The use of antithesis in the novel war and peace. Composition “The principle of antithesis and its ideological and compositional role in the novel by L.N.

L. N. Tolstoy - a classic of world literature, greatest master psychologism, the creator of the genre of the epic novel, skillfully using the means of artistic representation. One of Tolstoy's main ideological and compositional devices is the antithesis. The functions of the antithesis in the novel "War and Peace" are very diverse. This stylistic device underlies the principle of composition; a system of characters is built on it; artistic images and reveals inner world actors.
Antithesis is the basis

Building a system of characters. The characters are contrasted on the basis of the “naturalness” or “falsity” of their natures.
The heroes of Tolstoy, embodying naturalness, the truth of life, have no doubts. Angular, impulsive, with irregular features, Natasha Rostova is the embodiment of the beauty of life. Despite the noble upbringing, she personifies folk traditions. Natasha, a gifted nature, is loved by everyone, direct in feelings, simple, feminine, truthful. Her caring soul completely dissolved in the anxieties of 1812, in the general misfortune of the people and their feat. Particularly revealed spiritual qualities Natasha in courting the dying Prince Andrei. The Rostovs were late in leaving Moscow, and Natasha insisted that the wing and half of the house be provided for the wounded soldiers. Natasha devoted herself to this cause, nowhere, in no way emphasizing her merits, without saying phrases about patriotism and duty. It is simple and natural, as Russian soldiers are simple and natural, performing feats without unified thought about glory. They, like Platon Karataev and Field Marshal Kutuzov, are endowed by nature with an intuitive knowledge of the truth. Kutuzov appears in the novel as the embodiment of the author's philosophy of history. Tolstoy creates a lively, full of charm image of the commander. The main advantages of Kutuzov are naturalness and simplicity. He does not play a role, but lives. He can cry from both frustration and joy. It is Kutuzov's simplicity that allows him to feel like a part of "paradise" and not interfere with the movement of history.
These heroes are opposed by the skillful “poseur” Napoleon in the novel – the embodiment of extreme individualism. He seeks to impose his will on the world. The image of Napoleon in Tolstoy is not devoid of grotesque and satirical overtones. He is characterized by theatrical behavior, narcissism, vanity (depicts gently loving father although he never saw his son). Many people from secular society are spiritually like Napoleon, especially the Kuragin family. All members of this family aggressively interfere in the lives of other people, try to impose their desires on them, use the rest to satisfy their own needs (“mean, heartless breed,” Pierre called this family). Also close to Napoleon are the Russian emperor Alexander, who does not understand the mood prevailing in the Russian army, the dignitary Speransky, the maid of honor playing patriotism Anna Pavlovna Sherer, the careerist Boris Drubetskoy, the prudent Julie Karagina and many others. All of them are internally empty, insensitive, crave fame, care about a career, like to talk a lot and beautifully.
Seeking heroes of Tolstoy Pierre Bezukhov and Andrei Bolkonsky go through a difficult spiritual path in search of truth. They are carried away by false ideas, they are mistaken, they change internally, and in the end they approach the ideal of simplicity.
Both Pierre and Andrei Bolkonsky are freed from petty egoistic feelings and come to an understanding of the true values ​​of life. And ordinary Russian people help them in this. To Prince Andrei - Captain Tushin and artillery soldiers subordinate to him, whom the prince met in the battle of Shengraben. Pierre - the soldiers whom he sees on the Borodino field and then in captivity, especially Platon Karataev. Watching Karataev, who accepts life as it is, Pierre begins to understand that the meaning of life lies in herself, in her natural joys, in the humble acceptance of the misfortunes that fall to a person.
Prince Andrei, mortally wounded at Borodino, acquires infinite love for all people, and then, on the eve of death, complete detachment from earthly worries and unrest, supreme peace.
The images of nature in "War and Peace" are symbols of higher harmony, revelations about the truth of the world. They are opposed to vanity, selfishness, the immutability of people's lives, alien spiritual aspirations. Captured by the French, having experienced the horror of execution, Pierre Bezukhov understands that the main value that no one can control is his immortal soul. This liberating feeling comes to him when he contemplates the night starry sky. Devastated, having lost the meaning of existence, Andrei Bolkonsky meets an old oak tree on the road. The same oak, which has sprouted young shoots, symbolizes the revival of Bolkonsky after meeting with Natasha Rostova in the Otradnoye estate, where he accidentally overheard Natasha’s conversation, excited by beauty summer night, with Sonya.
The "historical" chapters in the novel are contrasted with chapters describing the "living life" carried on despite Napoleon's invasion (it is noteworthy that Tolstoy describes in equal detail battle of austerlitz, the Battle of Borodino and Natasha's first ball, the hunt of the old Count Rostov, allocating the same place in history to these events). This antithesis manifests itself at the compositional level. Tolstoy needs to be shown the contrast between false life and true life, and he combines various episodes in the novel in such a way that this contrast becomes especially obvious. So, after depicting an unnatural meeting of the heads of two states (Napoleon and Alexander I), the writer abruptly proceeds to describe the meeting between Natasha and Andrei Bolkonsky.
But in addition to the composition and system of characters, the antithesis technique is also used to characterize the images of the characters themselves, to highlight their most striking individual features. In "War and Peace" this is most clearly manifested when comparing the images of Napoleon and Kutuzov (which are symbols that determine the direction of movement of all other heroes). In every feature of the portrait, behavior, manner of speaking and holding on, a huge difference is felt between these heroes. Napoleon is unpleasantly fat (fat thighs, belly, full white neck), strong. And if Napoleon emphasizes sleekness, constant care for the body, then in Kutuzov - old man's fullness, flabbiness, physical weakness, which is quite natural for a person of his age. Napoleon's gait is self-satisfied, assertive, he calls the painful trembling of his left calf a great sign. Kutuzov walks awkwardly, badly, clumsily sits in the saddle. During the battle of Borodino, when Napoleon, fussing and worrying, gives a lot of meaningless and contradictory orders, Kutuzov gives almost no orders, leaving the course of the battle to God's will. In Kutuzov, the contradiction between the ordinary, unremarkable appearance and the heroic essence is emphasized. In Napoleon, on the other hand, there is a contradiction between the claim to great role in history and an empty, inanimate entity.
Thus, the reception of antithesis plays an important role in the novel "War and Peace". At the ideological and compositional level, it helps to distinguish between good and evil, to show the danger of selfish separation of people, to outline ways for the moral improvement of the individual, that is, it serves as a means of expression author's position in the novel.

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When creating a work, any author is faced with the question of choosing artistic means, which should emphasize the author's idea, focus the reader's attention on the most important details works. And quite often such an artistic technique as antithesis is used (the novel by I.A. Goncharov "Oblomov", "Crime and Punishment" by F. M. Dostoevsky). In many respects, the JI novel is also built on opposition. N. Tolstoy "War and Peace". At the same time, not only the characters, but also the scenes of the work are contrasted. The reception of antithesis is very characteristic of Tolstoy's poetics, because it is through juxtaposition, through contrast, that similar and different things can be revealed, and life as a whole can be shown. The work contrasts war and peace, light and people, St. Petersburg and Moscow, pretense and sincerity, and much more.

It's hard to come up with a better name. monumental work Tolstoy, which covers all spheres of life. Already in the title lies the opposition of two concepts: war and peace. However, it implies not only the opposite of military operations and peacetime, but carries a very deep and multifaceted meaning. War is any confrontation, any conflict, starting with the salon of Anna Pavlovna Sherer and the struggle for a hut portfolio and ending with grandiose military operations in Borodino. The world is the whole Universe, and light, and the inner world of heroes. Tolstoy identifies war with death, and peace with life.

Already from the first chapters of the work, we find ourselves "at war" - in the immoral world of Anna Pavlovna Sherer's salon, where all guests are unnatural and where gossip and lies reign. And immediately, in contrast, we are shown the house of the Rostovs and the birthday girl Natasha. This alternation of episodes is one of Tolstoy's favorite methods of organizing a text, which gives the reader the opportunity, by comparing, to identify the characteristic and the different. This sequence of events shows us the huge difference between the world of masks in the salon of St. Petersburg and the hospitality of the Rostovs in Moscow. Moreover, the comparison here is multifaceted, moving from the general to the particular: so, first of all, the main cities of the country are given on the basis of antithesis: Moscow and St. Petersburg. Then you can compare the actual reception in the Scherer salon with the holiday at the Rostovs, the owners of the houses: Anna Pavlovna, “like a good head waiter”, “serves” her guests, “treats” them with an abbot, a viscount, makes all guests go through a certain rite - to say hello to an old aunt ; a strict hierarchy reigns in her salon, where everyone has his own place and must do everything according to the rules. Count Rostov greets all guests equally cordially. Let us recall Natasha, a girl “with a big and ugly mouth”, who even allows herself a prank at the table: she jumps up from the table and loudly asks her mother about dinner. Such behavior would be unimaginable in a Scherer salon.

It is also interesting to compare the fact that in St. Petersburg, in the salon, all the characters speak only French, which emphasizes their anti-nationality, but on the name day of the Rostovs, Russian speech sounds, sincere and natural.

Just as descriptions of events in Moscow and St. Petersburg alternate, so in the course of the entire novel, scenes of war and peace alternate. This change of episodes forms the basis of the entire composition of the work as a whole and some parts separately, when peaceful events turn into military ones and vice versa.

It should also be said about the polarly split system of characters, while the heroes of Tolstoy, united in families, are opposed primarily by their belonging to a particular family. Most a prime example- the contrast between the Rostov and Kuragin families. The first, as already mentioned, are natural, they are connected by strong bonds, they love each other endlessly. However, the Rostovs are mismanaged, impractical, conduct their business very ineptly, but all this is explained by boundless generosity. The affairs of the Kuragins are going well: Prince Vasily marries his daughter to the richest groom - Pierre, he himself knows how to get acquainted with good people and benefit from it. The emphasis in this family is on its lack of spirituality, unnaturalness.

In his vision of history, Tolstoy largely depended on the centuries-old traditions of Russian literature in depicting the invasion of enemies, wars, the exploits of generals and ordinary warriors.

His most striking work for all his work was the novel "", in which the author depicts different fates people, their relationship to each other, feelings, experiences, as well as their inner world, spiritual wealth.

The epic novel "War and Peace" was written in 1869, work on it continued for six years. L. N. Tolstoy tells about the beginning of the century, about the war with Napoleon Bonaparte, about the courage of the Russian people, and also about the fact that the war, destroying the lives and destinies of people, is not able to force them to change their way of life and way of thinking. The main thing on which the entire composition of the novel is built is the reception of antithesis, the opposition of good to evil, justice to lies, the living to the dead. Perhaps the most "polar" heroes here are two great historical figures- Napoleon Bonaparte and Mikhail Illarionovich.

It is worth noting that in "War and Peace" both commanders are not accurately depicted, in their portraits (not so much external as psychological) one can see the partiality of the author's judgments. Even at the very beginning, Tolstoy's unfriendly attitude towards Napoleon and sympathy for the Russian commander in chief can be clearly seen. Throughout the novel, Tolstoy is indignant at the role assigned by the analysts of those years to Napoleon. Bonaparte is considered a great commander, but meanwhile, Tolstoy writes, everything is caused by a combination of numerous circumstances, and not by the will of one person. Otherwise, how could the French army, led by the “great” Bonaparte, pass through all of Europe and, entering Russia and capturing Moscow, lose the war? How did Kutuzov, who lost half of his troops and surrendered Moscow to the enemy, ultimately win? There is another answer to these questions, in addition to the coincidence of circumstances: the attitude of the generals to this war.

Napoleon's dream to capture Russia makes him related in "War and Peace" with the conquerors of Russian military stories, and at the same time with popular prints. The conqueror dreams of easily capturing a city, a country, rich booty. But to win, Tolstoy believes, moral rightness is needed.

For Napoleon, this whole campaign was just a game, "a game of soldiers." He, an important, influential person, only gave orders, he simply “played”. Before the battle of Borodino, Tolstoy ironically remarks: "the chess is set, the game has begun."

Everything is quite different with Kutuzov. He “knew that the fate of the battle is decided not by the orders of the commander in chief ... but by that elusive force called the spirit of the army”; "did not make any orders, but only agreed or disagreed with what was offered to him." Kutuzov is an experienced commander, and his wisdom boiled down to a simple axiom derived by Tolstoy: "There is no greatness where there is no simplicity, goodness and truth." Napoleon had his own truth, true to him, and the truth of the entire Russian people.

For this closeness to the people, Kutuzov was loved by soldiers. And the field marshal loved these people, was simple and gentle with them in an old man's way. The French soldiers may have idolized Napoleon, not because he was their "father" or "brother" but because Napoleon's personality cult had been created.

The attitude towards the army of both commanders can best be determined during the Battle of Borodino. Old Kutuzov, despite being weak, is close to the hottest points of the battle. Napoleon, on the other hand, observes from afar through a telescope the course of the battle. He won, but rightly remarked: "One more such victory, and I will be left without an army." But he won only numerically; the moral victory remained with the Russians: the half-"melted" army had not yet given up its positions. However, Kutuzov decided to leave Moscow: he knew that the soldiers would fight to the last, but it would be a waste of time, because with the loss of the army, Russia was doomed. Almost all of Kutuzov's associates were against this, but the power of the commander-in-chief made a final decision, not pleasing to the world and people of higher ranks, but saving for Russia, the people.

According to Likhachev, the writer's historical views are based on moral optimism; in Tolstoy there is a strong consciousness that truth always triumphs over force, for moral truth stronger than any brute force.

It is this philosophy that underlies the historical depiction of the events of Napoleon's invasion and, ultimately, his exile. It was not and could not be in any of the works on the philosophy of history that Tolstoy read, where the laws of history are the same for all - attackers and defenders.

Tolstoy was convinced that history is created not by an individual, but by millions of people. According to Tolstoy, the true greatness of a person is in proximity to the people, simplicity, goodness and truth, which he showed with the example of Kutuzov.

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Homework on the topic: Antithesis in War and Peace. moral optimism Tolstoy.

52. The use of antithesis by L.N. Tolstoy ("War and Peace") and

F.M.Dostoevsky ("Crime and Punishment").

Antithesis is the main ideological and compositional principle of "War and Mi-

ra" and "Crime and Punishment" already in their titles. He

appears at all levels artistic text: from problems to

building a system of characters and methods of psychological representation.

However, in the very use of the antithesis, Tolstoy and Dostoevsky often de-

demonstrate a different method. The origins of this difference are in their views on human

In the very titles of the works of Tolstoy and Dostoevsky, the content

there is a problem: the titles are not unambiguous, polysemantic. The word "war"

means in "War and Peace" not only military operations, not only events

ties taking place on the battlefield; war can take place in everyday

the daily life of people / remember such a war because of the inheritance of Count Bezu-

hova / and even their souls. Even more saturated in semantic terms is

the word "peace" is thrown: peace as the antithesis of war and "peace" as a community of

dey. The title of the final edition of Leo Tolstoy's novel was "War

and peace", that is, peace as the antithesis of war. But in numerous drafts

kah and sketches of Tolstoy varies the spelling of this word, as if hesitantly

lyas. The very combination of "war and peace" we can meet in Pushkin's "Bo-

rice Godunov":

Describe, without further ado,

All that you will witness in life:

War and peace, government of sovereigns,

Saints holy miracles.

Already in Pushkin context the combination of "war and peace" becomes

the key to historical process generally. Thus, the world is

The theory is universal, it is life, it is the universe.

On the other hand, it is quite clear that the concepts of crime and

Punishment interests Dostoevsky not in their narrow legal sense.

"Crime and Punishment" is a work that puts deep fi-

philosophical and moral issues.

art space Tolstoy's novel is, as it were, limited

it has two poles: at one pole - goodness and peace, uniting all

dey, on the other - evil and enmity, dividing people. Tolstoy is experiencing

their heroes from the point of view of the law of "continuous movement of personality in

time". Heroes capable of spiritual movement, of internal change

swarms, motionless, incapable of feeling and understanding inner laws

life, are evaluated by Tolstoy as carriers of the beginning of the war, discord. In his

Tolstoy's novel sharply contrasts these characters. So, salon An-

Sherer Tolstoy not in vain compares us Pavlovna with a spinning workshop, with

soulless machine.

The antithesis "correctness - incorrectness" runs through the whole novel.

ness", " outer beauty- living charm. "For Tolstoy, it is wrong

Natasha's ugly and even ugly features are much more attractive than

ancient beauty Helen: cheerful / albeit out of place / Natasha's laughter

a thousand times sweeter than Helen's "unchanging" smile. In the behavior of heroes, the author

also contrasts the spontaneous with the rational, the natural theatrical

mu. For Tolstoy, Natasha's "mistakes" are much more natural and natural,

than Sonya's rational behavior.

The finished embodiment of the beginning of the war in the novel was Napoleon.

He not only constantly plays in front of the audience, but also remains alone with himself -

being an actor. He thinks of himself as a great commander, focusing on certain

antique samples. The complete antipode of Napoleon is in the novel Kutu-

call. He is the true spokesman for the spirit of the nation.

"Family Thought" opposes the Rostov family to the "clan" Ku-

The antithesis "false - true" is used by Tolstoy and when depicting

expression of the spiritual movements of their characters. So, Pierre in a duel, feeling

all the stupidity and falsity of the situation, does nothing for its success

permission, but demands "quick start" and intensely charges his

gun.

Unlike the heroes of Tolstoy, the heroes of Dostoevsky never

portrayed unambiguously: Dostoevsky's man is always contradictory,

unknowable to the end. His heroes combine two abysses at once:

the abyss of goodness, compassion, sacrifice and the abyss of evil, selfishness, individual

dualism, vice. In each of the heroes there are two ideals: the ideal of the Madonna and

the ideal of Sodom. The content of "Crime and Punishment" is the court

over Raskolnikov, the internal court, the court of conscience.

The techniques that Dostoevsky uses in creating figurative

systems of his work differ from Tolstoy's methods. Dostoevs-

cue resorts to the technique of double portraiture. Moreover, the first port

ret, more generalized, usually argues with the second. Yes, before committing

eyes. But the crime not only stained his soul, but also left

tragic face. This time we have a portrait of the killer.

In Dostoevsky's novel, it is not the characters who argue, but their ideas.

Thus we see that the antithesis is artistic technique

turned out to be very productive for the two largest realist artists,

for Tolstoy and Dostoevsky.

Antithesis (opposition) is one of the most commonly used techniques used to reveal images in work of art. The essence of antithesis as a trope is the juxtaposition of opposites, antagonistic concepts or images. One of the most bright works, built on the reception of opposition, is the novel by L. N. Tolstoy "War and Peace". In it, the antithesis is the main technique, laid in the foundation for constructing a system of images.

All the characters of the epic novel can be quite unambiguously divided into two camps, or two worlds - "alive" and "dead". The action in the novel unfolds in two parallel planes - the plane of "peace" and the plane of "war". For each of the planes, the author chooses certain differentiations of heroes, the belonging to the “dead” or “living” principle is determined.

When describing the world, the dominant criterion on the basis of which the characters are contrasted is the attitude towards the family, towards children. In a "dead" world, where everything is subordinated to the only goal, which is to increase one's own fortune by any means, marriage is only one of the possible means. For no one belonging to this camp is it difficult to step over the family, as well as over other moral foundations. In this regard, the image of Helen is the most striking. The only purpose for which she married Pierre Bezukhov, the heir to the entire fortune of Count Bezukhov, was to receive part of the inheritance. Breaking up with her husband and getting more than half of his wealth is the logical conclusion of the intrigue she built.

As an example of the absolute insignificance of moral principles for representatives of the “dead” world, one can cite the scene of the “fight” for the mosaic briefcase of the dying Count Bezukhov. Drubetskaya, in equally seeking to win the "fight" by any means.

A completely opposite attitude to moral values ​​reigns in the "living" world. For its representatives, the family, children are the highest ideal, become the true goal human life. The Rostov family is most indicative in this respect, the atmosphere in which - love and complete mutual understanding - is directly opposite to the intrigues, envy and anger in the Kuragin family. The Rostov House is open to everyone, and anyone who comes to them will be received with due kindness and cordiality. It is no coincidence that after returning from the front, Nikolai Rostov is sent to parental home. The difference between the attitude towards children in the families of the Kuragins and the Rostovs is also characteristic. The only desire of Prince Vasily is to quickly get rid of the "calm fool" Hippolyte and the "restless fool" Anatole, while also increasing his fortune. On the contrary, for the Rostovs, children are of great value and no child can be unloved.

But in addition to the plane of the world in the novel, there is a plane of war, where the characters appear in a completely different hypostasis. The main criterion in this plane, according to which people are divided into "camps", Tolstoy chooses the attitude towards the Motherland, the manifestation of patriotism.

The “living” world is the world of true patriots, whose feelings towards the Motherland are completely sincere and genuine. Andrei Bolkonsky is not guided by any other considerations than thoughts about defending the Fatherland when he tries to resist the general panic and retreat at Austerlitz. Prince Andrei does not think about promotion or awards, he only obeys own feeling debt. The complete opposite of Andrei Bolkonsky is Boris Drubetskoy. He sees his main task not as the defense of the Fatherland, but as a promotion, and not by merits on the battlefield, but by flattery, hypocrisy, and sycophancy towards the authorities. For him, the fate of people means nothing, he is ready to sacrifice them for the sake of his own promotion and presentation for a reward.

The Rostovs show patriotism in a slightly different form. Nicholas cannot kill a man, no matter which side he is on, but when retreating from Moscow, the Rostovs sacrifice their own property to save the wounded. Berg behaves in a completely different way. Taking advantage of the general disaster and confusion, he manages to acquire a "chiffonier" for a negligible price, and this "deal" becomes the subject of his pride.

True patriotism is also shown by heroes who do not belong to any of the worlds and act only in the plane of war, but also opposed to the "dead" camp. The most indicative in this respect is the feat of Captain Tushin, and especially his perception of his heroism. Tushin did not even think about the heroic essence of his act - on the contrary, he is trying to justify himself and asks for help from Andrei Bolkonsky. According to Tolstoy, true patriot does not even notice the fact that he is accomplishing a feat - for him it is only a duty to the Motherland, devoid of any heroic flair. Under this definition, the feat of both the Tushin battery and the Raevsky battery, accomplished by the most ordinary, unremarkable people, fits.

Thus, the reception of antithesis is basic for building a system of images of the novel and characterizing the main characters.

In fact, antithesis, the opposition of two worlds - "dead" and "alive" - ​​forms the basis of the work, determines its structure. And, building the novel on the principle of antithesis, Leo Tolstoy debunks the "dead" world, shows its inconsistency and affirms the human and Christian ideals that guide the "living" world.