man to himself and his feelings. After sitting for some time and touching, for what he did not know, with his hand until the rough reflection of the portrait, he got up and again called Bosse and the duty officer. He ordered the portrait to be taken out in front of the tent, so as not to deprive the old guard, who stood near his tent, of the happiness of seeing the Roman king, the son and heir of their adored sovereign. As he expected, while he was having breakfast with Monsieur Bosse, who had received this honor, enthusiastic cries of officers and soldiers of the old guard who fled to the portrait were heard in front of the tent. - Vive l "Empereur! Vive le Roi de Rome! Vive l" Empereur! enthusiastic voices were heard. After breakfast, Napoleon, in the presence of Bosset, dictated his order to the army. — Courte et energique! - said Napoleon, when he read the proclamation he had written without corrections at once. The order was: "Warriors! Here is the battle you have been longing for. Victory is up to you. It is necessary for us; she will provide us with everything we need: comfortable apartments and a speedy return to the fatherland. Act as you did at Austerlitz, Friedland, Vitebsk and Smolensk. May later posterity proudly remember your exploits in this day. Let them say about each of you: he was in the great battle near Moscow! — De la Moskowa! Napoleon repeated, and, inviting Mr. Bosse, who loved to travel, to his walk, he left the tent to the saddled horses. “Votre Majesté a trop de bonté,” Bosse said to the invitation to accompany the emperor: he wanted to sleep, and he did not know how and was afraid to ride. But Napoleon nodded his head to the traveler, and Bosset had to go. When Napoleon left the tent, the cries of the guards in front of the portrait of his son intensified even more. Napoleon frowned. "Take it off," he said, pointing gracefully at the portrait. “It is too early for him to see the battlefield. Bosse, closing his eyes and bowing his head, took a deep breath, with this gesture showing how he knew how to appreciate and understand the words of the emperor.

The unity and inspiration here is seemingly fragile, because it is based on personal and petty, selfish goals. “They had no choice but to shout “Vive l’empereur!” and go to fight in order to find food and rest for the winners in Moscow” (vol. III, part III, ch. 28). For Napoleon himself, the future battle is big game, which must certainly be won, and for this he must correctly arrange chess - troops.

Landscapes play a significant role in the description of the battle (vol. III, part II ch. 30-39): the morning sun, just bursting from behind a cloud and dispersing fog, mixed with haze of shots; the sun, shrouded in smoke and still high, in the middle of the battle; the sun beats "oblique rays in the face of Napoleon"; at the end of the battle, the clouds covered the sun, it began to rain on the dead, on the wounded, on the frightened and exhausted people, “as if he were saying:“ Enough, people. Stop .... Come to your senses. What are you doing? On the field "there was now a haze of dampness and smoke and smelled of strange acid of saltpeter and blood." So the image of the sun accompanies the smoke and shots, and this single visual-auditory image marks the stages of the battle.

Raevsky battery (ch. 31-32).

The soldiers and officers of the battery are doing their duty; all the time everyone is busy: bringing shells, loading guns, doing it with panache; all the time everyone is animated, everyone is joking: over Pierre, over themselves, over a grenade. And this is not lightness, but a manifestation of perseverance. endurance. And Pierre, who was watching them, also wanted to become a participant in the battle and offered his services as a carrier of shells. “To be a soldier, just a soldier ...” - Pierre thinks later. Learn to “match your life with theirs. Tormented by the fact that the bloody battle frightened him, Pierre again turns his thoughts to the soldiers. "And they... they were firm, calm all the time to the end... They don't talk, but they do." "Enter this common life whole being, imbued with what makes them so. But how to throw off all this superfluous, devilish, all the burden of this outer man? (vol. III, part III, ch. 9)

The behavior of Napoleon and Kutuzov in battle (ch. 33-35)

One of them, leading, as it seems to him, the battle, gives a lot of orders, reasonable in themselves, but such, "which either were already executed before he did them, or could not be and were not executed" (ch. 35), because the situation changed, and the order became incorrect. The slender masses of the French troops were returning from the battlefield in "disorganized, frightened crowds", and Napoleon felt that the terrible swing of his arm was falling powerlessly. And Kutuzov only monitors the spirit of the troops and leads them as best he can. He gives only those orders that can support or strengthen the stamina of the troops: orders to notify the troops about the capture of Murat, about tomorrow's offensive, etc.

The wounding of Prince Andrei, his courage (ch.36-37)

As a result of the Battle of Borodino sounds the conclusion of Tolstoy with the moral victory of the Russians. Read out (ch. 39).

IV. Verification work by episode " battle of Borodino”, (Part II, ch. 19-39).

Why did Tolstoy show a significant part of the events of the Battle of Borodino in Pierre's perception?

What meaning did the soldier’s words have for Pierre: “They want to pile on all the people ...” Ch. 20?

How are the characters of historical figures and the main characters of the novel revealed in the central scene - the description of the Battle of Borodino?

What are the results of the life lived, which Prince Andrei sums up on the eve of the battle?

Explain the words of Prince Andrei: “as long as Russia was healthy, a stranger could serve it” Ch. 25.

How do you understand Pierre's thoughts about the latent warmth of patriotism in Ch. 25?

How does Napoleon characterize the scene with the portrait of his son and the phrase: "The chess is set, the game begins tomorrow" Ch. 26, 29?

How is it revealed true heroism people in one of the episodes of the Battle of Borodino (on the Raevsky battery)?

For what purpose does Tolstoy compare Napoleon with the player of Ch. 29?

What is the meaning of Tolstoy's words about the moral victory of the Russian army, Ch. 39?

Homework: (by options)

Systematize the material according to the images of Napoleon and Kutuzov.

Questions to the image of Kutuzov.

Do they correspond to real historical figures images of Kutuzov and Napoleon in the novel?

Why does Tolstoy have a negative attitude towards Napoleon and with love towards Kutuzov?

To whom are these characters opposed and to whom are they similar in the novel?

Why did Kutuzov evade battles in 1805, but gave the Shengraben battle?

Why does he sleep at the military council in front of Austerlitz and actively act in battle? Are his orders carried out at Austerlitz?

Prove that Kutuzov is “his own, native person"for the people.

Is there a contradiction between the way Tolstoy defines the role of Kutuzov in the Battle of Borodino and the behavior of Kutuzov shown by Tolstoy?

How does Kutuzov, not wanting to first give up Moscow without a fight, come to this decision?

Does Kutuzov claim to be a hero in history?

Is Kutuzov's attitude to different people? Show this with the example of the hero's speech.

Questions about the image of Napoleon.

How is Napoleon perceived by Prince Andrei and Pierre at the beginning of the novel? Where and why does this perception of Napoleon as a hero collapse?

What is the traditional view of appearance Napoleon? How does Tolstoy draw Napoleon?

Does Tolstoy know anything positive about the real Napoleon? Why does he exclude it from the image of his hero? What guides Napoleon, going "from West to East to kill his own kind"?

Why are Napoleon's "reasonable" orders not carried out in the Battle of Borodino? Are all his orders reasonable?

Does Napoleon notice other people? What is his attitude towards himself?

Show acting and hypocrisy in it.

Compare Napoleon's speech with Kutuzov's.

Show what artistic components make up the images of both commanders?

Appendix - individual cards according to vol. III.

1) The beginning of the war of 1812 (part I, ch. 1). How does Tolstoy assess the role of the individual in history? What significance does he attach to the personal and “swarm” life of a person?

2) The crossing of the Polish lancers across the Neman (part I, ch. 2). How does the author reveal his attitude to Bonapartism?

3) Pierre at the beginning of the war (part I, ch. 19). What do Pierre's mental confusion, his dissatisfaction with himself and those around him say?

4) The fire of Smolensk and the retreat of the Russian army (part II, ch. 4, 5). What is the general feeling of the inhabitants of the city and the soldiers? How do the soldiers treat Prince Andrei and why?

5) In St. Petersburg salons (part II, ch. 6). What idea underlies the "mutual linkage" of episodes: the fire of Smolensk and the life of St. Petersburg salons?

b) Bogucharov rebellion (part II, ch. 6). Why could Princess Marya not understand the Bogucharov peasants? Why did Tolstoy introduce the scene of rebellion into the novel? How are the main participants in the riot and Nikolai Rostov shown?

7) Kutuzov's conversation with Prince Andrei (part II, ch. 16). How do you understand the words of Kutuzov: "... your road is the road of honor"? What is the meaning of Prince Andrei's thoughts about Kutuzov in the novel: "... he is Russian, despite the Janlis novel and French sayings ..."?

8) Council in Fili (part III, ch. 4). Why does Tolstoy depict advice through the perception of the girl Malasha?

9) Departure of residents from Moscow (part III, ch. 5). How does Tolstoy explain the mood of the residents who left Moscow?

10) Natasha at the wounded Prince Andrei (part III, ch. 31-32). What do you remember most about the scene of Natasha's meeting with the wounded Prince Andrei? How does the author emphasize the connection between the fate of the heroes of the novel and the fate of Russia?

Information for the teacher

The final lesson on the topic "Patriotic War of 1812" can be held in the form of the game "Clever and clever".

Why is Russia's war with Napoleonic France in 1812 called the Patriotic War?

What hero of the war of 1812 did A. V. Suvorov say: “During the assault on Ishmael, he commanded my left flank, but was my right hand”?

Name the commander-in-chief of the Russian army in the war of 1812. How did the Russian soldiers talk about him?

Green path.

In what poem does Lermontov first address the theme of the Patriotic War of 1812? ("Two Giants")

Whom did M. Yu. Lermontov call in the poem "Two Giants" "a three-week daring fellow"? (Napoleon)

But he fell into the distant sea

On unknown granite

Where there is a storm in the open

Name the most important battle in the War of 1812. Why is she called that? (The battle of Borodino took place near the village of Borodino.)

Yellow track.

Where are these lines from?

In a cap of cast gold

Old Russian giant

Was waiting for another

From distant foreign countries. (From the poem "Two Giants")

In what form did Lermontov tell about the defeat of Napoleon in this poem? (In a fabulously allegorical form, as about the battle of two giants).

In what poem does Lermontov first refer to the image of the Battle of Borodino? (In the poem "Field of Borodino".)

The Red carpet.

What did M. Yu. Lermontov tell about in the poem “Two Giants”? (On the defeat of Bonaparte in a clash with the "Russian giant" - Russia.)

Which of the poets of the 19th century known to you was a participant in the Battle of Borodino? (P. A. Vyazemsky.)

Questions for drawing tracks

When was the poem "Borodino" written? What date is it dedicated to? (25th anniversary of the Battle of Borodino.)

On whose behalf is the story of the events of 1812 being conducted? (On behalf of an old soldier, war veteran.)

How does the poem begin? (Read.)

green path

What is a poem? In what form is it written? (In the form of a dialogue between an old and a young soldier).

How long did the battle last? How did Lermontov say this? (“We were in a shootout for two days. // What’s the use of such a trifle? // We waited for the third day.”)

Who owns the words:

Guys! Isn't Moscow behind us?

Let's die near Moscow

How our brothers died!

(Colonel of the Russian army.)

What feelings did Lermontov express in this poem? (Feeling of pride for the Motherland and the Russian people.)

Yellow track.

How do you explain why the story of a great event was entrusted to an ordinary soldier, a war veteran?

What is the mood in the Russian camp on the eve of the battle?

How to explain that in the poem "Borodino" there are simple, colloquial and very solemn words?

The Red carpet.

Which artistic technique used by the author when describing the battle? Give lines from the poem.

Questions for drawing tracks

Why is the passage placed in the literature textbook called "Petya Rostov"?

What period of the War of 1812 is described in this passage?

Green path.

- “The riders, having gone downhill, disappeared from view and after a few minutes reappeared. Ahead, a tired gallop rode an officer - disheveled, soaking wet and with pantaloons fluffed up above the knees. Who is this officer?

What state was Petya Rostov in when he arrived at Denisov's detachment? (Petya was in an enthusiastic childish state of tender love for all people and was sure that people treated him the same way.)

- "He dressed in a chekmen, wore a beard and on his chest Nicholas the Wonderworker." Imagine your hero. (Vasily Denisov, commander of the partisan detachment.)

How do you assess the attitude of Petya and all adult partisans towards the captured French boy? (Cruelty towards the enemy is replaced by pity for the prisoner.)

Yellow track.

Which of the partisans especially attracted Petya? Tell about it.

- “I have wonderful raisins, you know, like this, pitted. We have a new marketer - such wonderful things. I bought ten pounds. I'm used to anything sweet." To whom do these words belong?

- “Ready,” repeated Denisov and quickly went to the prisoners, who were surrounded by dismounted Cossacks. - We won't take it! he shouted to Denisov. What did Dolokhov mean?

the Red carpet

- "His face was clean-shaven, he was dressed in a guards padded frock coat with Georgy in his buttonhole and in a simple cap worn directly on." (Dolokhov.)

Why, seeing the dead Petya, Denisov recalls his words:

“I'm used to anything sweet. Excellent raisins, take all.

The final

What are the names of Russian military leaders who took part in the Patriotic War of 1812.

Green path.

To resolve what issue on September 13, 1812, a military council gathered in the village of Fili near Moscow?

What monument to the liberators was built in St. Petersburg? Where is he located?

Which of the Russian artists more often than others turned in their work to the theme of the Patriotic War? (Vasily Vasilievich Vereshchagin: “Napoleon on the Borodino Heights”, “In the Kremlin. Fire”, “On high road. Retreat. Escape".)

Yellow track.

Why, having won the Battle of Borodino, does Kutuzov decide to leave Moscow?

What temple was built in Moscow in honor of the victory over Napoleon's army? With what funds was it built? What is the fate of this monument?

What order was awarded to the most famous military leaders in the Great Patriotic war 1941-1945? (Order of Kutuzov.)

The Red carpet.

When did M.I. Kutuzov die? Where is he buried? (April 28, 1813; St. Petersburg, Kazan Cathedral.)

Summing up the results of the game, awarding the winner.

Answer left Guest

The picture of the battle of Borodino in the novel is given through the perception of a civilian, Pierre Bezukhov, himself, it would seem, unsuitable
for this purpose, a hero who does not understand anything in military affairs, but who perceives everything that happens with the heart and soul of a patriot. Feelings,
who took possession of Pierre in the first days of the war, will be the beginning of his moral rebirth, but Pierre does not yet know about it. "The worse it was
the state of all affairs, and especially his affairs, was all the more pleasant for Pierre ... "For the first time he felt himself not alone, useless to anyone
owner of great wealth, but part of a single multitude of people. Great humanist L. N. Tolstoy truthfully, accurately documented the events of August 26, 1812, giving his interpretation of the most important
historical event. The author denies the decisive role of personality in history. An excellent battle painter, Tolstoy managed to show the tragedy
war for all participants, regardless of nationality. The truth was on the side of the Russians, but they killed people, died for their own sake.
the vanity of one "little man". Speaking of this, Tolstoy "warns" mankind against wars, from senseless enmity and
from bloodshed.
2. Pierre realized how determined the entire Russian people was, understood his readiness to stand up to the end for his homeland, unity, because
Moscow ahead.
3. Tolstoy in the novel portrays Napoleon and Kutuzov (historical figures) as diametrically opposed. Kutuzov's behavior sometimes puzzles readers. Tolstoy shows the commander-in-chief dozing, inactive. But this is visible
the special wisdom of this old man For Kutuzov and all Russian people on the Borodino field, the fate was decided: to be or not to be a country.
Russian people on the Borodino field showed miracles of stamina and heroism. They understood that the outcome of the battle depends on each. They are not
it was necessary to patronize and push forward. This was their land, which had to be saved and defended. Kutuzov believes in soldiers and officers
Russian army. He is flesh of their flesh, he thinks and feels the same way as they do, so he knows that the French will “eat horse meat!”
". After meeting with Kutuzov, the smart and insightful Prince Andrei realized that the commander in chief knew that there was something stronger than his will, -
this is the course of events, he knows how to see it and “understand the meaning”. Kutuzov assumes great responsibility when deciding to surrender
Moscow. He wants to save the army, save Russia. For Napoleon, this is another victory, - so he thought, - which will make him the lord of half the world. Napoleon, on the other hand, is full of vanity, he, without thinking about the consequences, occupies Moscow ... then flees from Russia, abandoning his army. Tolstoy
shows him as an adventurer who, for the sake of personal glory, plunged thousands of people into mortal danger.
4. Comes to the conclusion that you need to live for good. Recognizes that he was unjustifiably cruel to Lisa and Natasha, as he was guided by
their principles, the search for the meaning of life. For the first time he thinks not about himself, but about the people around him. He becomes softer, kinder,
wiser. Being kind in general, understanding and loving people is the right thing to do, you need to actively express this love. Pierre said in the epilogue that
if Prince Andrei had survived, he would have joined the Decembrists.
5. The fact that when "strangers" began to rule Russia, they only robbed it, for example, during the Time of Troubles (very similar, only there it’s just
it was just that the dynasty was interrupted .... And they invited many kings) Russia then fell into complete decline! 5.1. This is the same. he speaks before
Battle of Borodino to Pierre, who came to see the battle. “While Russia was healthy, a stranger could serve her and was
a wonderful minister, but as soon as she is in danger, she needs her own, dear person, ”explains Bolkonsky Kutuzov’s appointment
commander-in-chief instead of Barclay.
6. I understand Pierre's thoughts about the hidden warmth of patriotism as follows: Pierre has a good sense of the people's thought, the ability
people to protect the country, the ardent desire of patriotism ... .
It is the warmth that Pierre feels when he is in the mass of people, prisoners - he feels their mood, feels that he has fallen into
family, feels what unites them ... .
These thoughts of Pierre are born precisely after his capture,