home › Brake system › Comparative analysis of the path of pierre and andrew. Comparison of the images of Andrei Bolkonsky and Pierre Bezukhov from Leo Tolstoy's novel "War and Peace"

Comparative analysis of the path of pierre and andrew. Comparison of the images of Andrei Bolkonsky and Pierre Bezukhov from Leo Tolstoy's novel "War and Peace"

In Russian literature, perhaps, there is no work that can be compared with the epic novel "War and Peace" in terms of the significance of the problems raised in it, the artistic expressiveness of the narrative, and the educational impact. Hundreds of human images pass before us, the fates of some come into contact with the fates of others, but each of the heroes is an original, unique personality. So throughout the novel, the life paths of Pierre Bezukhov and Prince Andrei Bolkonsky intersect. The writer introduces us to them already on the first pages - in the salon of Anna Pavlovna Sherer. They are very different - the arrogant, ambitious prince and the gullible, weak-willed Pierre, but at the same time both are the embodiment of the author's ideal - a person striving to know the meaning of life, to determine his place in this world, going through moral suffering on the path of spiritual perfection. Heroes have to go through a lot in order to finally find harmony in their souls. First of all, they are trying to get rid of false beliefs, impartial character traits. And only after overcoming their weaknesses, having experienced many disappointments caused by collisions with cruel reality, Prince Andrei and Pierre acquire what, in their opinion, is an indisputable truth, not subject to falsehood.

Tolstoy shows the reader the same phenomena through the eyes of his so different characters. Both of them have a feeling of admiration for Napoleon. For Pierre Bezukhov, brought up on the ideas of the French Enlightenment, Napoleon was a strong, invincible "heir" of the French Revolution, who brought the temptation of bourgeois freedom. Prince Andrei embodied in his thoughts about Bonaparte his own dreams of nationwide recognition, glory, unlimited power. But both of them, faced with certain circumstances, debunked their idol. Bolkonsky realized the insignificance of both his own ambitious thoughts and the deeds of the French emperor, seeing the boundless, majestic sky that appeared to him as the highest revelation after being wounded near Austerlitz: “How quiet, calm and solemn ... everything is empty, everything is a lie, except for this endless sky "," ... at that moment Napoleon seemed to him such a small, insignificant person in comparison with what was happening now between his soul and this ... sky ... ". Prince Andrei realized that fame should not be the main goal of human activity, that there are other, higher ideals. Pierre, on the other hand, began to hate the French commander as a result of understanding the suffering of the Russian people in the unjust war of 1812. Communication with the common people opened up new values for Bezukhov, a different meaning of life, consisting in kindness, compassion, service to people: “... I lived for myself and ruined my life. And only now, when I live ... for others, only now I understand the happiness of life. Through the attitude of his favorite heroes to Napoleon, the writer expresses his own thoughts about this statesman, who for Tolstoy was the embodiment of "world evil".

It is no coincidence that the writer guides his heroes through the test of love for Natasha Rostova - a symbol of inner beauty, purity and spontaneity. According to Tolstoy, Natasha is life itself. And the evolution of heroes would be imperfect if they did not know love for this bright girl: where “she is ... there is all happiness, hope, light; the other half is all where it is not, there is all despondency and darkness ... ". Natasha helps the heroes to discover new, still unknown depths of their souls, to know true love and forgiveness. Prince Andrei and Pierre Bezukhov are the personification of the ideal hero of Tolstoy, and Natasha became the ideal, but not idealized heroine not only of the novel, but of a whole generation.

In Tolstoy's novel "War and Peace" only two characters go through a difficult path of internal development, undergoing spiritual evolution. These are the writer's favorite characters - Andrei Bolkonsky and Pierre Bezukhov. Despite their serious differences (age, social status, character, etc.), the heroes felt sincere sympathy for each other, a warm friendly interest. Bolkonsky saw in Pierre a younger comrade, a pure and bright soul that needed to be "taught by life", instructed. Prince Andrei for Bezukhov was a role model, a person with whom he was interested, from whom you can learn a lot.

Like Andrei Bolkonsky, young Pierre is a representative of the intellectual noble elite of Russia. Their life views, instilled in secular society, were in many ways similar. So, both heroes treated with contempt the "close" and "understandable". Tolstoy emphasizes the "optical self-deception" of these people, alienated from everyday life: in the ordinary they are not able to consider the great and the infinite, but they see only "one limited, petty, worldly, meaningless."

Both heroes, striving for self-realization, considered Napoleon their idol, dreamed of imitating him. And both heroes, having gone through a difficult path of spiritual development, became disillusioned with this figure, having found for themselves other - close to true - ideals.

Bolkonsky and Bezukhov are united by the most important quality - their desire for development, the tireless search for the meaning of life, the desire to comprehend the world and its laws. For both heroes, this difficult path is strewn with disappointments and crises, which, however, are followed by a revival and a new round of development.

In the early stages of the spiritual life of Andrei Bolkonsky, he is characterized by an arrogant and contemptuous alienation from people: he disdainfully treats his wife, is burdened by any collision with the ordinary and vulgar. Under the influence of Natasha, the hero discovers for himself the opportunity to enjoy life, he understands that he used to busy himself senselessly in a “narrow, closed frame”.

During periods of moral delusions, Prince Andrei focuses on immediate practical tasks, feeling that his spiritual horizon is sharply narrowing: clear, but nothing was eternal and mysterious.

New spiritual experience makes Prince Andrei reconsider decisions that seemed to him final and irrevocable. So, having fallen in love with Natasha, he forgets about his intention to never marry. The break with Natasha and the invasion of Napoleon determined his decision to join the army in spite of the fact that after Austerlitz and the death of his wife, he promised never to serve in the Russian army, even "if Bonaparte stood ... at Smolensk, threatening the Bald Mountains."

Pierre Bezukhov in the early stages of his spiritual life is infantile and unusually trusting, willingly and even joyfully submits to someone else's will. He lacks the resolve to resist her.

Pierre's main spiritual insight is the comprehension of the value of an ordinary, non-heroic life (which Prince Andrei also intuitively understood). Having experienced captivity, humiliation, seeing the underside of human relations and high spirituality in an ordinary Russian peasant Platon Karataev, Bezukhov realized that happiness is in the person himself, in "satisfying needs." "... He learned to see the great, eternal and infinite in everything, and therefore ... he threw a pipe into which he still looked through people's heads," Tolstoy emphasizes.

At each stage of his spiritual development, Pierre painfully solves philosophical questions that “cannot be got rid of”: “What is bad? 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?

The tension of moral searches intensifies in moments of crisis. Pierre often experiences "disgust for everything around him", everything in himself and in people seems to him "confusing, meaningless and disgusting." But after violent bouts of despair, Pierre again looks at the world through the eyes of a happy man who has comprehended the wise simplicity of human relations.

"Living" life constantly corrects the moral self-awareness of the hero. Being in captivity, Pierre for the first time felt the feeling of complete merging with the world: "and all this is mine, and all this is in me, and all this is me." He continues to experience joyful enlightenment even after liberation - the whole universe seems to him reasonable and "well-arranged." Life no longer requires rational reflection and strict planning: “now he did not make any plans,” and most importantly, “he could not have a goal, because he now had faith - not faith in words, rules and thoughts, but faith in the living, the ever-perceivable God.

As long as a person is alive, Tolstoy argued, he follows the path of disappointments, gains and new losses. This applies to Andrei Bolkonsky and Pierre Bezukhov. The periods of delusions and disappointments that replaced spiritual enlightenment were not the moral degradation of the heroes, a return to a lower level of moral self-awareness. The spiritual development of Tolstoy's characters is a complex spiral, each new turn of which not only repeats the previous one in some way, but also brings them to a new spiritual height.

The poetics of female images in the novel by L.N. Tolstoy "War and Peace".

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

Secular society is immersed in eternal vanity. In the portrait of the beautiful Helen Tolstoy sees the whiteness of the shoulders, the gloss of her hair and diamonds, a very open chest and back, and a frozen smile. Such details allow the artist to emphasize the inner emptiness, the insignificance of the high society lioness. The place of genuine human feelings in luxurious living rooms is occupied by monetary calculation. The marriage of Helen, who chose the wealthy Pierre as her husband, is a clear confirmation of this. Tolstoy shows that the behavior of the daughter of Prince Vasily is not a deviation from the norm, but the norm of life of the society to which she belongs. Indeed, does Julie Karagina behave differently, having, thanks to her wealth, a sufficient choice of suitors; or Anna Mikhailovna Drubetskaya, placing her son in the guard? Even in front of the bed of the dying Count Bezukhov, Pierre's father, Anna Mikhailovna does not feel compassion, but fear that Boris will be left without an inheritance.

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

Excessive emancipation leads a woman, according to Tolstoy, to a misunderstanding of her own role. In the salon of Helen and Anna Pavlovna Scherer, political disputes, judgments about Napoleon, about the position of the Russian army are heard ... A sense of false patriotism makes them speak exclusively in Russian during the period of the French invasion. High-society beauties have largely lost the main features that are inherent in a real woman. On the contrary, in the images of Sonya, Princess Marya, Natasha Rostova, those features are grouped that make up the type of woman in the true sense.

At the same time, Tolstoy does not try to create ideals, but takes life as it is. In fact, there are no consciously heroic female natures in the work, like Turgenev's Marianne from the novel "Nov" or Elena Stakhova from "On the Eve". Needless to say, Tolstoy's favorite heroines are devoid of romantic elation? Women's spirituality does not lie in intellectual life, not in the passion of Anna Pavlovna Scherer, Helen Kuragina, Julie Karagina for political and other male issues, but exclusively in the ability to love, in devotion to the family hearth. Daughter, sister, wife, mother - these are the main life positions in which the character of Tolstoy's favorite heroines is revealed. This conclusion may raise doubts on a superficial reading of the novel. Indeed, the actions of Princess Marya and Natasha Rostova during the period of the French invasion are patriotic, and Marya Bolkonskaya's unwillingness to take advantage of the patronage of the French general and the impossibility for Natasha to stay in Moscow under the French are also patriotic. However, the connection between female images and the image of war in the novel is more complex; it is not limited to the patriotism of the best Russian women. Tolstoy shows that it took the historical movement of millions of people so that the heroes of the novel (Maria Bolkonskaya and Nikolai Rostov, Natasha Rostova and Pierre Bezukhov) could find their way to each other.

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

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

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

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

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

The philosophy of the novel by L.N. Tolstoy "War and Peace". The ambiguity of the categories "peace" and "war".

War and peace are two philosophical categories that explain the principle of the existence of life on earth, two models of the development of human history.

War in the novel, it is not only the military actions of two powers, but also any conflict, any hostile confrontation, even between individuals. War blows sometimes from peaceful at first glance, the scenes of the novel. Let us recall the struggle between Prince Vasily and Drubetskaya, the duel between Bezukhov and Dolokhov, Pierre's furious quarrels with Helen and Anatole, the constant conflicts in the Bolkonsky family, and even in the Rostov family, when Natasha secretly wants to run away with Anatole from her relatives or when her mother forces Sonya to abandon marriage with Nicholas. The most frequent participants or perpetrators of collisions are Kuragins. Where they are - there always war generated by vanity, pride and low selfish interests. To the world wars also belongs to Dolokhov, who clearly takes pleasure in torturing and killing (sometimes "as if bored with everyday life", he "felt the need to get out of it by some strange, mostly cruel act", as in the case of the quarterly, whom he tied for fun back to the bear). Dolokhov feels himself in his element and in a real war, where, thanks to his fearlessness, intelligence and cruelty, he quickly advances to command positions. So, by the end of the war of 1812, we find him already at the head of a partisan detachment.

The very embodiment of war and military elements in the novel is Napoleon, who at the same time embodies the personal principle. His figure turned out to be a landmark for all European romanticism with its cult of a strong and free personality. Already Pushkin saw in "Napoleonism" a whole social phenomenon, remarking as if in passing in "Eugene Onegin": "We all look at Napoleons, millions of two-legged creatures are one tool for us." Thus, Pushkin was the first in Russian literature to begin a rethinking of the image of Napoleon, pointing out the terrible trait underlying the personality of the dictator - monstrous egoism and unscrupulousness, thanks to which Napoleon achieved exaltation without disdaining any means ("We honor everyone as zeros, but ourselves as units" ). It is known that one of his decisive steps on the way to power was the suppression of the anti-republican uprising in Paris, when he shot the rebellious crowd with cannons and drowned it in blood, the first in history to use buckshot on the streets of the city.

Region peace, as Tolstoy understands it, is devoid of any contradictions, strictly ordered and hierarchical. Just like the concept of "war", the concept of the word "peace" is very ambiguous. It includes the following meanings: 1) peace in relations between people (the antonym of "war"); 2) a long-established, well-established human community, which can be of various sizes: this is a separate family with its unique spiritual and psychological atmosphere, and a village peasant community, the conciliar unity of those praying in the temple (“ Peace Let's pray to the Lord!" - the priest proclaims at the litany in the church, when Natasha prays for the victory of the Russian troops), the warring army (" By all the people they want to pile on,” Timokhin says before the Battle of Borodino), and finally, all of humanity (for example, in the mutual greeting of Rostov and the Austrian peasant: “Long live the Austrians! Long live the Russians! - and long live the whole world!”); 3) the world as a space inhabited by someone, the universe, the cosmos. Separately, it is worth highlighting the opposition in the religious consciousness of the monastery as a closed, sacred space the world as an open (to passions and temptations, complex problems), ordinary space. From this meaning, the adjective “worldly” and a special form of the prepositional case “in the world’” (i.e., not in the monastery) were formed, different from the later form “in the mi’ra” (i.e., without war).

In pre-revolutionary orthography, the word "peace" in the meaning of "not war" (English "peace") was written as "peace", and in the meaning of "universum" it was written as "peace" through the Latin "i". All the meanings of the modern word "world" would have to be conveyed in five or six English or French words, so the entire lexical completeness of the word will inevitably be lost in translation. But, although in the title of Tolstoy's novel the word "world" was written as "world", in the novel itself Tolstoy combines the semantic possibilities of both spellings into one universal philosophical concept that expresses Tolstoy's social and philosophical ideal: the universal unity of all people living on earth in love and the world. It must be built, ascending to the all-encompassing whole:

1) inner peace, peace with oneself, which is achieved only through understanding the truth and self-improvement; without it, peace with other people is also impossible;

2) peace in the family, shaping personality and fostering love for one's neighbor;

3) peace, uniting the whole society into an indestructible family, the most expressive example of which Tolstoy sees in the peasant community, and the most controversial - in secular society;

4) a world that gathers the nation into a single whole, just as it is shown in the novel on the example of Russia during the war of 1812;

5) the world of mankind, which has yet to take shape and to the creation of which, as the highest goal of mankind, Tolstoy tirelessly calls on the readers of his novel. When it is created, then there will no longer be a place for enmity and hatred on earth, there will be no need to divide humanity into countries and nations, there will never be wars (thus the word “peace” again acquires its first meaning - “peace is not war”). This is how a moral-religious utopia developed - one of the most artistically striking in Russian literature.

Nothing needs to be done, guided by cold considerations; let the feeling, the immediate feeling of joy and love, break through without hindrance and unite all people into one family. When a person does everything according to calculation, thinking over his every step in advance, he breaks out of the swarm life and is alienated from the general, because calculation is selfish in its essence, and intuitive feeling draws people together, draws them to each other.

Happiness lies in living a true life and not a false life – in loving union with the whole world. This is the main idea of Tolstoy's novel.

Tolstoy's attitude to the war determined by his all-conquering pacifism. For him, war is an absolute evil, contrary to God and human nature, the murder of one's own kind. Tolstoy is trying in every possible way to destroy the historical and bookish, heroic perception of wars: seeing them as wars of kings and generals fighting for great ideas and accomplishing glorious deeds. Tolstoy consciously avoids any glorification of the war and the depiction of heroic deeds on the battlefield. For him, war can only be terrible, dirty and bloody. Tolstoy is not interested in the course of the battle itself from the point of view of the commander: he is interested in the feelings of an ordinary, random participant in the battle. Tolstoy draws these feelings with truthfulness and psychological certainty, convincingly proving that all beautiful descriptions of exploits and heroic feelings are composed later, in hindsight, since everyone sees that his feelings in battle were not at all heroic and differed sharply from those that usually sound in descriptions. And then, involuntarily, so as not to be worse than others, so as not to seem like a coward to himself and others, a person begins to embellish his memories (as Rostov, talking about his injury, imagined himself a hero, although in reality he was a very pitiful picture in his first battle), and thus a general lie about the war arises, embellishing it and tying to it the interest of ever newer generations.

In fact, everyone in the war feels, first of all, an insane, animal fear for his life, for his body, natural for every living being, and it takes a long time until a person gets used to the constant danger to life so that this protective instinct of self-preservation is dulled. Then he looks brave from the outside (like Captain Tushin in the battle of Shengraben, who managed to completely renounce the threat of death).

Pierre comes closest to the author's understanding of the war on the pages of the novel when he notices how, at the sound of a marching drum, the expression on the faces of all the French soldiers with whom he has already managed to get close suddenly changes to cold and cruel. He is aware of the sudden presence of a mysterious, mute and terrible force, whose name is war, but stops, unable to understand its source.

Tolstoy's two views on the war of 1812 come into conflict: on the one hand, he admires it as a popular, liberation, just war that united the entire nation with an unheard of upsurge of patriotism; on the other hand, already at the very late stage of work on the novel, Tolstoy comes to the denial of any war, to the theory of non-resistance to evil by violence, and makes Platon Karataev the spokesman for this idea. The images of Karataev and Shcherbatov are simultaneously opposed and mutually complement each other, creating a complete picture of the image of the Russian people. But the main, essential features of the people are nevertheless embodied in the image of Karataev, since a peaceful state is the most natural for the people.

16. The problem of true and false in L.N. Tolstoy "War and Peace".

"Dialectics of the soul" as a fundamental principle of psychologism L.N. Tolstoy.
The dialectic of the soul is a concept that denotes a detailed reproduction in a work of art of the process of origin and subsequent formation of thoughts, feelings, moods, sensations of a person, their interaction, development of one from the other, showing the mental process itself, its patterns and forms. D. D. is one of the forms of psychological analysis in a work of art.

Tolstoy distinguishes two main states in the human soul: what makes a person human, its moral essence, stable and unchanging, and fake, what society imposes (secular etiquette, desire for career growth and observance of external propriety). “The history of the soul” is the name of the process during which a person goes through ups and downs and, having got rid of unnecessary “fuss”, as a result becomes real. Such a hero is the most important for the author, therefore Tolstoy seeks to feel and show a person at the most crucial moments of his life.

For example, 1812 is such a turning point for Pierre Bezukhov, especially his time in captivity. It was then, having suffered various hardships, that Pierre learned to truly appreciate life. In the same place, having met with Platon Karatevim, he comes to the conclusion that all human misfortunes arise "not because of a lack, but because of an excess." Karataev lives in full harmony with the whole world. It is inherent in the desire to change the environment, to remake it in accordance with some abstract ideals. He feels part of a single natural organism, lives easily and joyfully, which largely affects the worldview of Pierre Bezukhov. Thanks to Plato and other soldiers, Pierre joins folk wisdom, achieves inner freedom and peace.

Of all the heroes of the novel "War and Peace", it is Bezukhov, in my opinion, that can be called a truth seeker. Pierre is an intellectual person, looking for answers to the main moral, philosophical, social questions, seeking to find out what is the meaning of human existence. The hero of Tolstoy is kind, selfless, disinterested. He is far from material interests, because he has an amazing ability not to be “infected” with meanness, greed and other vices of the society that surrounded him. And yet, only a sense of belonging to the people, the awareness of a common national disaster as a personal grief opens up new ideals for Pierre. Soon, Bezukhov finds long-awaited happiness next to Natasha, whom he secretly loved all his life, even from himself.

A deep inner rebirth occurs with Andrei Volkonsky. Andrei's conversation with Pierre on the ferry, meeting with an old oak tree, a night in Otradnoye, love for Natasha, a second wound - all these events cause drastic changes in his spiritual state. Similar changes occur with Natasha Rostova, and with her brother Nikolai, and with Maria - all of Tolstoy's favorite heroes go a long way before getting rid of everything artificial that they had, finally finding themselves.

In my opinion, it is no coincidence that in the novel all the author's favorite characters make tragic mistakes. Obviously, it is important for the writer to see how they atone for their guilt, how they themselves realize these mistakes.

Prince Andrei goes to the war of 1805 because he is tired of secular chatter, he is looking for something real. Volkonsky, like his idol Napoleon, really wants to find "his Toulon." However, the dream and real life differ markedly, especially when Prince Andrei finds himself on the battlefield. Andrei Volkonsky, like Napoleon in the battle of Arcoli, picked up the banner on the field of Austerlitz and led the troops. But this flag, in his dreams fluttered so proudly over his head, in reality turned out to be only a heavy and uncomfortable stick: “Prince Andrei again grabbed the banner and, dragging it by the pole, fled with the battalion.” Tolstoy also denies the concept of a beautiful death, so even the description of the hero’s injury is given in a very harsh form: “As if with a strong cue, one of the nearest soldiers, as it seemed to him, hit him in the head. It was a little painful, and most importantly, unpleasant ... ”War is meaningless, and the author does not accept the desire to become like Napoleon, the person who decided it. This is probably why the already wounded Prince Andrei, lying on the battlefield, sees a high, clear sky above him - a symbol of truth: “How could I not have seen this high sky before? And how happy I am that I finally got to know him. So, everything is a hoax, everything is a hoax except this endless sky.” Prince Andrei refuses the chosen path, glory and the symbol of this glory - Napoleon. He finds other values: happiness just to live, to see the sky - to be.

The hero recovers and returns to the family estate. He goes to his family, to his "little princess", from whom he once fled and who is about to give birth. However, Lisa dies during childbirth. Andrew's soul is in turmoil: he suffers because of guilt before his wife. Prince Andrei confesses to Pierre: “I know only two real misfortunes in life: remorse and illness. And happiness is only the absence of these two evils.” Under Austerlitz, the hero understood the great truth: the infinite value is life. But misfortune in life can be not only illness or death, but also a restless conscience. Before the battle, Prince Andrei was ready to pay any price for a moment of glory. But when his wife died, he realized that neither Toulon was worth the life of a loved one. After a conversation on the ferry with Pierre Vezukhova about the meaning of being, about the purpose of a person, Andrey finally feels that he is open to people. Apparently, this is why Natasha Rostova appears in his life, whose natural inner beauty is able to revive Volkonsky's soul in new feelings.

Nesterova I.A. Comparative characteristics of Pierre Bezukhov and Andrei Bolkonsky // Encyclopedia of the Nesterovs

Artistic images of Pierre Bezukhov and Andrei Bolkonsky in the novel "War and Peace".

The novel "War and Peace" was written by L.N. Tolstoy in 1869. The book was a resounding success. Soon it was translated into European languages.

The work immediately aroused admiration among the writer's contemporaries.

N.N. Strakhov wrote:

In such great works as "War and Peace", the true essence and sublimity of art is most clearly revealed ...

At the same time, the epic novel by L.N. Tolstoy is a unique historical source. Here, the fates of historical figures are subtly intertwined: Napoleon, Kutuzov, Alexander the First and fictional heroes.

Among the characters created by the writer's imagination, the most significant are Pierre Bezukhov and Andrei Bolkonsky. They both belong to the high society. Andrei Bolkonsky was born into a wealthy noble family. Father - a former general-in-chief, lived without getting out on his estate. Prince Andrei was brought up in a strict environment, received a good education. He was "... of small stature, a very handsome young man with certain dry features." Pierre outwardly differed from his friend. Bezukhov was "a massive, fat young man with a cropped head, wearing glasses ...". Pierre is the illegitimate son of the famous Catherine's nobleman. Unlike Prince Andrei, he was brought up abroad. It is obvious to the reader that L.N. Tolstoy contrasts the image of Bolkonsky and Bezukhov. A massive Pierre and a short handsome prince.

Prince Andrei Bolkonsky, unlike Pierre Bezukhov, feels confident in high society. He knew how to behave in high society. In all the behavior of Bolkonsky, arrogance and contempt for those around him were felt. “He, apparently, all those who were in the living room were not only familiar, but already tired so much that it was very boring for him to look at them and listen to them. Of all the faces that bored him, the face he seemed to be the most tired of his pretty wife. With a grimace that spoiled his beautiful face, he turned away from her ... "At the same time, Pierre Bezukhov was enjoying the high society. All people seemed to him kind and bright. He tries to see only the good in them. So Pierre believes in the sincerity of Helen's love, despite the outright falsehood. He perceives the fawning of the princesses and Prince Vasily as sincere kindness. The flattery of those around him after receiving the inheritance is not obvious to him. Previously, he did not notice ill will, but now he does not see lies. Prince Andrei Bolkonsky, on the contrary, has long studied lies and perceives them as an integral part of secular life.

The speech of the characters is very remarkable. So Andrei Bolkonsky speaks slowly with obvious arrogance. Only with close people he takes off his mask: "... seeing Pierre's smiling face, he smiled unexpectedly - a kind and pleasant smile." Bolkonsky's speech changes depending on who he is talking to. In remarks to representatives of high society, arrogance is felt, his speech does not change when communicating with soldiers. However, he speaks with great respect with Kutuzov. In remarks with his wife, his voice sounds annoyed. Unlike Prince Andrei, Pierre always speaks passionately, his speech is emotional. He says what he thinks: “I argue everything with your husband; I don’t understand why he wants to go to war,” said Pierre, without any hesitation (so common in the relationship of a young man to a young woman) turning to the princess.

The circle of communication of the characters and the circle of their communication are also different. At first, Pierre leads a wild life, participates in carousing at Dolokhov's. However, after the duel, excited by the possibility of murder, Pierre becomes a Freemason. He builds schools and hospitals for the peasants, immerses himself in literature. In general, he leads a very, very measured lifestyle. However, all the time he is surrounded by liars and flatterers. After the departure of Prince Bolkonsky, Bezukhov remains alone among those who are strangers to him, whom he does not accept. The wife does not love him. Helen and Prince Vasily only want his money. It seems that in Freemasonry he found salvation, but, alas, the order consists of the same people that abhor him.

Prince Andrei is alone in his own way, surrounded by those who do not understand him. The wife is only interested in embroidery and spreading gossip. All his acquaintances are useless and empty people. But unlike Pierre, Bolkonsky has a source of support - a sister and a father. Pierre is completely alone.

In the army, Bolkonsky finds himself surrounded by people who do not command his respect. The prince directed his extraordinary mind to achieve glory. The first step towards this is the development of a battle plan, which, according to Bolkonsky, will lead to victory. And then, with a banner in his hands, the prince accomplishes the feat that he aspired to: “But before he finished these words, Prince Andrei, feeling tears of shame and anger rising to his throat, was already jumping off his horse and running to the banner.

Guys, go ahead! he shouted childishly.

"Here it is!" thought Prince Andrei, grabbing the staff of the banner and listening with pleasure to the whistle of bullets, obviously directed precisely against him. Several soldiers fell.

Hooray! - shouted Prince Andrei, barely holding the heavy banner in his hands, and ran forward with undoubted confidence that the whole battalion would run after him.

Indeed, he ran only a few paces alone. One, another soldier set off, and the whole battalion shouted "Hurrah!" ran ahead and overtook him."

The sky of Austerlitz reveals to the hero all the pettiness and illusory nature of his aspirations for glory. For Prince Andrei, there comes a time of painful reflections about the meaning of life. He tries to overcome the spiritual crisis by turning to the family and the household.

In a crisis of worldview, unlike Prince Bolkonsky, Pierre Bezukhov delves into philosophy, makes attempts to know life better. He believes that he can correct this imperfect world: "... this is what I know and know for sure, that the pleasure of doing this good is the only true happiness of life." However, his search for the meaning of life is tragic and painful. The isolation of Masonic ideas from real life, the understanding that lies and hypocrisy reign in this environment, plunges Pierre's soul into despair. It is noteworthy that the heroes somehow owe their spiritual rebirth to Natasha Rostova.

The most significant event in the spiritual development of both Pierre and Andrei Bolkonsky can be safely called the year 1812. Seized by a patriotic impulse, the heroes of L.N. Tolstoy tend to personally participate in the defense of the fatherland. So, Prince Andrei did not stay at the headquarters: with all his being he strove to be where the Russian soldiers decided the fate of the fatherland: "... if anything depended on the orders of the headquarters, then I would be there and make orders, but instead I I have the honor to serve here, in the regiment, with these gentlemen, and I believe that tomorrow will really depend on us, and not on them ... Success has never depended and will not depend either on position, or on weapons, or even from the number; and least of all from the position. The hero courageously realizes his duty. Just like Prince Andrei, he understands his connection with the fatherland. Deeply civilian, far from everything military, he found himself in the hottest point of the battle of Borodino. The hidden warmth of patriotism allowed him to enter the "family circle of the soldiers of the Raevsky battery." "Our master" so they began to call him here. L.N. Tolstoy emphasizes: in difficult times for Russia, his heroes feel the highest spiritual uplift.

A wound in the battle of Borodino brings Bolkonsky mental and physical suffering. Andrei changes his outlook on life and the world in general. After being wounded, he becomes kinder, more tolerant and simpler. In anticipation of death, he finds peace and harmony with the whole world.

Pierre Bezukhov also goes through pain and suffering. Hunger, cold and fear help him gain a simple and wise outlook on life. Just like Prince Andrei, he acquires a sense of harmony with the world of people. However, unlike Bolkonsky, Pierre's inner state is closer to life, more natural. In the post-war life, he “matches” his being and the being of other people without any effort. This is how natural the union of Pierre and Natasha Rostova is, this is a harmonious unity of feeling and reason.

The images of Pierre Bezukhov and Andrei Bolkonsky have so much in common, but despite this, the characters are completely different. Heroes L.N. Tolstoy express his own views on life. Lev Nikolaevich showed that every person should look for the meaning of life. Let his judgments be erroneous, but he has a goal. We see that L.N. Tolstoy sympathizes with his heroes. The author does not directly condemn their mistakes, but clearly shows their consequences. He proves. That every person should follow the highest goal, but at the same time remember that there is a family and society.

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GBOU NPO "Vocational School" No. 62

Volgograd region

City of Volzhsky

on the topic of: Comparison of Andrey's imagesBolkonsky and Pierre Bezukhovfrom the novelLev NikolaevichTolstoy"War and Peace"

Performed:

Group 15 student

Demenko Irina

Teacher: Lola Azizovna

Bolkonsky Bezukhov Roman Tolstoy

Pierre Bezukhov and Andrei Bolkonsky, being completely different characters in the novel "War and Peace", are Leo Tolstoy's favorite characters. The difference between the characters is visible at their first appearance on the pages of the novel in the salon of Anna Scherer. Andrei Bolkonsky, having at that time already quite rich life experience, with his whole appearance shows how tired he was of all these secular gatherings. Andrei even somehow reminds the reader of Eugene Onegin. Pierre Bezukhov appears before us as a man who reveres the people who have gathered in the salon of Madame Scherer. The characters have different views, characters, demeanor. But, with many differences, the heroes of the work have a lot in common. Andrei Bolkonsky and Pierre Bezukhov are smart people who have received an excellent education. They are close to each other in spirit, since both are independent in their judgments and thoughts. Thus, Bolkonsky and Bezukhov fully confirm the ancient axiom: "Opposites complement each other."

No wonder Andrei and Pierre they are very frank in their conversations, and on some topics they can only talk with each other, because they find understanding with each other even having completely different worldviews. Andrei Bolkonsky is a more reasonable person, he is much more rational than Pierre. Reason prevails over Andrei's feelings, while Pierre Bezukhov is more direct, prone to sharp feelings and experiences. Pierre loves entertainment, leads a wild life and is easy on his mind about many things. He marries the secular beauty Helen Kuragina, but soon breaks up with her, saying about his wife: "Where you are, there is debauchery and evil." His youth is full of mistakes and disappointments. As a result, Pierre, like Andrei Bolkonsky, begins to hate secular society, which is riddled with lies. Both heroes are people of action. Both Andrei and Pierre are constantly in search of the meaning of life and their place in this world. A lot of the life of the main characters happens in different ways, but some moments are very similar. Andrei is looking for glory in the war, Pierre is having fun in the company of Kuragin. But, both are unhappy in family life. Both have beautiful outwardly wives, but their chosen ones do not satisfy the heroes with their inner world. When Andrei Bolkonsky reconsiders his views on life, disillusioned with the war, he returns home, but another shock awaits him - Andrei's wife dies and the hero of the novel is in for depression, disappointment in life. Big changes are also taking place in the life of Pierre Bezukhov - he receives a large inheritance and becomes a welcome guest in all houses without exception, even in those where Pierre was previously treated with disdain. But, quickly disillusioned, as Andrei Bolkonsky once was, in secular life, Pierre Bezukhov finds his application in Freemasonry. During this period of life, it seems to Pierre Bezukhov that he has found the meaning of life.

He's trying to make life easier serfs and help other people: "When I live, at least try to live for others, I begin to understand the happiness of life." But, Freemasonry disappointed Pierre, so many members of this society betrayed the common interests and directed their forces to obtain their own glory and personal gain. The war of 1812, and especially the captivity and meeting with Platon Karataev, changed Bezukhov's life, showing him the true meaning of life, helped the hero to reassess his values. Such Pierre Bezukhov helps Andrei Bolkonsky, reviving Andrei to life together with Natasha Rostova. Andrei takes an active part in public life, working in the Speransky commission, but this type of activity does not bring him satisfaction either. Just like the participation of Pierre Bezukhov in the Masonic movement. Andrei is revived again by his love for Natasha Rostova, but a happy life with his beloved did not work out, and Andrei Bolkonsky again goes to war, where he comes to understand that the meaning of life is to help other people, that you need to benefit others. Andrei Bolkonsky dies, having failed to realize his idea. Understanding the need to love the people around, to appreciate life, comes to Pierre Bezukhov. Andrey and Pierre are united by the principle that Lev Nikolayevich Tolstoy himself outlined during his youth: “To live honestly, you have to tear, get confused, fight, make mistakes, start and quit again, and start again, and quit again, and forever fight and lose. And peace is spiritual vulgarity.

Each writer has his own view of his time, the choice of heroes. This is determined by the personality of the author, his worldview, his understanding of the purpose of man on earth. Therefore, there are books over which time has no power. There are heroes who will always be interesting, whose thoughts and actions will excite more than one generation of descendants.

Such for me are the heroes of the novel by L.N. Tolstoy "War and Peace". What attracts me to the characters of Andrei Bolkonsky and Pierre Bezukhov? Why do they seem so alive and close almost two centuries later? Why is Natasha Rostova perceived not as some distant countess, from a completely different life, a different upbringing, but as my age? Why every time I return to a novel, I discover something new for myself in it? Probably, because for me they are really alive, not static, because they live not only for today, strive not only for privileges, rewards, material wealth, but also do not “sleep” with their souls, reflect on their lives, intensely search for the meaning of life. The great and inimitable L. Tolstoy, who throughout his life never ceased to seek good and learn, analyze himself, his era and human life in general, teaches us, readers, to observe life and analyze our actions. Andrei Bolkonsky and Pierre Bezukhov immediately attract attention, stand out for their sincerity, supreme decency and intelligence. Despite the fact that they are so different - the stern, arrogant Prince Andrei, who respects himself very much and therefore leaves people, and such an awkward, at first naive Pierre, whom the world does not take seriously - they are true friends. They can talk about high matters, confide the secrets of the soul to each other, protect and support in difficult times.

It would seem that each of them has their own path, their victories and defeats, but how many times their destinies intertwined, how much they are similar in different life ambitions, how much they have in common in feelings! A talented officer, Prince Andrei goes to war in order to find an application for his strength and mind, to find "his own Toulon", to become famous. He made it a rule not to interfere in other people's affairs, not to pay attention to fuss and disputes, "not to stoop." But in the headquarters corridor, the prince cuts off the presumptuous adjutant, who dared to speak insultingly about the defeated ally: “We are either officers who serve our tsar and fatherland and rejoice in our common success and grieve over our common failure, or we are lackeys who do not care about the master’s business!”

Having given the order to evacuate, Prince Andrei cannot abandon Captain Tushin's battery and remains to help them, not hiding from dust and powder smoke with his adjutant position. And during the discussion at the headquarters of the battle of Shengraben, he will come out in defense of Tushin.

Maybe it was this meeting and participation in hostilities (under the bullets of the enemy) side by side with ordinary soldiers and junior officers that helped both to fulfill the father’s order so that “there was no shame”, and to raise the banner, turning back the retreating, not only because his “finest hour” has come, but because, like Kutuzov, he feels pain for the retreat of the army. Maybe that's why Andrei Bolkonsky deliberately did not notice insulting words about the staff officers of Nikolai Rostov and authoritatively, with dignity, suggested that he calm down, because another duel would now take place - with a common enemy, where they should not feel like rivals. Similarly, Pierre, striving for self-improvement, trying to do so much for his peasants, must come to an understanding of the difference between good deeds for his own sake and dissolution in the common affairs and aspirations of many people. Therefore, he comes to the Freemasons, hoping that this is a real hearth of goodness. What's wrong? What well? What should you love, what should you hate? Why live and what is "I"? What is life and what is death? What power controls everything? Undoubtedly, the person who has put these questions before himself is worthy of respect, even if his searches lead first to denial, to rejection ...

Prince Andrey also experiences a spiritual crisis after a reassessment of his idol, Napoleon, and after the death of his wife. Changes in the estate (at the beginning of the 19th century, he transferred his serfs to free cultivators), raising an infant son, reading books and periodicals could fill the life of an ordinary, dozen-of-a-kind person to the brim. Bolkonsky, however, is crushed by the ceiling of limitation - he needs the expanse of a high blue sky. Like a spark, Pierre's words will flare up in a conversation on the ferry: “We must live, we must love, we must believe,” and they will ignite a new interest in life! Now he knows the criterion of the usefulness of this work and, having applied the project highly appreciated by the Speransky committee to specific people, “remembering the peasants, Dron the headman, and, having applied to them the rights of persons that he divided into paragraphs, it became strange to him how he could take so long doing such a wasteful job." The hope for personal happiness raises Prince Andrei as if on wings and proves that "life is not over at thirty-one." How will his credo, his yesterday’s Napoleonic “I am above everyone”, “my thoughts and efforts as a gift for everyone” change to another: “Everyone needs to know me, so that my life goes not for me alone, so that they don’t live like that like this girl, regardless of my life, so that it affects everyone and that they all live with me together! This is “everything through me”, this path from the arrogantly selfish to the selfish will give Bolkonsky a different perception of the world, teach him to see and understand the feelings of other people: and dreamy Natasha on a moonlit night, her bright personality, which he missed so much, and girls with green plums, who needed to pass unnoticed by him, and Timokhin, and all the officers and soldiers of their regiment. Maybe that's why he will not lose interest in life, plunging into the personal grief of breaking up with his beloved, when he encounters the common grief of the Motherland, with an enemy invasion.

So Pierre, who was deceived by everyone - from estate managers to his own wife - needed to feel a threat not only to his own "I", but at least to a loved one, so that he would find in himself both strength, and firmness, and real tact, and, finally, the ability to manage the situation, as in the case of Anatoly Kuragin, so that he does not blacken Natasha's reputation and does not meet with Prince Andrei, does not become a threat to the life of a friend.

When the enemy attacked the Motherland, Pierre, a civilian to the marrow of his bones, acts as a real patriot. He not only equips a whole regiment at his own expense - he himself wants to stay in Moscow to kill Napoleon. It is symbolic that, looking for the answer to the question in the Apocalypse: who will defeat Bonaparte, Pierre finds the answer - “Russian Bezukhov”, emphasizing not only his name and title, but precisely belonging to the nation, that is, feeling himself a part of the country. On the Borodino field, on the battery, Pierre, with his desire to help bring shells, is somewhat reminiscent of Prince Andrei near Shengraben.

Andrei Bolkonsky also feels himself a part of his people. In a conversation with a new person for him, he strikes with frankness, simplicity of words, closeness to ordinary soldiers. Prince Andrei refuses Kutuzov's offer to serve as his adjutant, wishing to remain in the regiment. He will learn to fight on the front lines, to appreciate the warm attitude of the soldiers towards him, their affectionate “our prince”. Once attaching great importance to military strategy and calculation, Andrei Bolkonsky indignantly discards this before the battle of Borodino: the Napoleonic comparison of regiments with chess pieces and the words of staff officers about "war in space." According to Prince Andrei, only one feeling that “is in me, in him, in every soldier” can protect a small homeland (one’s own house, estate, city) and the great Fatherland. This is a feeling of love for the Motherland and a sense of unity with the fate of the people.

Bolkonsky stands under bullets, considering "it is his duty to excite the courage of the soldiers." He will forgive Anatoly Kuragin a personal offense when he meets him wounded, in a hospital ward on the front line. And love for Natasha, aggravated by common grief and common losses, flares up in Prince Andrei with renewed vigor. Pierre Bezukhov had to go through a great cleansing of physical and moral suffering in captivity in order to meet with Platon Karataev, immerse himself in the life of the common people and understand that “he had been looking somewhere over the heads of those around him all his life, but he had not to strain his eyes, but just look ahead. With new eyes, he will see the real path to the goal, the sphere of application of his own forces. It is painful for him, like many heroes of the Patriotic War, to look at the unrest in the Fatherland: “There is theft in the courts, in the army there is only one stick: shagistika, settlements, they torment the people, education is stifled. What is young, honestly, is ruining! Now everything that happens in his country becomes close to Pierre, and he stands up for this "young and honest", bowing to the glorious past, fighting for the purity of the present and future.

Bezukhov is one of the organizers and leaders of the Decembrist circle. He deliberately chooses a dangerous and troubled path. It is symbolic that next to him "to glory", through the swords of the reactionaries, goes, in the view of Nikolenka Bolkonsky, both the teenager himself and Prince Andrei.

I think if Pierre had remained alive, he would not hesitate to take part in a speech on Senate Square. This would be the logical result of ideological searches, spiritual self-improvement and the growth of one's own "I" into a common "we". At a new stage of development, as L.N. Tolstoy, their continuation, Nikolenka, takes the same path. And his cherished words sound so close and understandable for each of us: “I only ask God for one thing, that what happened to Plutarch's people be with me, and I will do the same. I will do better. Everyone will know, everyone will love me, everyone will admire me. The meaning of the spiritual quest of a real person cannot have an end.

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Comparative analysis of the path of pierre and andrew. Comparison of the images of Andrei Bolkonsky and Pierre Bezukhov from Leo Tolstoy's novel "War and Peace"

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