Military operations in war and peace. Depiction of the war in the novel L

The idea for the novel "War and Peace" originated with Tolstoy as early as 1856. The work was created from 1863 to 1869.

The opposition to Napoleon in 1812 is the main event in the history of the early 19th century. The role was very important. The philosophical thought of Leo Tolstoy was embodied largely due to its image. In the composition of the novel, war occupies a central place. Tolstoy Lev Nikolaevich connects the fate of most of his heroes with her. The war became a decisive stage in their biography, the highest point in their spiritual development. But this is the climax of not only all the plot lines of the work, but also the historical plot, which reveals the fate of all the people of our country. The role will be discussed in this article.

War is a test carried out against the rules

It became a test for Russian society. Lev Nikolayevich considers the Patriotic War as an experience of living unification of people beyond the class. It took place on the scale of the nation on the basis of the interests of the state. In the interpretation of the writer, the war of 1812 is a people's war. It began from the time of the fire in the city of Smolensk and did not fit into any legends of previous wars, as Lev Nikolayevich Tolstoy noted. The burning of villages and cities, the retreat after numerous battles, the fire of Moscow, the blow of Borodin, the capture of marauders, the repossession of transport - all this was a clear deviation from the rules. From the political game played in Europe by Napoleon and Alexander I, the war between Russia and France turned into a popular one, the outcome of which depended on the fate of the country. At the same time, the higher military authorities turned out to be unable to control the state of the units: their dispositions and orders did not correlate with the actual state of affairs and were not executed.

The paradox of war and historical regularity

Lev Nikolaevich saw the main paradox of the war in the fact that Napoleon's army, having won almost all the battles, eventually lost the campaign, collapsed without noticeable activity from the Russian army. The content of the novel "War and Peace" shows that the defeat of the French is a manifestation of the laws of history. Although at first glance it may suggest the idea that what happened is irrational.

The role of the battle of Borodino

Many episodes of the novel "War and Peace" describe military operations in detail. At the same time, Tolstoy tries to recreate a historically true picture. One of the main episodes of the Patriotic War is, of course, It did not make sense either for the Russians or for the French from the point of view of strategy. Tolstoy, arguing his own position, writes that the immediate result should have been and was for the population of our country is that Russia dangerously approached the death of Moscow. The French almost destroyed their entire army. Lev Nikolaevich emphasizes that Napoleon and Kutuzov, accepting and giving the Battle of Borodino, acted senselessly and involuntarily, while submitting to historical necessity. The result of this battle was the unreasonable flight of the conquerors from Moscow, the return along the Smolensk road, the death of Napoleonic France and the five hundred thousandth invasion, on which the hand of an enemy strong in spirit was laid for the first time near Borodino. This battle, therefore, although it made no sense from the position, was a manifestation of the inexorable law of history. It was inevitable.

Leaving Moscow

Abandonment by the inhabitants of Moscow is a manifestation of the patriotism of our compatriots. This event, according to Lev Nikolaevich, is more important than the retreat of Russian troops from Moscow. This is an act of civic consciousness manifested by the population. Residents, not wanting to be under the rule of the conqueror, are ready to make any sacrifices. In all cities of Russia, and not only in Moscow, people left their homes, burned cities, destroyed their own property. The Napoleonic army encountered this phenomenon only in our country. The inhabitants of other conquered cities in all other countries simply remained under the rule of Napoleon, while even providing a solemn reception to the conquerors.

Why did the inhabitants decide to leave Moscow?

Lev Nikolaevich emphasized that the population of the capital left Moscow spontaneously. The feeling of national pride moved the inhabitants, and not Rostopchin and his patriotic "chips". The very first to leave the capital were educated, wealthy people who knew very well that Berlin and Vienna remained intact and that during the occupation of these cities by Napoleon, the inhabitants had fun with the French, who were loved at that time by Russian men and, of course, women. They could not do otherwise, since there was no question for our compatriots about whether it would be bad or good in Moscow under French rule. It was impossible to be in the power of Napoleon. It was simply unacceptable.

Features of the partisan movement

An important feature was the large-scale Leo Tolstoy calls it "the cudgel of the people's war." The people beat the enemy unconsciously, just as dogs bite a rabid runaway dog ​​(comparison of Lev Nikolaevich). People destroyed piece by piece a great army. Lev Nikolayevich writes about the existence of various "parties" (partisan detachments), the sole purpose of which is the expulsion of the French from Russian soil.

Without thinking about the "course of affairs", intuitively the participants in the people's war acted as historical necessity prompted. The true goal pursued by the partisan detachments was not to completely destroy the enemy army or catch Napoleon. Only as a fiction of historians who study the events of that time from the letters of generals and sovereigns, from reports, reports, according to Tolstoy, such a war existed. The purpose of the "club" was a task understandable to every patriot - to clear their land from the invasion.

The attitude of Leo Nikolayevich Tolstoy to the war

Tolstoy, justifying the people's liberation war of 1812, condemns the war as such. He evaluates it as contrary to the whole nature of man, his mind. Any war is a crime against all mankind. On the eve of the Battle of Borodino, Andrei Bolkonsky was ready to die for his fatherland, but at the same time he condemned the war, believing that it was "the most disgusting thing." This is a pointless massacre. The role of war in War and Peace is to prove this.

Horrors of war

In the image of Tolstoy, 1812 is a historical test that the Russian people withstood with honor. However, this is at the same time suffering and grief, the horrors of the extermination of people. Moral and physical torment is experienced by everyone - both "guilty", and "right", and the civilian population, and soldiers. By the end of the war, it is no coincidence that the feeling of revenge and insult is replaced in the Russian soul by pity and contempt for the defeated enemy. And the destinies of the heroes were reflected in the inhumane nature of the events of that time. Petya and Prince Andrei died. The death of her youngest son finally broke Countess Rostov, and also hastened the death of Count Ilya Andreevich.

Such is the role of war in War and Peace. Lev Nikolaevich, as a great humanist, of course, could not confine himself to patriotic pathos in her portrayal. He condemns the war, which is natural if you look at his other works. The main features of the novel "War and Peace" are characteristic of the work of this author.

MKV (C) OUCO Omutninsky district of the Kirov region

Literature lesson for the competition

"It's not for nothing that the whole of Russia remembers"

prepared

teacher of Russian language and literature

Honored Teacher of the Russian Federation

Vasenina Tamara Alexandrovna

Omutninsk - 2012

« The image of the war of 1812 in the novel by L.N. Tolstoy "War and Peace"

Goals:

1. Educational -
2. Educational
3. Educational
4. Meta subject learning- information skills:

Ability to extract information from various sources;

Ability to plan;

Ability to select material on a given topic;

Ability to write written abstracts;

Ability to select quotes;

Ability to make tables.

Equipment : portrait of Leo Tolstoy, art texts. works, a set of illustrations by Nikolaev for the novel, the album “L.N. Tolstoy” (compiled by N.B. Gordeeva, T.G. Yurkevich), the album “Exhibition at school. L.N. Tolstoy”, fragments of the film by S. Bondarchuk “War and Peace”.

Methodological techniques: Educational dialogue, elements of a role-playing game, creating a problem situation.

Time spending– 90 minutes

Preparing for the lesson.

In preparation for the lesson, the students were asked to fill in the worksheets on the description of the battle of Borodino, volume 3, part 2, chapters 19 - 39.

Chapter	Main content	Keywords	pages
№ 19
№ 20
№ 21
№ 22
№ 23
№ 24
№ 25
№ 26
№ 27
№ 28
№ 29
№ 30
№ 31
№ 32
№ 33
№ 34
№ 35
№ 36
№ 37
№ 38
№ 39

The students were asked questions.

1. Wars and major battles described in "War and Peace"
2. How did Kutuzov save the Russian army from destruction in 1805?
3. What was the significance of the Shengraben battle. What role did Tushin's battery play in it?
4. Why was the tsar forced to appoint Kutuzov commander-in-chief of the Russian troops?
5. Andrei Bolkonsky in the Battle of Borodino.
6. Pierre Bezukhov on the Borodino field. Why is the battle of Borodino shown through the perception of Pierre Bezukhov?
7. Compare two commanders during the Battle of Borodino.

During the classes

I start the lesson by reading my poem.

About Leo Tolstoy

To us Leo Tolstoy

Comes in early childhood.

And from that unforgettable time

Live around me with reality next door

His extraordinary worlds.

I enter them, I reveal their secrets.

The way Bolkonsky goes to war,

The way Natasha dances the first ball

And with her on a moonlit night I do not sleep.

Through the years again and again in front of me

The Battle of Borodino rises.

Then Andrei falls, mortally wounded,

That Pierre carries shells in boxes.

They are piles of bodies, killed and wounded.

And the flight of Bonaparte from Moscow.

Russia was not brought to its knees,

They took the shameful cross with them.

I break away from the book at midnight,

Through a dream I whisper the names of the heroes.

All my life is not enough for me,

To fully know Tolstoy Leo.

Introduction by the teacher.

Indeed, in order to fully understand the work of Tolstoy, a whole life is not always enough. So, before us is the epic novel "War and Peace". Seven years of titanic work. Today we will talk about the Battle of Borodino. Three battles are described in detail in War and Peace: the Shengraben battle occupies 7 chapters, Austerlitz - 9 chapters, Borodino - 21 chapters. The writer depicts individual sections of the battle, takes us from the Russian camp to the French camp, where he draws a number of scenes from the point of view of Pierre, shows both commanders and ordinary people. The whole creation of the great writer is imbued with the idea of ​​the national dignity of the Russian people. The plot of the novel is based on the flow of history, the flow of life. Tolstoy's novel affirms the anti-human essence of war, when the death of tens of thousands of people is the result of the ambitious plans of one person. Let's check your homework based on your worksheets from the last lesson, the realism of the depiction of war in the novel, and read the passages from the text. (pages and chapters are marked, so the work does not take much time)

1. The severity of the war

a) the maximum stress of the physical and moral strength of people

Vol.1, part 2, chapter 13, page 216;

b) human suffering and death

“In the darkness, it was as if an invisible, gloomy river was flowing ...

"Their groans and the darkness of this night - it was one and the same"

T.1, part 2, ch. 21, p. 250

The death of a young officer and a cheerful soldier in the Battle of Borodino.

Death of Petya Rostov;

Death of Andrei Bolkonsky.

c) material sacrifices (burning of cities, villages, robberies of marauders)

2. The complexity of the war:

A) the number of participants in hostilities;

B) the value of the general mood of the army;

C) the great importance of personal initiative (Tushin's battery, Timokhin's company)

3. Endurance, cheerfulness, diligence that does not leave the peasants - a soldier, even in a difficult campaign, as a manifestation of their physical and moral strength. Vol. 1, part 2, pp. 160-166

4. Fortitude and courage of soldiers in hard labor and dangerous wars.

(Shengraben - Vol. 1, part 2, ch. 17-21, pp. 231 - 235)

5. The heroism of the soldiers of the regular army, militias, partisans in the defense of the motherland and the irresistible force of the Russian army

Vol.3, part 2, ch.23,34

T.4, part 3, ch.1

6. Human attitude towards prisoners.

V.4, part 4, ch.6,9, p. 533,. 561.

BATTLE OF BORODINO

In August 2012, Russia will celebrate the 200th anniversary of the Battle of Borodino. The description of the Battle of Borodino occupies twenty chapters of the third volume of War and Peace. This is the center of the novel, its climax; a decisive moment in the life of the whole country and many heroes of the novel. All paths will cross here: Pierre will meet Dolokhov, Prince Andrei will meet Anatole; here each character will be revealed in a new way, and here for the first time an enormous force will appear - the people, the men in white shirts, the force that won the war. Let's take a look at our worksheets. This simple selection helps to clearly imagine the structure of the climax of the novel, the role played by its most important characters. Of the 21 chapters, 5 are the author's reasoning, in 7 chapters the main character is Pierre, in 4 - Prince Andrei, in 4 - Napoleon. Kutuzov appears in 4 chapters, but only in one chapter can he be considered the main character.

Students work under the guidance of a teacher with worksheets, determine the main idea of ​​each chapter. Here is a sample worksheet. Format A -4. The page numbers of the novel are placed according to their text, so that it is convenient to find the desired fragment of the text in the lesson.

Chapter	Main content	Keywords	Film fragments of the film "War and Peace»
№ 19		The demand of the people's battle
№ 20	Pierre leaves Mozhaisk. The spirit of the army and the people	All the people want to pile on	K/.f
№ 21	Pierre is watching the surroundings from the mound in Gorki and trying to figure out the positions of the Russian and French troops.	Borodino panorama
№ 22	Pierre in Kutuzov's retinue	Random conversations and remarks
№ 23	Pierre and Bennigsen drove from Gorki to the extreme left flank	Overview of the Borodino field
№ 24	Prince Andrew. Reflections on life. Pierre's arrival.	War is the greatest evil and a terrible necessity.
№ 25	Pierre's conversation with Andrei and the officers of his regiment.	Pierre's conclusion about the latent warmth of patriotism.	K/.f
№ 26	Napoleon in the parking lot at Valuev. Episode with a portrait of a son. Napoleon's order for battle.	Lies, posturing
№ 27	Napoleon prepares for battle.	For him, the future battle is a game to be won. To do this, you need to correctly arrange the chess.
№ 28	Tolstoy's reasoning about why Borodino did not bring victory to Napoleon.
№ 29	Napoleon before the battle.	He goes to Shevardin
№ 30		The beauty of the panorama expresses the solemnity of the moment
№ 31	Pierre on the Raevsky battery.	Family circle, hidden warmth.	K/.f
№ 32	The struggle for the Rayevsky battery.	Pierre leaves the battlefield.
№ 33	Napoleon on the field of Borodino.	Attempts to control the course of the battle.	K/.f
№ 34	Napoleon and his retinue are at a loss: the losses are huge.	The Russians are not retreating.
№ 35	Kutuzov on the battlefield.	Leads the spirit of the army.	K/.f
№ 36	Regiment Prince. Andrew in reserve. Prince wound.	Passion for life, love
№ 37	At the dressing station. Meeting with Anatole Kuragin.	Compassion, love
№ 38		Condemnation of Napoleon
№ 39	"The flames of battle slowly burned out"	Terrible view of the battlefield. Russian moral victory	K\.f

This work can be done in different ways:

Checking the completion of the table under the guidance of the teacher.

1. Conduct a selective retelling of these chapters.
2. Answers to the teacher's questions for these chapters.
3. Oral reports of prepared students

A) Kutuzov on the Borodino field;

b) Napoleon on the Borodino field;

c) Pierre in the family circle on the Raevsky battery;

d) Our prince (about Andrei Bolkonsky)

1. Viewing fragments from the film by S. Bondarchuk "War and Peace" and questions about them (6 fragments)

Pierre on the mound watches the preparations for the battle

Pierre's conversation with Andrey;

Pierre on the Raevsky Battery

Napoleon on the Borodino field;

Kutuzov on the Borodino field;

Andrei Bolkonsky's wound.

Students make a comment after watching fragments of the movie "War and Peace":

Lesson conclusions:

So, a huge novel, consisting of four volumes, seventeen parts, three hundred and sixty-one chapters, in which more than five hundred heroes act, is perceived by us as an integral poetic work. The Patriotic War of 1812 is the climax of the novel: it broke the old conditions of life, destroyed, at least temporarily, social barriers, and brought to the forefront the main force of the historical process - the people. All the events and all the heroes of the novel are given in relation to the war of 1812. All the heroes of the novel receive a moral assessment of the writer, depending on how each of them is able or not able to imbue a common feeling with the people. The people in Tolstoy's novel is not only a social, but also a moral category. The people, according to Tolstoy, are all the best that is in the Russian nation.

We conclude the lesson by reading Lermontov's poem "Borodino" or Tolstoy's favorite poem written by Pushkin:

When for a mortal it will be silent

noisy day

And on the mute hailstones

Translucent will cast a shadow on the night

And sleep, day's work is a reward,

At that time for me to drag in silence

Hours of weary vigil:

In the inactivity of the night live burn in me

Snakes of heart remorse;

Dreams boil; in a mind overwhelmed by longing,

An excess of heavy thoughts crowds;

The memory is silent before me

Its long progress scroll;

And with disgust reading my life,

I tremble and curse

And I bitterly complain, and bitterly shed tears,

But I do not wash off the sad lines.

Homework:

Learn by heart the passage "Cudgel of the People's War ..."

T.4, part 3, ch. 1 page 292.

Make a plan for writing:

1. The image of the people's commander in "War and Peace".
2. Image of true heroes and true heroism in the novel by Leo Tolstoy.

Literature:

1. Album “Life and work of Leo Tolstoy. Exhibition at the school. M., "Children's Literature", 1978.

Annex 1

Explanatory note (for the teacher)

Position (indicating the subject taught) teacher of the Russian language and literature
Educational institution MKV (C) OUCO Omutninsky district
Material name Depiction of the Patriotic War of 1812 in Leo Tolstoy's novel "War and Peace"
Type of resource (presentation, video, text document, collage, drawing, etc.) text document
Goals: Educational -reveal the position of the heroes of the novel in relation to the issue of choice, creating a problematic situation, encourage students to express their own point of view about the life principles of Kutuzov and Napoleon, Bolkonsky and Bezukhov, etc. Show the spiritual quest of the main characters of the novel. The protest of a humanist writer against the violation of a person's natural right to life. Educational - to promote the formation of students' own point of view in relation to such a concept as "choosing the purpose and meaning of life"; create situations in which students will understand that there is a way out of any difficult situation. The problem of constant choice in life To show the nationwide patriotic upsurge and the unity of the bulk of Russian society in the fight against the invaders. Educational - the formation of group work skills, public speaking, the ability to defend one's point of view The tasks of the material for the competition "It's not for nothing that the whole of Russia remembers"
List of used literature. 1. Album “Life and work of Leo Tolstoy. Exhibition at the school. M., "Children's Literature", 1978. 2. Journal "Literature at school" No. 4, 1978. Article by T.F.Kurdyumova p.53-66. The study of the epic novel "War and Peace" as a historical work. 3. Dolinina.N. Through the pages of War and Peace. Notes on Leo Tolstoy's novel "War and Peace", Leningrad, "Children's Literature", 1973 4. Tolstoy L.N. The novel "War and Peace", publishing house "Fiction", M., 1968.

In Leo Tolstoy's epic novel "War and Peace", one of the most important themes is war, as the name implies. The writer himself pointed out that the “people's thought” is realized in the work, thereby emphasizing that he is interested in the fate of the country in difficult times of historical trials. The war in the novel is not a background, it appears before the reader in all its terrible grandeur, long, cruel and bloody.
For the heroes of the novel, this is a holy war, because they are defending their homeland, their loved ones, their families. According to the writer, “for the Russian people there could be no question whether it would be good or bad under the control of the French in Moscow. It was impossible to be under the control of the French: it was the worst of all. Of course, Tolstoy, as a patriot, sharply opposes the predatory and predatory, unjust and aggressive war. The writer calls this type of war "an event that is contrary to the human mind and all human nature." But a just war, caused by the need to defend one's Fatherland, a war of liberation, bearing a defensive character, is regarded by Tolstoy as sacred. And the writer glorifies the people participating in such a war, performing feats in the name of the freedom of their native land and in the name of peace. According to the author of the epic, "the time will come when there will be no more war." But as long as it goes, you need to fight. The war of 1812 - in contrast to the previous campaigns of 1805-1807, which took place outside the native country - Tolstoy reproduces and characterizes as a people's battle, significant and justified in the eyes of Russians.
The Patriotic War rallied the numerous forces of Russia into a single whole. Not only the army, but the whole people rose to defend the Motherland. On the eve of the day when the French occupied Moscow, “the entire population, as one person, leaving their property, flowed out of Moscow, showing by this negative action all the strength of their popular feeling.” Such unanimity was also characteristic of the inhabitants of other places, other Russian lands. “Starting from Smolensk, in all cities and villages of the Russian land<…>the same thing happened that happened in Moscow.
Tolstoy portrays the war extremely truthfully, avoiding idealization, shows it "in blood, in suffering, in death." He does not turn a blind eye to the scenes of injuries, mutilations, the manifestation of vanity, careerism, ostentatious courage, and the desire for ranks and awards in a certain part of the officers. But for the most part, Russian soldiers and officers show miracles of courage, heroism, bravery, steadfastness and valor. The author of the novel does not ignore the confusion, vanity, and panic that occur during the war. So it was under Austerlitz, when "an unpleasant consciousness of disorder and stupidity swept through the ranks, and the troops stood, bored and discouraged." But the main attention of the writer is riveted to the planned and well-executed heroic attacks of the Russian army.
The great artist of the word shows the people as the main participant in the holy war. He rejects the interpretation of the battles of 1812 as battles between Alexander I and Napoleon. The fate of the battles and the outcome of the entire war, according to Tolstoy, depends on people like Tushin and Timokhin, Karp and Vlas: strength, energy, offensive spirit, the will to win come from them. Only not from every single person, but from the whole nation. The critic N. N. Strakhov spoke expressively in his letter to Tolstoy: “When there is no Russian kingdom, the new peoples will learn from War and Peace what kind of people the Russians were.”
Reproducing the events of the war, the writer is not limited to depicting a panorama of what is happening on the battlefield, he is not content with detailed battle scenes, such as the heroic passage of Bagration's detachment near Shengraben or the Battle of Borodino. Tolstoy draws the reader's attention to the individual participants in the battles, showing them in close-up and devoting entire pages of his novel to them. This is how Tolstoy portrays staff captain Tushin, the hero of the Shengraben battle: a small, thin, dirty artillery officer with big, intelligent and kind eyes. There is something not exactly military about his figure, "somewhat comical, but extremely attractive." And this modest and shy man accomplishes a remarkable feat: with his battery, deprived of cover, he delays the French throughout the battle. “No one ordered Tushin where and with what to shoot, and he, after consulting with his sergeant major Zakharchenko,<…>decided that it would be good to set fire to the village. And he lights the Shengraben, showing "heroic steadfastness," as Prince Andrei defined these actions of his.
Reproducing the Battle of Borodino, the writer again highlights the courageous behavior and exploits of the heroes. These are the gunners of the Rayevsky battery, unanimously, “in a barber style” loading guns and giving a crushing rebuff to the French. This is the feat of General Raevsky himself, who brought his two sons to the dam and, next to them, under terrible fire, led the soldiers to attack. This is the behavior of Nikolai Rostov, who captured a French officer.
But not only battle scenes are important for Tolstoy. The behavior of people in the rear also allows us to talk about their patriotism or, conversely, about the absence of it. The old man Bolkonsky, who, due to his age, cannot go to war, wholeheartedly supports his only son, who defends his native land: it is not so terrible for him to lose his son as to experience shame because of his cowardice. However, such a shame does not threaten him: he raised his son as a true patriot. A wonderful deed by Natasha, Tolstoy's beloved heroine, who gave carts to the wounded and selflessly cared for Prince Andrei. I admire the courage of the very young Petya Rostov, who decides to go to war. And the spiritual callousness of people like Helen, who do not care about the fate of the Motherland in a difficult time for her, is striking.
Wartime is difficult. And by their behavior in the war and in the rear, people reveal different qualities. Tolstoy "tests" his heroes with war, and many of them stand this difficult test with dignity: Andrei Bolkonsky, Nikolai Rostov, Natasha and, of course, Pierre Bezukhov, who, having gone through many trials, was able to gain life's wisdom and truly feel and love your homeland.

IMAGE OF THE WAR ON THE PAGES OF THE NOVEL

L.N. TOLSTOY "WAR and PEACE"

THE PURPOSE OF THE LESSON: ideological and artistic features of the image of the war; trace the image of the Patriotic War, based on Tolstoy's views on history.

METHODOLOGICAL TECHNIQUES: lecture with elements of conversation, student messages

EQUIPMENT: individual cards, fragments of a video film, a table "The image of the war on the pages of the novel"

DURING THE CLASSES

1. Org. moment.

2. Checking homework.

3. Introductory speech of the teacher.

Following Tolstoy, we must understand the nature of the war, which is vividly depicted on the pages of the novel, get acquainted with the historical events of the era, see how a person behaves differently in a war, how the author relates to war. And again we will meet with Tolstoy's "tearing off all kinds of masks" and a contrasting comparison of different groups of heroes.

4. Conversation.

IMAGE OF THE WAR 1805-1807

The narrative is transferred to the battlefields in Austria, many new heroes appear: Alexander I, the Austrian emperor Franz, Napoleon, army commanders Kutuzov and Mack, commanders Bagration, Weyrother, ordinary commanders, staff officers ... and the bulk are soldiers: Russian, French, Austrian , Denisov's hussars, infantry (Timokhin's company), artillerymen (Tushin's battery), guards. Such versatility is one of the features of Tolstoy's style.

- What were the goals of the war and how did its direct participants look at the war?

The Russian government entered the war out of fear of the spread of revolutionary ideas and the desire to prevent Napoleon's aggressive policy. Tolstoy successfully chose the scene of the review in Branau for the initial chapters of the war. There is a review of people and equipment.

What will he show? Is the Russian army ready for war? Do the soldiers consider the aims of the war just, do they understand them? (Read ch.2)

This mass scene conveys the general mood of the soldiers. The image of Kutuzov stands out close-up. Starting the review in the presence of the Austrian generals, Kutuzov wanted to convince the latter that the Russian army was not ready for the campaign and should not join the army of General Mack. For Kutuzov, this war was not a sacred and necessary matter, so his goal was to keep the army from fighting.

CONCLUSION: misunderstanding by the soldiers of the goals of the war, Kutuzov’s negative attitude towards it, distrust between the allies, mediocrity of the Austrian command, lack of provisions, a general state of confusion - this is what the scene of the review in Branau gives. The main feature of the depiction of war in the novel is that the author deliberately shows the war not in a heroic way, but focuses on "blood, suffering, death."

What way out can be found for the Russian army?

The battle of Shengraben, undertaken on the initiative of Kutuzov, gave the Russian army the opportunity to join forces with its units marching from Russia. The history of this battle once again confirms the experience and strategic talent of Kutuzov, the commander. His attitude to the war, as when reviewing the troops in Branau, remained the same: Kutuzov considers the war unnecessary; but here it was a question of saving the army, and the author shows how the general acts in this case.

BATTLE OF SHENGRABEN.

- Briefly describe Kutuzov's plan.

This "great feat", as Kutuzov called it, was needed to save the entire army, and therefore Kutuzov, who took care of people so much, went for it. Tolstoy once again emphasizes the experience and wisdom of Kutuzov, his ability to find a way out in a difficult historical situation.

What is cowardice and heroism, feat and military duty - these moral qualities are clear to everyone. Let us trace the contrast between the behavior of Dolokhov and the staff, on the one hand, and Tushin, Timokhin with the soldiers, on the other (Ch. 20-21).

Company Timokhin

The whole company of Timokhin showed heroism. In conditions of confusion, when the troops taken by surprise fled, Timokhin's company "alone in the forest stayed in order and, sitting in a ditch near the forest, unexpectedly attacked the French." Tolstoy sees the company's heroism in their courage and discipline. Quiet, before the battle seemed awkward, the company commander Timokhin managed to keep the company in order. The company rescued the rest, took prisoners and trophies.

Dolokhov's behavior

After the battle, one Dolokhov boasted of his merits and injury. His courage is ostentatious, he is characterized by self-confidence and protruding himself to the fore. True heroism is accomplished without calculation and protrusion of one's exploits.

Tushin battery.

In the hottest area, in the center of the battle, Tushin's battery was without cover. No one had a more difficult situation in the battle of Shengraben, while the results of the battery firing were the greatest. In this difficult battle, Captain Tushin did not experience the slightest fear. Tell about the battery and Tushin. In Tushin Tolstoy discovers a wonderful person. Modesty, selflessness, on the one hand, determination, courage, on the other, based on a sense of duty, this is Tolstoy's norm of human behavior in battle, which determines true heroism.

THE BATTLE OF AUSTERLITZ (part 3, ch.11-19)

This is a compositional center, all the threads of an inglorious and unnecessary war go to it.

The lack of a moral incentive for waging war, the incomprehensibility and alienation of its goals to soldiers, distrust between the allies, confusion in the troops - all this was the reason for the defeat of the Russians. According to Tolstoy, it is in Austerlitz that the true end of the war of 1805-1807 is, since Austerlitz expresses the essence of the campaign. “The era of our failures and shame” - this is how Tolstoy himself defined this war.

Austerlitz became an era of disgrace and disappointment not only for all of Russia, but also for individual heroes. Not at all the way he would like, N. Rostov behaved. Even a meeting on the battlefield with the sovereign, whom Rostov adored, did not bring him joy. With a feeling of the greatest disappointment in Napoleon, who used to be his hero, Prince Andrei also lies on the Pratsensky Hill. Napoleon introduced himself to him as a small, insignificant man. Feeling disappointed in life as a result of realizing the mistakes made by the characters. In this regard, it is noteworthy that next to the Austerlitz battle scenes there are chapters that tell about the marriage of Pierre to Helene. For Pierre, this is his Austerlitz, the era of his shame and disappointment.

CONCLUSION: Universal Austerlitz - this is the result of volume 1. Terrible, like any war, by the destruction of human life, this war, according to Tolstoy, did not have at least an explanation for its inevitability. Started for the sake of glory, for the sake of the ambitious interests of the Russian court circles, it was incomprehensible and not needed by the people, and therefore ended with Austerlitz. Such an outcome was all the more shameful because the Russian army could be courageous and heroic when it had at least some understanding of the objectives of the battle, as was the case under Shangreben.

IMAGE OF THE WAR OF 1812

1. "French Crossing the Neman" (part 1, ch. 1-2)

French camp. Why, then, “millions of people, having renounced their human feelings and their minds, had to go to the East from the West and kill their own kind”

There is unity in the French army - both among the soldiers and between them and the emperor. BUT this unity was mercenary, the unity of the invaders. But this unity is fragile. Then the author will show how it falls apart at the decisive moment. This unity is expressed in the soldiers' blind love for Napoleon and taking it for granted by Napoleon (the death of the uhlans during the crossing! They were proud that they were dying in front of their emperor! But he did not even look at them!).

2. Abandonment by Russians of their lands. Smolensk (part 2, ch. 4), Bogucharovo (part 2 ch. 8), Moscow (part 1 ch. 23)

The unity of the Russian people is based on something else - on hatred for the invaders, on love and affection for their native land and the people living on it.

BATTLE OF BORODINO(vol. 3, part 2, ch. 19-39)

This is the culmination of the whole action, as firstly, the battle of Borodino was a turning point, after which the French offensive bogged down; secondly, it is the point of intersection of the destinies of all heroes. Wanting to prove that the battle of Borodino was only a moral victory for the Russian army, Tolstoy introduces a battle plan into the novel. Most of the scenes before and now during the battle are shown through the eyes of Pierre, since Pierre, who does not understand anything in military affairs, perceives the war from a psychological point of view and can observe the mood of the participants, and according to Tolstoy, this is the reason for victory. Everyone talks about the need for victory at Borodino, about confidence in it: “One word - Moscow”, “Tomorrow, no matter what, we will win the battle.” Prince Andrei expresses the main idea for understanding the war: we are not talking about an abstract living space, but about the land in which our ancestors lie, soldiers go to battle for this land.

And under these conditions, one can neither "pity oneself" nor "be generous" with the enemy. Tolstoy recognizes and justifies the defensive and liberation war, the war for the life of fathers and children. War is "the most disgusting thing in life." This is Andrei Bolkonsky. But when they want to kill you, deprive you of your freedom, you and your land, then take a club and smash the enemy.

1. The mood of the French camp (Ch. 26-29)

2. Battery Raevsky (Ch. 31-32)

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

4. Wounding of Prince Andrei, his courage (ch. 36-37)

As a result of the Battle of Borodino, Tolstoy's conclusion about the moral victory of the Russians sounds (ch. 39).

5. Answer the questions:

1. War of 1805-1807 Give a description.

2. Is the Russian army ready for war?

3. Why was the battle of Shengraben won?

4. Why was the Russian army defeated at Austerlitz?

5. Which of the heroes of the novel endures his "Austerlitz"?

6. Patriotic War of 1812. Give a description.

7. Do the Russian soldiers understand its goals?

8. Why, according to Tolstoy, was a moral victory won by the Russian army near Borodino?

9. Describe the guerrilla war? What role did she play in the victory of the Russian army over the French invaders?

10. What role did the Patriotic War of 1812 play in the fate of the heroes of the novel?

6. Summing up the lesson.

7. Homework.

1. Answer the questions:

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

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

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

5. Does Kutuzov claim to be a hero in history? And Napoleon?

2. Prepare a message: "Napoleon" and "Kutuzov" Historical background.

Pictures of war in the novel "War and Peace". Shengraben and Austerlitz battles. Ermilova Irina, Tomilin Ivan 1

Hypothesis Demonstrating such historical events as the Shengraben and Austerlitz battles, L. N. Tolstoy reveals the “dialectics of the soul” of his hero (Prince Andrei) and argues that there is something much more significant and eternal in life than the war and the glory of Napoleon. This “something” is the natural life of nature and man, natural truth and humanity. (“The dialectic of the soul” is a literary depiction of the inner life of a character in its dynamics, development; moreover, this development itself is caused by internal contradictions in the character and inner world of the hero.) 2

Main theses 1. Heroism and cowardice, simplicity and vanity are contradictory intertwined in the thoughts and actions of the participants in the battles. 2. According to Leo Tolstoy, “war is the fun of idle and frivolous people”, and the novel “War and Peace” itself is an anti-war work, which once again emphasizes the senselessness of the cruelty of war, which brings death and human suffering. 3. Dreams of Toulon were finally dispelled by Bolkonsky at Austerlitz. The sky of Austerlitz becomes for Prince Andrei a symbol of a new, high understanding of life. This symbol runs throughout his life. 3

On the Causes of the War of 1805. There is a war going on in Austria. General Mack and his army are defeated near Ulm. The Austrian army surrendered. The threat of defeat hung over the Russian army. Russia was an ally of Austria, and, true to its allied duty, also declared war on France. Then Kutuzov decided to send Bagration with four thousand soldiers through the rugged Bohemian mountains towards the French. It was the first, unnecessary and incomprehensible to the Russian people, the war that was fought on a foreign side. Therefore, in this war, almost everyone is far from patriotism: officers think about awards and glory, and soldiers dream of returning home as soon as possible. Also one of the reasons for Russia's participation in the war of 1805 is the desire to punish Napoleon. Napoleon's desire for world domination led to the Russo-Austrian-French War of 1805 between a coalition of European powers and France. 4

Depiction of the war in the novel. The inconsistency and unnaturalness of war are revealed by comparing the clear, harmonious life of nature and the madness of people killing a friend. Example: “The oblique rays of the bright sun ... threw ... in the clear morning air, piercing light with a golden and pink tint and dark long shadows. The distant forests ending the panorama, as if carved from some precious yellow-green stone, could be seen with their curved line of peaks on the horizon ... golden fields and copses shone closer. (vol. III, part II, ch. XXX) This description is contrasted with a cruel, deeply tragic picture of the war: “the officer gasped and, curled up, sat down on the ground, like a bird shot on the fly”; the dead senior colonel was lying on the rampart, as if examining something below; the red-haired soldier, who had recently been talking cheerfully with Pierre, was still twitching on the ground; the lying wounded horse squealed piercingly and lingeringly. (vol. III, part II, ch. XXXI) Let us consider in more detail the pictures of the war on the example of the Shengraben and Austerlitz battles. 5

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Battle of Shengraben One of the key moments of the war of 1805, described by Leo Tolstoy in the novel “War and Peace”, was the Battle of Shengraben. A war begun with aggressive aims is hateful and disgusting to Tolstoy. A just war can only be caused by absolute necessity. To save his army from defeat, Kutuzov sent a small vanguard of General Bagration to detain the French. The bare-footed, hungry soldiers, exhausted by a long night march through the mountains, had to stop the enemy's army, eight times stronger. This would give time for our main forces to take a more advantageous position. Driving around the troops before the battle, Prince Andrei, who arrived at the disposal of Bagration, noted with bewilderment that the closer to the enemy, the more organized and more cheerful the appearance of the troops became. The soldiers went about their daily business so calmly, as if all this was not happening in front of the enemy and not before the battle, where half of them would be killed. 7

Battle of Shengraben But then the French opened fire, the battle began, and everything happened quite differently from what Prince Andrei imagined, as taught and said in theory. The soldiers are huddled together, but nevertheless repulse attack after attack. The French are getting closer, preparing another attack. And at this decisive moment, Bagration personally leads the soldiers into battle and holds back the enemy. Observing the actions of Bagration during the battle, Bolkonsky noticed that the general gave almost no orders, but pretended that everything was happening "according to his intentions." Thanks to Bagration's endurance, his presence gave both commanders and soldiers a lot: with him they became calmer and more cheerful, flaunted their courage. 8

Battle of Shengraben And here is a complex and multicolored picture of the Shengraben battle: “Infantry regiments, taken by surprise in the forest, ran out of the forest, and companies, mixing with other companies, left in disorderly crowds” “but at that moment the French, advancing on ours, suddenly, without for obvious reasons, they ran back ... and Russian arrows appeared in the forest. It was Timokhin's company ... The fugitives returned, the battalions gathered, and the French ... were pushed back ”(vol. I, part II, ch. XX). In another place, four unprotected cannons under the command of Staff Captain Tushin fired "impudently". Here a significant number of soldiers were killed, an officer was killed, two cannons were smashed, a horse with a broken leg fought, and artillerymen, forgetting all fear, beat the French and set fire to the occupied or village. 9

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Battle of Shengraben But the battle is over. After the battle, “in the darkness, it was as if an invisible, gloomy river was flowing ... In the general rumble, because of all the other sounds, the groans and voices of the wounded were heard most clearly ... Their groans seemed to fill all this darkness surrounding the troops. Their groans and the gloom of this night - it was one and the same. (vol. I, part II, ch. XXI). Heads of units with their adjutants and staff officers gathered at Bagration to sort out the details of the battle. All ascribe to themselves unprecedented feats, emphasize their role in the battle, while the most cowardly boast more than others. eleven

Heroes of the Battle of Shengraben In this battle, as always, Dolokhov, demoted to the soldiers, is bold and fearless. Here is how L. N. Tolstoy describes his hero: “Dolokhov was a man of medium height, curly-haired and with light, blue eyes. He was about twenty-five years old. He did not wear a mustache, like all infantry officers, and his mouth, the most striking feature his face was completely visible. The lines of this mouth were remarkably thinly curved. In the middle, the upper lip energetically fell on the strong lower one in a sharp wedge, and something like two smiles constantly formed in the corners, one on each side; and all together, but especially in combination with a firm, insolent, intelligent look, the impression was such that it was impossible not to notice this face "(vol. I, part I, ch. VI). Dolokhov killed one Frenchman, captured a surrendered officer. But after that, he goes to the regimental commander and reports on his "trophies": "Please remember, Your Excellency!" Then he untied the handkerchief, pulled it and showed the gore: “Wound with a bayonet, I stayed at the front. Remember, Your Excellency. » Everywhere, always, he remembers, first of all, about himself; everything he does, he does for himself. 12

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Heroes of the Battle of Shengraben Along with Dolokhov, we meet Zherkov. We are not surprised by his behavior. When, at the height of the battle, Bagration sent him with an important order to the general of the left flank, he did not go forward, where the shooting was heard, but began to look for the general away from the battle. Due to an untransmitted order, the French cut off the Russian hussars, many died and were wounded. There are many such officers. They are not cowardly, but they do not know how to forget themselves, their careers and personal interests for the sake of a common cause. However, the Russian army consisted not only of such officers. We meet truly true heroes: Timokhin and Tushin. 14

Heroes of the Battle of Shengraben Tushin Tushin's portrait is not at all heroic: “A small, dirty, thin artillery officer without boots, wearing only stockings,” for which, in fact, he receives a scolding from a staff officer. Tolstoy shows us Tushin through the eyes of Prince Andrei, who “looked once more at the figurine of the gunner. There was something special about her, not at all military, somewhat comical, but extremely attractive. For the second time on the pages of the novel, the captain appears during the battle of Shengraben, in an episode called by literary critics “forgotten battery”. At the beginning of the Battle of Shengraben, Prince Andrey again sees the captain: “Little Tushin, with a pipe bitten to the side.” His kind and intelligent face is somewhat pale. And then Tolstoy himself, without the help of his heroes, frankly admires this amazing figure, which is surrounded on all sides, the author emphasizes, by huge broad-shouldered heroes. Bagration himself, circling the positions, is nearby. However, Tushin, not noticing the general, runs ahead of the batteries, under the very fire, and, “peeping out from under a small hand”, commands: “Add two more lines, it will be just right.” 15

The heroes of the battle of Shengraben Tushin is shy in front of everyone: in front of the authorities, in front of senior officers. His habits and behavior remind us of zemstvo doctors or rural priests. There is so much Chekhovian, kind and sad in it, and so little loud and heroic. However, the tactical decisions taken by Tushin at a military council with sergeant major Zakharchenko, “for whom he had great respect,” deserve a resolute “good!” Prince Bagration. It is difficult to conceive a higher reward than this. And now the French think that here, in the center, the main forces of the allied army are concentrated. Even in their worst dreams they could not dream that four cannons without cover and a little captain with a tube-nose warmer would burn Shengraben. “The little man, with weak, awkward movements, constantly demanded for himself another pipe from the batman. . . ran forward and from under a small hand looked at the French. - Crush, guys! - he would say, and he himself would pick up the guns by the wheels and unscrew the screws. 16

Heroes of the Battle of Shengraben Tolstoy describes the true, folk, heroic, heroic reality. It is from here this epic gesture and a cheerful, carnival attitude towards enemies and death. Tolstoy draws with pleasure a special world of mythical ideas that has been established in Tushin's mind. Enemy cannons are not cannons, but pipes smoked by a huge invisible smoker: “Look, puffed again. . . now wait for the ball. Apparently, Tushin himself imagines himself as huge and strong, throwing iron balls over the horizon. Only Prince Andrei is able to understand and see the heroic and strong that is in the captain. Standing up for him, Bolkonsky at the military council convinces Prince Bagration that the success of the day “we owe most of all to the action of this battery and the heroic stamina of Captain Tushin,” which deserves the embarrassed gratitude of the captain himself: “Thank you, helped me out, my dear.” 17

Heroes of the Battle of Shengraben In the epilogue of the novel, Tolstoy said: "The life of peoples does not fit into the lives of several people." It is quite possible that such a remark is true in relation to historical and state characters. But the touching and sincere little captain Tushin is wider, bigger and taller than his portrait. Folklore motifs and reality, epic, song depth and sincere simplicity of wisdom converged in it in a special way. Undoubtedly, this is one of the brightest characters in the book. 18

Heroes of the Battle of Shengraben. Timokhin The second true hero of the battle of Shengraben. He appears at the very moment when the soldiers succumbed to panic and ran. Everything seemed to be lost. But at that moment the French, advancing on ours, suddenly ran back ... and Russian arrows appeared in the forest. It was Timokhin's company. And only thanks to Timokhin, the Russians had the opportunity to return and gather battalions. Courage is varied. There are many people who are unrestrainedly brave in battle, but are lost in everyday life. With the images of Tushin and Timokhin, L.N. Tolstoy teaches the reader to see truly brave people, their low-key heroism, their great will, which helps to overcome fear and win battles. Tolstoy emphasizes that the actions of Tushin and Timokhin are real heroism, and the act of Dolokhoval is false. 20

Battle of Austerlitz. (vol. I, part III, ch. XIX) The episode of the Battle of Austerlitz is one of the central ones in the novel War and Peace. It carries a huge semantic load. Traditionally, the author gives a short introduction to the upcoming battle. He describes the mood of Prince Andrei on the night before the supposed decisive battle of his life. Tolstoy gives an emotional internal monologue of the hero (this is a special device, which will be discussed later). Prince Andrei imagines one central point of the battle. He sees the confusion of all military commanders. Here he saw his Toulon, which had haunted him in his cherished dreams for so long. 22

Battle of Austerlitz. (vol. I, part III, ch. XIX) Toulon is the first victory of Napoleon, the beginning of his career. And Prince Andrei dreams of his Toulon. Here he alone saves the army, takes over the entire disposition and wins the battle. It seems to him that ambitious dreams are about to come true: “I want fame, I want to be known to people, I want to be loved by them, it’s not my fault that I want this, that I live for this alone. I will never tell anyone this, but my God! What am I to do if I love nothing but glory, human love. Prince Andrei knows that Napoleon will directly participate in the battle. He dreams of meeting him in person. In the meantime, the hero wants an ostentatious epic feat. But life will put everything in its place. Prince Andrei realizes much more than he knew, expecting glory. 23

Battle of Austerlitz. (vol. I, part III, ch. XIX) The battle itself is entirely presented from the position of Prince Andrei. The hero is at the headquarters of Kutuzov. According to the forecasts of all the commanders, the battle must be won. Therefore, Prince Andrei is so busy with the disposition. He carefully observes the course of the battle, notices the servility of staff officers. All groups under the commander-in-chief wanted only one thing - ranks and money. The common people did not understand the significance of the military events. Therefore, the troops so easily turned into a panic, because they defended the interests of others. Many complained about the dominance of the German military in the allied army. Prince Andrei is enraged by the mass exodus of soldiers. For him, this means shameful cowardice. At the same time, the hero is struck by the actions of the headquarters top. Bagration is busy not organizing a huge army, but maintaining its fighting spirit. Kutuzov is well aware that it is physically impossible to lead such a mass of people standing on the edge of life and death. He monitors the development of the mood of the troops. But Kutuzov is also at a loss. The sovereign, whom Nikolai Rostov admired so much, himself takes to flight. 24

Battle of Austerlitz. (vol. I, part III, ch. XIX) The war turned out to be unlike magnificent parades. The flight of the Apsheronians, which Prince Andrei saw, served as a signal of fate for him: “Here it is, the decisive moment has come! It came to me, ”thought Prince Andrei and, hitting the horse, turned to Kutuzov.” Nature is shrouded in fog, just like that night when Prince Andrei so passionately wanted glory. For a moment, it seemed to Kutuzov's entourage that the field marshal was wounded. To all persuasions, Kutuzov replies that his wounds are not on his uniform, but in his heart. Staff officers were miraculously able to get out of the general disorderly mass. Prince Andrei is seized by the desire to change the situation: “Guys, go ahead! he shouted in a childlike shrill voice. At these moments, Prince Andrei did not notice the shells and bullets flying directly at him. He ran shouting "Hurrah!" and never doubted for a moment that the whole regiment would run after him. And so it happened. Panicked just a moment ago, the soldiers once again rushed into battle. Prince Andrei led them with a banner in his hands. This moment was truly heroic in the life of Bolkonsky. 25

Battle of Austerlitz. (vol. I, part III, ch. XIX) Here Tolstoy accurately conveys the psychological state of a person in the face of mortal danger. Prince Andrei accidentally sees ordinary scenes - a fight between a red-bearded officer and a French soldier over a bannik. These ordinary scenes help us look into the depths of human consciousness. Immediately after the episode of the fight, Prince Andrei feels that he is badly wounded, but he does not realize this right away. Here the author also acts as a subtle connoisseur of the human soul. Prince Andrei's legs began to give way. Falling, he still saw a fight over a bannik. Suddenly, a high, piercing blue sky appeared in front of him, over which clouds quietly "creeped". This sight captivated the hero. The clear, calm sky was completely different from earthly battles, flight, vanity. 27

Battle of Austerlitz. (vol. I, part III, ch. XIX) The tone of the narration changes when describing the sky. The very structure of the sentences conveys the unhurried movement of the clouds: “How quiet, calm and solemn, not at all the way I ran,” thought Prince Andrei, “not the way we ran, shouted and fought. How could I not have seen this high sky before. This is the moment of truth for the hero. In one second he realized the insignificance of fleeting earthly glory. It is incomparable with the vastness and grandeur of the sky, the whole world. From that moment on, Prince Andrei looks at all events with different eyes. He no longer cared about the outcome of the battle. It is the sky of Austerlitz that will open a new life for the hero, become his symbol, the personification of a cold ideal. Prince Andrei could not see the flight of Alexander I. Nikolai Rostov, who dreamed of giving his life for the tsar, sees his true face. The emperor's horse is not even able to jump over the ditch. Alexander leaves his army to the mercy of fate. The idol of Nicholas was debunked. A similar situation will repeat itself with Prince Andrei. On the night before the battle, he dreamed of accomplishing a feat, leading an army, meeting Napoleon. All his wishes came true. The hero did the impossible, in front of everyone showed heroic behavior. Prince Andrei even met his idol Napoleon. 28

Battle of Austerlitz. (vol. I, part III, ch. XIX) The French emperor used to drive through the battlefield, look at the wounded. People seemed to him mere puppets. Napoleon liked to realize his own greatness, to see the complete victory of his indefatigable pride. And this time he could not stop near the lying Prince Andrei. Napoleon considered him dead. At the same time, the emperor slowly said: "Here is a glorious death." Prince Andrei immediately understood that this was said about him. But the words of the idol were reminiscent of "the buzzing of a fly", the hero immediately forgot them. Now Napoleon seemed to Prince Andrei an insignificant, small man. Thus, the hero of Tolstoy realized the futility of his plans. They were directed at the mundane, the vain, the passing. And a person must remember that there are eternal values ​​in this world. I think that the sky to some extent personifies wise values. Prince Andrei understood: life for the sake of glory will not make him happy if there is no desire in his soul for something eternal, high. 29

Battle of Austerlitz. (vol. I, part III, ch. XIX) In this episode, Prince Andrei accomplishes a feat, but this is not important. The most important thing is that the hero realized the meaning, the significance of his feat. The vast world turned out to be immeasurably wider than the ambitious aspirations of Bolkonsky. This was the opening, the epiphany of the hero. Prince Andrei is contrasted in this episode with Berg, cowardly fleeing from the battlefield, Napoleon, happy because of the misfortunes of others. E The episode of the Battle of Austerlitz is the plot and compositional knot of the first volume of the novel. This battle changes the lives of all its participants, especially the life of Prince Andrei. A real feat awaits him ahead - participation in the Battle of Borodino not for the sake of glory, but for the sake of the Motherland and life. Speaking about the war and, in particular, about battles, it is impossible not to reveal the images of Napoleon, Kutuzov and Alexander I. 30

Napoleon Bonaparte The image of Napoleon in "War and Peace" is one of Leo Tolstoy's brilliant artistic discoveries. In the novel, the French emperor operates during the period when he has turned from a bourgeois revolutionary into a despot and conqueror. Tolstoy's diary entries while working on War and Peace show that he followed a conscious intention - to rip off the halo of false greatness from Napoleon. The idol of Napoleon is glory, greatness, that is, the opinion of other people about him. It is natural that he seeks to make a certain impression on people with words and appearance. Hence his passion for posture and phrase. They are not so much the qualities of Napoleon's personality as the obligatory attributes of his position as a “great” person. Acting, he renounces real, genuine life, "with its essential interests, health, illness, work, rest ... with the interests of thought, science, poetry, music, love, friendship, hatred, passions". The role that Napoleon plays in the world does not require the highest qualities, on the contrary, it is possible only for someone who renounces the human in himself. “Not only does a good commander need no genius and any special qualities, but on the contrary, he needs the absence of the highest and best human qualities - love, poetry, tenderness, philosophical, inquisitive doubt. For Tolstoy, Napoleon is not a great person, but an inferior, defective person. 32

Napoleon Bonaparte Napoleon is the “executioner of peoples”. According to Tolstoy, evil is brought to people by an unfortunate person who does not know the joys of true life. The writer wants to inspire his readers with the idea that only a person who has lost a true idea of ​​himself and the world can justify all the cruelties and crimes of war. This is what Napoleon was. When he examines the battlefield of the Battle of Borodino, a battlefield littered with corpses, here for the first time, as Tolstoy writes, “a personal human feeling for a short moment prevailed over that artificial ghost of life that he had served for so long. He endured the suffering and death that he saw on the battlefield. The heaviness of his head and chest reminded him of the possibility of suffering and death for him too.” But this feeling, writes Tolstoy, was brief, instantaneous. Napoleon has to hide the absence of a living human feeling, to imitate it. Having received a portrait of his son, a little boy, as a gift from his wife, “he went up to 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 ... so that he showed, in contrast to this greatness, the simplest paternal tenderness. 33

Napoleon Bonaparte Napoleon is able to understand the experiences of other people (and for Tolstoy this is the same as not feeling like a person). This makes Napoleon ready "... to play that cruel, sad and difficult, inhuman role that was intended for him." Meanwhile, according to Tolstoy, a person and society are alive precisely by “personal human feeling”. 34

Alexander I The real image of Alexander I is especially vividly shown in the scene of his arrival in the army after the defeat of the invaders. The tsar holds Kutuzov in his arms, accompanying them with an evil hiss: "Old comedian". Tolstoy believes that the top of the nation is dead and now lives an "artificial life". All close associates of the king are no different from him. The country is run by a bunch of foreigners who don't care about Russia. Ministers, generals, diplomats, staff officers and other close associates of the emperor are busy with their own enrichment and career. Here reigns the same lie, the same intrigue, opportunism, as everywhere else. It was the Patriotic War of 1812 that showed the real essence of the authorities. Their false patriotism is covered with loud words about the motherland and people. But their mediocrity and inability to govern the country are well depicted in the novel. All layers of the Moscow noble society are represented in War and Peace. Tolstoy, characterizing the society of the nobility, seeks to show not individual representatives, but entire families. After all, it is in the family that the foundations of integrity and morality, as well as spiritual emptiness and idleness, are laid. One of these families is the Kuragin family. 35

Alexander I The theme of patriotism occupies more and more space in the novel and evokes an increasingly complex feeling in Tolstoy. So, when reading the manifesto-appeal of the tsar to the Muscovites, at the Rostovs, the count, listening to the manifesto, shed a tear and declared: “Just tell the sovereign, we will sacrifice everything and regret nothing.” Natasha, responding to her father's patriotic statement, says: "What a charm, this dad!" . The appearance of Alexander I in Tolstoy's image is unsightly. The traits of duplicity and hypocrisy that were inherent in the "high society" are also manifested in the character of the king. They are especially clearly visible in the scene of the arrival of the sovereign in the army after defeating the enemy. S.P. Bychkov wrote: “No, it was not Alexander I who was the savior of the fatherland,” as the state patriots tried to portray, and it was not among the tsar’s close associates that it was necessary to look for the true organizers of the fight against the enemy. On the contrary, at court, in the immediate circle of the tsar, there was a group of outright defeatists, headed by the Grand Duke and Chancellor Rumyantsev, who were afraid of Napoleon and stood for making peace with him. 36

Kutuzov In War and Peace, Kutuzov is shown to us not at headquarters, not at court, but in the harsh conditions of war. He reviews the regiment, speaks affectionately with officers and soldiers. He recognizes among them participants in previous campaigns, such as, for example, the simple, modest Timokhin, always ready and capable of selfless heroism, often invisible to a less thoughtful commander. The soldiers noticed the attentiveness of the commander-in-chief (vol. I, part II, ch. II): “- How, they said, Kutuzov is crooked, about one eye? - But no! Totally crooked. - Do not ... brother, more big-eyed than you. Boots and podvyorki - all looked around ... - How is he, my brother, will look at my feet ... well! I think ... ”The French defeated General Mack, captured the Taborsky Bridge in Vienna without a shot and moved across the Russian army. The position of the Russians was so difficult that it seemed that, except for surrender, there was no other way out. But decisive, bold to the point of insolence, Kutuzov found this way out. He had three possible solutions: either stay where he was with his 40,000 men and be surrounded by Napoleon's 150,000 men, or march into the uncharted regions of the Bohemian Mountains, or retreat to Olmutz to link up with the troops coming from Russia, risking being warned by the French, and accepting battle. on a campaign with three times the strongest enemy, surrounding him from two sides. 38

Kutuzov Like an ancient epic hero, "Kutuzov chose the last exit", the most dangerous, but the most expedient. A skilled strategist, he uses all means to save his army: he sends a detachment of four thousand, led by the brave Bagration, entangles the French in the networks of their own military cunning, accepting Murat's offer of a truce, energetically pushes his army to join forces from Russia and comes out without prejudice to the honor of the Russian army from a hopeless situation. The same decisiveness, firmness, combined with great martial art and the ability of wise providence, which is the result of the ability to group events and draw conclusions from them, characterizes Kutuzov during the battle of Austerlitz. Considering all the circumstances, Kutuzov categorically declared to the emperor that battles should not be given, but they did not listen to him. When the Austrian general Weyrother read out his far-fetched, confused disposition, the old general frankly slept, because he knew that he could neither interfere nor change anything. Morning came, and the Russian commander-in-chief was by no means a mere contemplative: in fulfilling his duty, he gave expedient and clear orders. 39

Kutuzov When Alexander I drove up, Kutuzov, giving the command "attention" and saluting, "took the appearance of a subordinate, unreasoning person", in what position he was really put. The emperor, apparently, understood the hidden mockery, and this "affection of respectfulness" struck him unpleasantly. Kutuzov expressed his attitude to the imperial will with incomprehensible courage for the courtiers. Alexander I, having approached the troops with the Austrian emperor, asked Kutuzov why he did not start the battle: “I’m waiting, your majesty,” Kutuzov repeated (Prince Andrei noticed that Kutuzov’s upper lip trembled unnaturally while he was saying this "waiting"). “Not all the columns have gathered yet, Your Majesty.” The emperor apparently did not like this answer. “After all, we are not on the Tsaritsyn Meadow, Mikhail Larionovich, where they don’t start the parade until all the regiments arrive,” the sovereign said ... “That’s why I don’t start, sovereign,” said Kutuzov in a sonorous voice, as if warning the possibility of not being heard, and in his face twitched again. “That’s why I don’t start, sir, because we are not at the parade and not at the Tsaritsyn Meadow,” he said clearly and distinctly. 40

Kutuzov In the retinue of the sovereign, all the faces, instantly exchanging glances with each other, expressed murmuring and reproach. (vol. I, part III, ch. XV) In this battle, the Russian and Austrian troops were defeated. Kutuzov, who so boldly objected to the plan approved by both emperors, turned out to be right, but this consciousness did not alleviate the grief of the Russian commander. He was slightly injured, but to the question: “Are you injured? "- answered:" The wound is not here, but where! (vol. I, part III, ch. XVI) - and pointed to the fleeing soldiers. Whoever was to blame for this defeat of the Russian army, for Kutuzov it was a severe spiritual wound. 41

Comparative analysis of battles. Battle of Shengraben The decisive battle in the campaign of 1805-1807. Shengraben is the fate of the Russian army, which means it is a test of the moral strength of Russian soldiers. The path of Bagration with a four thousandth army through the Bohemian mountains was intended to delay Napoleon's army and give the Russian army the opportunity to gather strength, that is, in fact, to save the army. Battle of Austerlitz The purpose of the battle is noble and understandable to the soldiers. The purpose of the battle is not understood by the soldiers. Heroism, exploits Confusion among the soldiers; senseless feat of Prince Andrei. Victory Defeat Austerlitz - "battle of the three emperors". Its purpose is to consolidate the achieved success. But in fact, the battle of Austerlitz became a page of "shame and disappointment for all of Russia and individuals and the triumph of Napoleon the victor" 42

The result of the table: heroism and cowardice, simplicity and vanity are contradictory intertwined in the thoughts and actions of the participants in the battles. 43

The senseless and merciless nature of war In the novel War and Peace, Tolstoy, on the one hand, shows the senselessness of war, shows how much grief and misfortune war brings to people, ruins the lives of thousands of people, on the other hand, shows the high patriotic spirit of the Russian people who participated in liberation war against the French invaders, and won. According to Leo Tolstoy, "war is the fun of idle and frivolous people", and the novel "War and Peace" itself is an anti-war work, which once again emphasizes the senselessness of the cruelty of war, which brings death and human suffering. 44

The Senseless and Merciless Nature of War In describing battles, Tolstoy speaks of the senselessness and ruthlessness of war. For example, the novel gives the following picture of the battle of Austerlitz: “On this narrow dam now, between wagons and cannons, under horses and between wheels, people disfigured by the fear of death crowded, crushing a friend, dying, stepping over the dying and killing a friend, only to, having passed a few steps, be exactly the same be killed. Tolstoy also shows another scene of the Battle of Austerlitz - a red-haired gunner and a French soldier are fighting for a bannik. " - What are they doing? - thought Prince Andrei, looking at them. This scene symbolizes the futility of war. Thus, Tolstoy, showing the horror and senselessness of war, says that war and murder are an unnatural state of humanity. 45

Changing the philosophy of life of Prince Andrei Andrei Bolkonsky is the most educated person of his time, free from religious and, to some extent, from noble prejudices. But what is especially unusual in the conditions of life of the nobility of that time is his love for work, the desire for useful activities. Naturally, Bolkonsky cannot be satisfied with that brilliant and externally diverse, but idle and empty life, with which people of his class are completely satisfied. Bolkonsky explains his decision to take part in the war with Napoleon in this way to Pierre: “I am going because this life that I lead here, this life is not for me!” And then he bitterly says that for him here "everything is closed, except for the living room", where he stands "on the same board with the court footman and idiot". This is how Bolkonsky regards the secular society around him. "Living rooms, gossip, balls, vanity, insignificance - this is a vicious circle from which I cannot get out." (vol. I, part I, ch. VIII) 46

Change in the life philosophy of Prince Andrei But Prince Andrei is not only an intelligent and educated person who is burdened by the society of the Kuragins, Scherer and the like; it is also a strong-willed person who breaks the "vicious circle" with a firm hand. (contrast to Pierre). He takes his wife to his father in the village, and he himself goes to the army. Andrei is attracted by military glory, the dream of "Toulon" and his hero at the moment is the famous commander Napoleon. Having plunged into the ebullient activity of the headquarters of the commander-in-chief, becoming a participant in this activity, Bolkonsky completely changes: “In the expression of his face, in his movements, in his gait, there was almost no noticeable former pretense, fatigue, laziness; he looked like a man who does not have time to think about the impression he makes on others, and is busy with pleasant and interesting business. (Vol. I, part I, ch. III) Here his outlook as a statesman immediately came to light. "Prince Andrei was one of those rare officers at the headquarters who considered his main interest in the general course of military affairs." Some loved him, others did not like him, but everyone recognized him as an outstanding person. 47

The change in the philosophy of life of Prince Andrei Due to the mediocrity of the allied Austrian command, the Russian army fell into a difficult situation, and Bolkonsky immediately "came to mind that it was he who was destined to lead the Russian army out of this situation ... He already figured out how ... in military council will give an opinion that will save the army, and how he alone will be entrusted with the execution of the plan. When Kutuzov sent Bagration at the head of a detachment of four thousand to detain the French, Bolkonsky, realizing the danger of the situation, asked to be sent to this detachment. Bagration's detachment really accomplished a feat, but Prince Andrei was convinced that true heroism is outwardly simple and everyday, often completely invisible and not appreciated by others. He became "sad and heavy." “It was all so strange, so unlike what he had hoped for.” But, circling the camp before the battle of Austerlitz, Bolkonsky is again all in the grip of a dream of a feat, of glory: “... I want one thing, for this alone I live ... what should I do if I love nothing but glory, human love " . (vol. I, part III, ch. XII) 48

Changing the life philosophy of Prince Andrei Depicting the characters of goodies in development, in motion, the writer reflects the "dialectics of the soul" in the description of their appearance. Deep bitterness and irritation sounded in Andrei's words when he spoke about the Russian army and the peasants. But Andrei Bolkonsky is a living, strong person, and the temporary decline of his strength is replaced by a revival of faith in life, in his strength, and the desire for broad activities. He did not even now understand how he could ever doubt the need to take an active part in life. But Andrei soon came to the conclusion that his work under the current regime was fruitless. Therefore, soon Prince Andrei again asked to join the army and began to command the regiment. Now he was no longer attracted by personal glory. The path of Andrei Bolkonsky is the path to the people, the path to selfless service to the motherland. Bolkonsky belonged to that advanced part of the nobility from which the Decembrists emerged. The image of Prince Andrei is revealed through the portrait characteristics, behavior and statements of himself and other characters, the author, as well as through a direct description of his inner world and speech characteristics. Very often the author uses the technique of internal monologue. 50

The change in the life philosophy of Prince Andrei The result: Bolkonsky's dreams of Toulon were finally dispelled at Austerlitz. The sky of Austerlitz becomes for Prince Andrei a symbol of a new, high understanding of life. This symbol runs throughout his life. 51

Conclusion So, we come to the conclusion that in war the activity of the human masses, bound by the unity of feelings and aspirations, determines the course of events. Such a path from the particular to the general in Tolstoy's reasoning is the best example of the writer's close attention to the person. The absence of a moral incentive for waging war, the incomprehensibility and alienation of its goals to soldiers. Distrust among the allies, confusion in the troops - all this was the reason for the defeat of the Russians. According to Tolstoy, it is in Austerlitz that the true end of the war of 105-1807, since Austerlitz expresses the essence of the campaign. The era of "our failures and our shame" - this is how Tolstoy himself defined this war. 52

Screening test 1. During which of the battles did Andrei Bolkonsky realize the insignificance of fleeting earthly glory? A) Battle of Shengraben B) Battle of Austerlitz C) Battle of Borodino 2. Who was Andrei Bolkonsky's idol at the very beginning of the novel, before the fighting? A) Nikolai Rostov B) Napoleon Bonaparte C) Kuragin 3. Who decided to retreat near Olmutz to join the troops coming from Russia, risking meeting the French? A) Weyrother B) Andrei Bolkonsky C) Kutuzov 53

Screening test 4. What is the symbol of a new high understanding of life for Andrei Bolkonsky? A) sky B) oak tree C) sun 5. When did Prince Andrey's dreams of Toulon finally vanish? A) on Shengraben B) on Austerlitz C) in the battle of Borodino 6. Which of the true heroes do we meet in the battle of Shengraben? A) Nikolai Bolkonsky B) Tushin C) Pierre Bezukhov 54

Screening test 7. How did the Battle of Shengraben end? A) the victory of the Russians B) the victory of the French 8. On whose behalf is the description of the Battle of Austerlitz being conducted? A) Kutuzov B) Bagration C) Andrei Bolkonsky 9. Andrei Bolkonsky's monologue on a foggy night before the battle of Austerlitz is a technique ... A) internal monologue B) antithesis C) hyperbole 10. What does the author reflect, depicting the characters of goodies in development, movement? A) portraits of heroes B) "dialectics of the soul" C) actions of heroes 55