L. N. Tolstoy’s novel “War and Peace” shows the life of Russian society early XIX century during the War of 1812. This is active time social activities a wide variety of people. Tolstoy is trying to comprehend the role of women in the life of society, in the family. For this purpose, he displays a large number of female images in his novel, which can be divided into two: large groups: the first group includes women who are bearers of folk ideals, such as Natasha Rostova, Marya Bolkonskaya and others, and the second group includes women of high society, such as Helen Kuragina, Anna Pavlovna Scherer, Julie Kuragina and others.
One of the most striking female images in the novel is the image of Natasha Rostova. Being a master of depicting human souls and characters, Tolstoy embodied the best features in the image of Natasha human personality. He did not want to portray her as smart, calculating, adapted to life and at the same time completely soulless, as he made the other heroine of the novel, Helen Kuragina. Simplicity and spirituality make Natasha more attractive than Helen with her intelligence and good social manners. Many episodes of the novel tell about how Natasha inspires people, makes them better, kinder, helps them find love for life, find right decisions. For example, when Nikolai Rostov, having lost a large sum of money at cards to Dolokhov, returns home irritated, not feeling the joy of life, he hears Natasha singing and suddenly realizes that “all this: misfortune, and money, and Dolokhov, and anger, and honor - it’s all nonsense, but she’s real...”
But Natasha not only helps people in difficult times life situations, she also simply brings them joy and happiness, gives them the opportunity to admire themselves, and does it unconsciously and disinterestedly, as in the episode of the dance after the hunt, when she “stood up, smiled solemnly, proudly and cunningly cheerfully, the first fear that gripped Nicholas and all those present, the fear that she would do the wrong thing passed, and they were already admiring her.”
Just like she is close to the people, Natasha is also close to understanding the amazing beauty of nature. When describing the night in Otradnoye, the author compares the feelings of two sisters, closest friends, Sonya and Natasha. Natasha, whose soul is full of bright poetic feelings, asks Sonya to go to the window, peer into the extraordinary beauty of the starry sky, and inhale the smells that fill the quiet night. She exclaims: “After all, such a lovely night has never happened!” But Sonya cannot understand Natasha’s enthusiastic excitement. She does not have the inner fire that Tolstoy sang in Natasha. Sonya is kind, sweet, honest, friendly, she does not commit a single bad act and carries her love for Nikolai through the years. She is too good and correct, she never makes mistakes from which she could learn life experience and get an incentive for further development.
Natasha makes mistakes and draws from them the necessary life experience. She meets Prince Andrei, their feelings can be called a sudden unity of thoughts, they suddenly understood each other, felt something uniting them.
But nevertheless, Natasha suddenly falls in love with Anatoly Kuragin, even wants to run away with him. An explanation for this can be that Natasha is a very ordinary person, with her own weaknesses. Her heart is characterized by simplicity, openness, and gullibility; she simply follows her feelings, not being able to subordinate them to reason. But true love woke up in Natasha much later. She realized that the one she admired, who was dear to her, lived in her heart all this time. It was a joyful and new feeling that absorbed Natasha entirely, bringing her back to life. Pierre Bezukhov played an important role in this. His “childish soul” was close to Natasha, and he was the only one who brought joy and light into the Rostov house when she felt bad, when she was tormented by remorse, suffered, and hated herself for everything that happened. She did not see reproach or indignation in Pierre's eyes. He idolized her, and she was grateful to him for being in the world. Despite the mistakes of her youth, despite the death of her loved one, Natasha’s life was amazing. She was able to experience love and hate, create a magnificent family, finding in it the much-desired peace of mind.
In some ways she is similar to Natasha, but in some ways she is opposed to Princess Marya Bolkonskaya. The main principle to which her whole life is subordinated is self-sacrifice. This self-sacrifice, submission to fate is combined in her with a thirst for simple human happiness. Submission to all the whims of her domineering father, a ban on discussing his actions and their motives - this is how Princess Marya understands her duty to her daughter. But she can show strength of character if necessary, which is revealed when her sense of patriotism is offended. She not only leaves family estate, despite Mademoiselle Burien's offer, he also forbids him to let his companion in when he learns about her connections with the enemy command. But to save another person, she can sacrifice her pride; this is evident when she asks for forgiveness from Mademoiselle Bourrienne, forgiveness for herself and for the servant on whom her father’s wrath fell. And yet, by elevating her sacrifice to a principle, turning away from “living life,” Princess Marya suppresses something important in herself. And yet, it was sacrificial love that led her to family happiness: when she met Nikolai in Voronezh, “for the first time, all this pure, spiritual, inner work with which she had lived until now came out.” Princess Marya fully revealed herself as a person when circumstances prompted her to become independent in life, which happened after the death of her father, and most importantly, when she became a wife and mother. About harmony, wealth inner world Marya Rostova is spoken of both by her diaries dedicated to her children and by her ennobling influence on her husband.
These two women, who are similar in many ways, are contrasted with ladies of high society, such as Helen Kuragina, Anna Pavlovna Scherer, and Julie Kuragina. These women are similar in many ways. At the beginning of the novel, the author says that Helen, “when the story made an impression, looked back at Anna Pavlovna and immediately took on the same expression that was on the face of the maid of honor.” The most characteristic sign of Anna Pavlovna is the static nature of words, gestures, even thoughts: “The restrained smile that constantly played on Anna Pavlovna’s face, although it did not match her outdated features, expressed, like spoiled children, the constant awareness of her sweet shortcoming, from which she wants, cannot, does not find it necessary to get rid of it.” Behind this characteristic lies the author's irony and hostility towards the character.
Julie is a fellow socialite, “the richest bride in Russia,” who received a fortune after the death of her brothers. Like Helen, who wears a mask of decency, Julie wears a mask of melancholy: “Julie seemed disappointed in everything, told everyone that she did not believe in friendship, love, or any joys of life and expected peace only “there.” Even Boris, preoccupied with searching for a rich bride, feels the artificiality and unnaturalness of her behavior.
So, women close to natural life and folk ideals, such as Natasha Rostova and Princess Marya Bolkonskaya, find family happiness after going through a certain path of spiritual and moral quest. And women who are far from moral ideals, cannot experience true happiness because of their selfishness and adherence to the empty ideals of secular society.

IN novelL. In N. Tolstoy, female images play a significant role. It is with these that the theme of “peace” is connected in the novel, that is, society, family, happiness. The writer showed us different families: the Rostovs, Bolkonskys, Kuragins, Bezukhovs, Drubetskys, Dolokhovs and others. The women in them are different, but their role is significant everywhere. The fate of the family, its way of life, and the formation of moral values ​​depend on the character of women, on their mental makeup.

Tolstoy loves two of his heroines most of all: Natasha Rostova and Marya Bolkonskaya. Girls who read the novel really like the cheerful, spontaneous and unpredictable Natasha.

I like both girls. But if I had to choose one of them as a friend, I would choose Princess Marya. Maybe with Natasha it would be more fun, brighter, but with Marya I would be more interesting and more reliable.

It was not easy for her to live with her old father and her French governess. Ugly, lonely, with all the wealth of the Bolkonskys, she is deprived of much: she has no close friends, no mother. The despotic father and the coldly reserved brother, busy with work and his own problems, were not conducive to communication and the manifestation of tender feelings.

But Princess Marya built her spiritual castle, strict and pure. She is smart, truly kind and natural in every step she takes. Even her religiosity evokes respect, because for Princess Marya God is, first of all, justice, her faith is demanding of herself; She begs weakness for everyone else, never for herself.

There is no vanity, no frivolity in the actions and words of Princess Marya. Her self-esteem does not allow her to cheat, keep silent, or not stand up for a person she respects. When Julie Kuragina wrote in a letter about Pierre that he “always seemed to her an insignificant person,” the princess answered her: “I cannot share your opinion about Pierre. It seemed to me that he always had a wonderful heart, and this is the quality that I value most in people.” Princess Marya in a letter expresses her sympathy for Pierre: “So young to be burdened with such a huge fortune - how many temptations will he have to go through!”

An amazing understanding of people and the complexities of life for a young girl!

She will be able to understand Natasha who stumbled, she will be able to understand and forgive her father, she understands the situation of the peasants and orders the master’s bread to be given to them.

The death of her father freed Princess Marya from eternal fear, from constant control and guardianship. But now, surrounded by enemies, with a young nephew in her arms, she had to make decisions herself. In difficult moments, the determination and dignity of her father and brother awakened in her: “So that Prince Andrey knows that she is in the power of the French! So that she, the daughter of Prince Nikolai Andreevich Bolkonsky, asks Mr. General Rameau to provide her with patronage and enjoy his benefits!” And her offended pride results in quick and decisive action. During this difficult period for the princess, Nikolai Rostov appears as a savior and protector. She drives away the thoughts that she would like to see him as her future husband. Self-doubt prevents her from believing that happiness has come to her too.

The inner beauty of Princess Marya, her intelligence, purity, and naturalness make us forget about her external ugliness. Nikolai Rostov also sees only her radiant, shining eyes, which by the end of the novel are filled with a radiance of happiness.

Of course, every girl should have a thirst for life, love and happiness, like Natasha Rostova. But every girl must also have Princess Marya, with her self-doubt, with her secret conviction that love will come to anyone but her, with a deeply hidden dream of happiness. Without this, she will turn into Helen Bezukhova.

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Be bad, but if you get enough

Two thousand ancestral souls,

He's the groom.

She speaks with deep sorrow about her marriage. Pushkin heroine- Tatyana Larina:

me with tears of spells

Mother prayed for poor Tanya

All the lots were equal...

The same sad thoughts are expressed by Baroness Shtral, the heroine of Lermontov’s drama “Masquerade”:

What woman? Her from her youth

Selling to benefits as a sacrifice is removed.

As we see, the analogy is complete, with the only difference being that the heroines of the quoted works act as victims of vile high-society morality, while in Tolstoy, the principles of Prince Vasily are fully professed by his daughter Helen.

Tolstoy shows that the behavior of Prince Vasily’s daughter is not a deviation from the norm, but the norm of life of the society to which she belongs. In fact, is Julie Karagina, who, thanks to her wealth, has a sufficient choice of suitors, behave differently? or Anna Mikhailovna Drubetskaya, placing her son in the guard? Even before the bed of the dying Count Bezukhov, Pierre's father, Anna Mikhailovna experiences not a feeling of compassion, but fear that Boris will be left without an inheritance.

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

Excessive emancipation leads a woman, according to Tolstoy, to an incorrect understanding of her own role. In the salon of Helen and Anna Pavlovna Scherer there are political disputes, judgments about Napoleon, about the situation of the Russian army. A feeling of false patriotism forces them to speak exclusively Russian during the period of the French invasion. High-society beauties have largely lost the main features that are inherent in a real woman.

Helen Bezukhova is not a woman, she is a superbe animal. No novelist has ever encountered this type of libertine. big world who loves nothing in life except her body, lets her brother kiss her shoulders, but does not give money, calmly chooses her lovers, like dishes on a card, and is not such a fool as to want to have children; who knows how to maintain the respect of the world and even acquire the reputation of an intelligent woman thanks to her appearance of cold dignity and social tact. This type can only be developed in the circle where Helen lived; this adoration of one's own body can only develop where idleness and luxury give full play to all sensual impulses; this shameless calm is where high position, ensuring impunity, teaches one to neglect the respect of society, where wealth and connections provide every means to hide intrigue and shut up talkative mouths.

Another negative character in the novel is Julie Kuragina. One of the acts in the general chain of selfish aspirations and actions of Boris Drubetsky was his marriage to the middle-aged and ugly, but rich Julie Karagina. Boris did not love her and could not love her, but the Penza and Nizhny Novgorod estates did not give him peace. Despite his disgust with Julie, Boris proposed to her. Julie not only accepted the proposal, but, admiring the handsome young groom, forced him to say everything that is said in such cases, although she was convinced of the complete insincerity of his words. Tolstoy notes that “she could demand this for the Penza estates and Nizhny Novgorod forests, and she received what she demanded” Tolstoy L.N. Full collection cit.: [ anniversary edition 1828 - 1928]: In 90 volumes. Series 1: Works. T. 10: War and Peace. - M.: Goslitizdat, 1953. - P. 314. .

The reasoning on this issue by M.A. is interesting. Volkova in a letter to her friend, V.I. Lanskoy: “Before you said that wealth is the last thing in marriage; If you meet a worthy person and love him, then you can be content with small means and be a thousand times happier than those living in luxury. That's what you thought three years ago. How your views have changed since you lived among luxury and vanity! Is it really impossible to live without wealth? Are all those who have fifteen thousand a year really unhappy?” Vestnik Evropy. - 1874. - No. 9. - P. 150. .

And in another place: “I know young people who have more than 15 thousand a year, who did not dare to marry girls who are also not without a fortune, but, in their opinion, are not rich enough for them; that is, they believe that it is impossible to live with a family without having an income of eighty to one hundred thousand.” Vestnik Evropy. - 1874. - No. 9. - P. 156. .

It was considered necessary to have a luxurious house with beautiful and expensive furnishings, approximately the same as D. Blagovo describes in his notes: “Until 1812, the house was decorated with very well-stuccoed figures, as was then the case; the interior of the house is count-like: piece floors, gilded furniture; marble tables, crystal chandeliers, damask trellises, in a word, everything was in proper order...” Stories of a grandmother, from the memories of five generations, recorded and collected by her grandson D. Blagovo. - St. Petersburg, 1885. - P. 283. .

The house was furnished properly, otherwise the reputation of your family could quickly be damaged. But it was not only about the luxurious surroundings, expensive dinners or outfits. All this, perhaps, could not have caused such colossal expenses. It was also about wasting his life, playing cards, as a result of which entire fortunes were lost overnight. Tolstoy is not exaggerating at all, putting sad words into the mouth of Prince Vasily about his riotous son Anatole: “No, you know that this Anatole costs me 40,000 a year...” Tolstoy L.N. Full collection cit.: [anniversary edition 1828 - 1928]: In 90 volumes. Series 1: Works. T. 9: War and Peace. - M.: Goslitizdat, 1953. - P. 8. .

Mlle Bourienne is shown in the same unfavorable light.

Tolstoy creates two significant episodes: Prince Andrei and m-lle Bourienne and Anatole and m-lle Bourienne.

Princess Marya's companion mlle Bourienne, not without intent, tries to catch the eye of Prince Andrei three times during the day in secluded places. But, seeing the stern face of the young prince, without saying a word, he quickly leaves. The same Mlle Bourienne “conquers” Anatole in a few hours, finding herself in his arms at the first solitary meeting. This unseemly act of Princess Marya's fiancé is not at all an accidental or rash step. Anatole, seeing an ugly but rich bride and a pretty young Frenchwoman, “decided that here, in Bald Mountains, it would not be boring. “Very pretty! - he thought, looking at her, - this demoiselle de compagnie (companion) is very pretty. I hope that she will take her with her when she marries me,” he thought, “la petite est gentille (the little one is sweet)” L.N. Tolstoy. Full collection cit.: [anniversary edition 1828 - 1928]: In 90 volumes. Series 1: Works. T. 9: War and Peace. - M.: Goslitizdat, 1953. - P. 270 - 271. .

Thus, we see that Tolstoy does not try to create ideals, but takes life as it is. We see that these are living women, that this is exactly how they should have felt, thought, acted, and any other depiction of them would be false. In fact, in the work there are no consciously heroic female characters like Turgenev’s Marianna from the novel “New” or Elena Stakhova from “On the Eve”. Need I say that Tolstoy’s favorite heroines are devoid of romantic elation? Women's spirituality lies not in intellectual life, not in the passion of Anna Pavlovna Scherer, Helen Kuragina, Julie Karagina for political and other men's issues, but exclusively in the ability to love, in devotion to the family hearth. Daughter, sister, wife, mother - these are the main positions in life in which the character of Tolstoy’s favorite heroines is revealed.

In general, Tolstoy painted a historically correct picture of the position of a noblewoman in the living conditions of both high society society and the estate nobility. But having condemned the former according to their merits, he turned out to be unfair in his attempts to surround the latter with an aura of the highest virtue. Tolstoy was deeply convinced that a woman, devoting herself entirely to her family and raising children, performs work of enormous social importance. And in this he is certainly right. We cannot agree with the writer only in the sense that all a woman’s interests should be limited to the family.

The solution to the women's issue in the novel caused sharp critical judgments among Tolstoy's contemporaries, S.I. Sychevsky wrote: “Now from all of the above we will try to determine the attitude of the author, as a person with a remarkable mind and talent, to the so-called women's issue. None of his women are completely independent figures with the exception of the depraved Helen. All others are only suitable to complement a man. None of them interfere with civic activities. The brightest of all the women in the novel “War and Peace” - Natasha - is happy with the joys of family and personal life... In a word, Mr. Tolstoy solves the women's issue in the most so-called backward, routine sense” Kandiev B.I. Epic novel by L.N. Tolstoy's "War and Peace": Commentary. - M.: Education, 1967. - P. 334. .

But Tolstoy remained true to his point of view on the women's issue until the end of his life.

Conclusion

Thus, as a result of the work done, the following conclusions can be drawn.

In Tolstoy's work, the world of heroes appears before us in all its versatility. Here is a place for the most diverse, sometimes opposing characters. The female images of the novel only confirm this. Together with his heroines, the writer discovers the meaning and truth of life, looking for the path to happiness and love. Tolstoy, a subtle psychologist with a rare gift of penetrating into the most intimate depths of human experiences, was able to create different psychological individualities with amazing power. Tolstoy's individualization of heroes at the same time carries a broad typification. Tolstoy perfectly grasped the pattern of life that reveals the diverse world of human thoughts and aspirations. There is an undoubted connection between a person’s moral character in everyday life, his attitude towards family, towards friends, and how he manifests himself on the battlefield. People who are unscrupulous in everyday life are bad citizens of the state, unreliable defenders of the homeland.

Women's theme occupies important place in the epic novel by L.N. Tolstoy “War and Peace”. This work is the writer's polemical response to supporters of women's emancipation. Female images are not a background for male images, but an independent system with its own laws. Tolstoy's favorite heroines live with their hearts, not their minds.

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

Love is the essence of Natasha Rostova's life. Young Natasha loves everyone: the uncomplaining Sonya, and the countess mother, and her father, and Nikolai, and Petya, and Boris Drubetsky. The rapprochement and then separation from Prince Andrei, who proposed to her, makes Natasha suffer internally. An excess of life and inexperience are the source of mistakes and rash actions of the heroine (the story with Anatoly Kuragin).

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

After marriage, Natasha refuses social life, from “all his charms” and completely devotes himself to family life. Mutual understanding between spouses is based on the ability “to understand and communicate each other’s thoughts with extraordinary clarity and speed in a way that is contrary to all the rules of logic.” This is the ideal of family happiness. This is Tolstoy’s ideal of “peace.”

Tolstoy’s thoughts about the true purpose of a woman, it seems, are not outdated today. Of course, a significant role in today's life is played by women who have devoted themselves to political or social activities. But still, many of our contemporaries choose what Tolstoy’s favorite heroines chose for themselves. And is it really so little to love and be loved?

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51. Roman L.N. Tolstoy's "War and Peace" in Russian criticism: Sat. Art. / Comp. I.N. Dry. - L.: Publishing house Leningr. University, 1989. - 408 p.

52. Saburov A.A. "War and Peace" L.N. Tolstoy. Problematics and poetics. - M.: Publishing house Mosk. University, 1959. - 599 p.

53. Sverbeev D.N. Notes. T. 1. 1799 - 1826. - M., 1899. - 363 p.

54. Skaftymov A.P. Moral quests of Russian writers: Articles and studies about Russian classics / Compiled by E. Pokusaev. - M.: Artist. Lit-ra, 1972. - 541 p.

55. Skaftymov A.P. Articles about Russian literature. - Saratov: Book. publishing house, 1958. - 389 p.

56. Tolstoy and about Tolstoy: Sat. 3 / Ed. N.N. Guseva, V.G. Chertkova. - M., 1927. - 219 p.

57. Troyat A. Leo Tolstoy: Trans. from fr. - M.: Eksmo, 2005. - 893 p.

58. Fogelson I.A. Literature teaches. Grade 10. - M.: Education, 1990. - 249 p.

59. Khalizev V.E., Kormilov S.I. Roman L.N. Tolstoy “War and Peace”: Textbook. village - M.: Higher. school, 1983. - 112 p.

60. Khrapchenko M.B. Leo Tolstoy as an artist. - M.: Sov. writer, 1963. - 659 p.

61. Chernyshevsky N.G. About L.N. Tolstoy. - M.: State publishing house of art. Literary, 1959. - 29 p.

62. Chicherin A.V. The emergence of the epic novel. - M.: Sov. writer, 1958. - 370 p.

63. Shklovsky V.B. Notes on the prose of Russian classics. - M.: Soviet writer, 1955. - 386 p.

64. Shklovsky V.B. Fiction. Reflections and analysis. - M.: Sov. writer, 1959. - 627 p.

65. Eikhenbaum B. Leo Tolstoy. Book 2: 60s. - M.-L.: GIHL, 1931. - 452 p.

66. Eikhenbaum B.M. Lev Tolstoy. Seventies. - L.: Sov. writer, 1960. - 294 p.

Application

Lesson plans for 10th grade on the creativity of L.N. Tolstoy

Lesson 1. “What an artist and what a psychologist!” A word about the writer.

"This is a revelation for us young people, a whole new world", Guy de Maupassant said about Tolstoy. The life of L.N. Tolstoy is a whole era, almost the entire 19th century, which fit into both his life and his works.

Lesson on life and creative path writer, can be carried out in two ways.

The first option is to draw up a detailed plan.

1. The secret of human happiness, the secret of the green stick is the main goal of L.N.’s life. Tolstoy.

2. Period of losses. Early death of parents. The role of Yasnaya Polyana in the boy’s life. Thoughts about life, a passionate dream of achievement. First love. On the path to creativity.

3. Admission to Kazan University. Finding yourself: the Arab-Turkish department and the dream of diplomacy, law school, leaving the university. The desire to comprehend and understand the world is a passion for philosophy, studying the views of Rousseau. Own philosophical experiments.

4. Yasnaya Polyana. From one extreme to another. A painful search for the meaning of life. Progressive transformations. Testing the pen - the first literary sketches.

5. Where it is dangerous and difficult. Testing yourself. 1851 - trip to the Caucasus to fight the highlanders. War is an understanding of the path of human formation.

6. Autobiographical trilogy: “Childhood” - 1852, “Adolescence” - 1854, “Youth” - 1857. The main question is what one should be? What to strive for? The process of mental and moral development of a person.

7. Sevastopol epic. Transfer to the Danube Army, to the fighting Sevastopol (1854) after an unsuccessful resignation. Anger and pain for the dead, the curse of war, cruel realism in Sevastopol Stories.

8. Ideological quests of the 50s - 60s:

· The main evil is the pitiful, plight of the men. "Morning of the Landowner" (1856).

· The feeling of an impending peasant revolution.

· Denunciation of the ruling circles and preaching of universal love.

· Worldview crisis of the writer.

· An attempt to find answers to disturbing questions while traveling abroad. "Lucerne".

· The thought of raising a new person. Pedagogical and educational activities. Opening of schools, creation of "ABC" and books for children.

· Attitude towards reform. Active participation in public life, activity as a peace mediator. Disappointment.

· Changes in personal life. Marriage to Sofya Andreevna Bers.

1. The concept and creation of the novel "War and Peace" (1863 - 1869). A new genre is the epic novel. "People's Thought" in the novel.

2. “Family Thought” in the novel “Anna Karenina” (1877). Personal happiness and people's happiness. Family life and Russian life.

3. Spiritual crisis of the 70s - 80s. Waiting for a revolution and not believing in it. Renunciation of the life of the noble circle. "Confession" (1879 - 1882). The main thing is to protect the interests of the peasantry.

4. Intense thoughts about the renewal of the reborn soul, about the movement from moral decline to spiritual rebirth. Protest against the lawlessness and lies of society - the novel "Resurrection" (1889 - 1899).

5. Cry from the soul - article “I Can’t Be Silent” (1908). Defending the people with words.

6. Persecution by government and church. Widely popular.

7. The result of the tragedy is the departure from Yasnaya Polyana. Death at Astapovo station.

The second option is to create a table. (The principle given in the book by I.A. Fogelson “Literature Teaches” is used. Fogelson I.A. Literature teaches. Grade 10. - M.: Education, 1990. - P. 60 - 62.).

We can finish the conversation about Tolstoy’s life and work with the thought that Count L.N. Tolstoy was close to the people, and the people remember this:

To Tolstoy, in Yasnaya Polyana! -

I should tell the coachman:

I'll just look, I'll just look

What a genius looks like up close.

Here he sits, frowning,

At that famous table,

Where the heroes came to life in the word,

Those who saved Russia in the past.

How he cleverly mows down men

In a white shirt in front,

And the famous sweatshirt

Hanging on a nail, I guess.

Forgetting that he is a count,

He goes with everyone to the spring.

And what world glory is there,

When he is close to a man.

And believing in worldly happiness,

To the displeasure of the authorities,

In his Yasnaya Polyana school

He teaches peasant children.

I should tell the coachman

It's too late:

Tolstoy has been gone for a long time.

But, as if identified by people he met,

He's about to return to the office.

And like rivers to the ocean,

The roads go here.

To Tolstoy, in Yasnaya Polyana

People all over the world are striving.

Lesson 2. “As an epic writer, Tolstoy is our common teacher.” The history of the creation of the novel "War and Peace". Features of the genre.

“In everything I want to get to the very essence.” With these words B.L. Pasternak, you can start the first lesson about “War and Peace,” because L.N. wanted to get to the very essence. Tolstoy, conceiving his grandiose epic. Tolstoy the writer was always characterized by an ambivalent attitude towards life. In his work, life is given in unity, uniting the writer’s interest in both the “history of the human soul” and the “history of an entire people.”

Therefore, when in the mid-50s. The surviving Decembrists began to return from Siberia, the writer saw in this both a historical event and the state of a person who experienced this incredible event.

The formation of the plan was determined by himself

1856 - the beginning of the plan.

"In 1856 I began to write a story with well-known direction and a hero who should be a Decembrist returning with his family to Russia."

1825 - Decembrist uprising.

“Involuntarily I moved from the present to 1825, the era of my hero’s delusions and misfortunes.”

1812 - war.

“To understand him, I needed to be transported to his youth, and his youth coincided with the glorious era of 1812 for Russia.”

1805 - 1807 - foreign campaigns of the Russian army.

“I was ashamed to write about our triumph in the fight against Bonaparte’s France without describing our failures and our shame.”

The novel reflects the problems of both the beginning of the century and its middle. Therefore, the novel seems to have two levels: past and present.

Problems of the beginning of the century:

1. “Most of all in the novel I loved the folk thought.” The main problem is the fate of the people, the people are the basis of the moral foundations of society.

2. "Who is the true hero?" - the social role of the nobility, its influence on the life of society and the country.

3. True and false patriotism.

4. The purpose of a woman is to preserve the family hearth.

Mid-century problems:

1. The fate of the people, the question of the abolition of serfdom - reforms of the 60s.

2. The gradual withdrawal of the nobility from the “arena” of struggle, the insolvency of the nobility, the beginning of the common movement.

3. The question of patriotism associated with the defeat in the Crimean War.

4. The question of women's liberation, of her education, of women's emancipation.

The novel has 4 volumes and an epilogue:

Volume I - 1805.

Volume II - 1806 - 1811.

Volume III - 1812.

Volume IV - 1812 - 1813.

Epilogue - 1820.

Working with the class to identify the specifics of the epic novel genre:

1. Explanation of the concept of "epic novel". The epic novel is the largest and most monumental form of epic literature. The main feature of the epic is that it embodies the destinies of peoples, historical process. The epic is characterized by a broad, multifaceted, even comprehensive picture of the world, including historical events, the appearance of everyday life, a polyphonic human choir, deep thoughts about the fate of the world, and intimate experiences. Hence the large volume of the novel, often several volumes. (According to the "Dictionary of Literary Terms" edited by L.I. Timofeev).

2. Identification of the features of the epic in the novel "War and Peace".

· Pictures of Russian history (the Battle of Shengraben and Austerlitz, the Peace of Tilsit, the War of 1812, the fire of Moscow, the partisan movement).

· Events of social and political life (Freemasonry, legislative activity of Speransky, the first organizations of the Decembrists).

· Relations between landowners and peasants (transformations of Pierre, Andrey; revolt of Bogucharovsky peasants, indignation of Moscow artisans).

· Showing various segments of the population (local, Moscow, St. Petersburg nobility; officials; army; peasants).

· A wide panorama of everyday scenes of noble life (balls, high society receptions, dinners, hunting, visiting the theater, etc.).

· A huge number of human characters.

· Long duration (15 years).

· Wide coverage of space (St. Petersburg, Moscow, Bald Mountains and Otradnoye estates, Austria, Smolensk, Borodino).

Thus, Tolstoy’s plan required the creation of a new genre, and only the epic novel could embody all the author’s conditions.

John Galsworthy wrote about War and Peace: “If it were necessary to name a novel that fits the definition, so dear to my heart compilers of literary questionnaires: “the greatest novel in the world,” I would choose “War and Peace.”

· How does the novel begin?

· What is unique about this beginning?

· What is the intonation of the first chapters? Is it justified?

· How does the world of the novel change from one scene to the next?

Conclusion. The main artistic techniques used by Tolstoy to create a panorama of Russian life are:

1. Technique of comparison and contrast.

2. "Tearing off all and every mask."

3. Psychologism of the narrative - internal monologue.

Lessons 3 - 5. "To live honestly...". The life quests of the heroes of the novel "War and Peace" by Andrei Bolkonsky and Pierre Bezukhov

At the beginning of the lesson, an excerpt from a letter from L.N. Tolstoy, explaining his life position:

“To live honestly, you have to struggle, get confused, fight, make mistakes, start and give up, and start again, and give up again, and always struggle and lose. And calmness is spiritual meanness.” (From a letter from L.N. Tolstoy dated October 18, 1857).

Work in the lesson can be carried out in 4 groups:

Group 1 - “biographers” of Prince Andrei, they build life path hero.

Group 2 - “observers”, they determine the author’s techniques used to develop the image of Andrei Bolkonsky.

Group 3 - “biographers” of Pierre Bezukhov, they build the hero’s life path.

Group 4 - “observers”, they determine the author’s techniques used to create and develop the image of Pierre.

While working with the class, you can write down the main points in solving the problem of the lesson in the form of a table.

General lessons learned. The path of Tolstoy's favorite heroes is the path to the people. Only when they are on the Borodino field do they understand the essence of life - to be close to the people, because “there is no greatness where there is no simplicity, goodness and truth.”

Lesson 6. "What is beauty?" Female images in the novel "War and Peace"

The 20th century poet Nikolai Zabolotsky said about this problem this way:

What is beauty

and why do people deify her?

She is a vessel in which there is emptiness,

Or a fire flickering in a vessel.

Peculiarities of L.N.’s manner Tolstoy in his depiction of the inner world of N.G.’s heroes. Chernyshevsky called it “dialectics of the soul,” meaning development based on internal contradictions. The female nature in the writer’s portrayal is contradictory and fickle, but he appreciates and loves it:

· keeper of the hearth, the basis of the family;

· moral high principles: kindness, simplicity, selflessness, sincerity, connection with the people, understanding of the problems of society (patriotism);

· naturalness;

· movement of the soul.

From these positions he approaches his heroines, treating them ambiguously.

What can be said about the heroines of the novel based on the author’s attitude towards them?

Vocabulary work: Distribute these words, correlating them with different groups of heroines - these will be their main features.

Vanity, arrogance, love, mercy, hypocrisy, hatred, responsibility, conscience, selflessness, patriotism, generosity, careerism, dignity, modesty, posturing.

You should focus on one image, examining it in detail, and give the rest in comparison with it.

For example, Natasha Rostova. "The essence of her life is love."

1. Meeting Natasha during name day (vol. 1. part 1. chapters 8, 9, 10, 16).

· Compare the portrait of Natasha, Sonya and Vera. Why does the author emphasize in one “ugly, but lively”, in another - “thin, miniature brunette”, in the third - “cold and calm”.

· What does comparison with a cat give for understanding the image of Sonya? “The kitty, glaring at him with her eyes, seemed every second ready to play and express all her cat nature.”

In the story “Childhood” Tolstoy wrote: “In one smile lies what is called the beauty of the face: if a smile adds beauty to the face, then the face is beautiful; if it does not change it, then it is ordinary; if it spoils it, then it is bad.”

· Watch how the heroines smile:

Natasha: “laughed at something,” “everything seemed funny to her,” “laughed so loudly and loudly that everyone, even the prim guest, laughed against their will,” “through tears of laughter,” “burst into her ringing laughter.”

Sonya: “Her smile could not deceive anyone for a moment,” “a feigned smile.”

Julie: "entered into a separate conversation with smiling Julie."

Faith: “But a smile did not grace Vera’s face, as is usually the case; on the contrary, her face became unnatural and therefore unpleasant.”

Helen : “what was in the general smile that always adorned her face” (vol. 1. part 3, chapter 2).

· Compare the explanations of Sonya and Nikolai, Natasha and Boris.

· How do Sonya and Natasha's faces change when they cry?

· Compare the behavior of A.M. Drubetskaya at an evening with A.P. Scherer, on the name day of the Rostovs and during the death of Count Bezukhov (vol. 1. part 1. chapter 18, 19, 20, 21, 22).

· Compare Natasha Rostova and Princess Marya. What do they have in common? (vol. 1. part 1. chapter 22, 23). Why does the author draw them with love?

· Why does the author bring Sonya and Lisa Bolkonskaya together based on one trait: Sonya is a cat, Lisa is a “brutal, squirrel expression”?

· Remember the evening at A.P. Scherer. How do the heroines behave there?

1. Natasha’s behavior during Nikolai’s return (vol. 2. part 1. chapter 1).

· Compare the behavior of Sonya, Natasha and Vera.

· How does the phrase “Natasha became in love from the very minute she entered the ball” reveal Natasha’s state? (vol. 2. part 1. chapter 12)?

· Observing the verbs in the scene “Evening at Yogel’s”, tell us about Natasha’s condition (vol. 2. part 1. chapter 15).

1. Natasha in Otradnoye. Moonlight Night (vol. 2. part 3. chapter 2).

· Compare the behavior of Sonya and Natasha.

· What did Prince Andrei feel in Natasha?

1. Natasha’s first ball (vol. 2. part 3. ch. 15 - 17).

· What attracted Prince Andrey to Natasha?

· What was he able to see and feel in her?

· Why did Andrei connect his hopes for the future with her?

1. Natasha at her uncle's (vol. 2. part 4. chapter 7).

· The true beauty of the soul and the spirit of the people in Uncle’s song and Natasha’s dance. How does this episode reveal Natasha's character?

1. The episode with Anatole and the breakup with Andrey.

· Compare Natasha’s behavior in the theater with Helen’s behavior at A.P.’s evening. Scherer. (vol. 2. part 4. chapter 12 - 13).

· How does Natasha change under the influence of Helen?

1. Natasha in a period of spiritual crisis (vol. 3. part 1. chapter 17).

· What does the fact that Natasha lost her cheerfulness mean?

· What helps her come back to life? ( Prayer).

1. Condition during the War of 1812.

· What qualities of Natasha are revealed in the scene of handing over the cart to the wounded? (vol. 3. part 4. chapter 16).

· Why does Tolstoy connect Natasha and the wounded Andrei? (Vol. 4. Part 4. Ch. 31 - 32).

· What spiritual power is contained in Natasha, who helps her mother after Petya’s death? (vol. 4. part 4. chapter 2).

1. Family happiness. (Epilogue part 1. chapters 10 - 12). How did Tolstoy’s idea of ​​a woman’s place in society come to fruition in the image of Natasha?

Conclusion. Natasha, like other beloved heroes, goes through a difficult path of quest: from a joyful, enthusiastic perception of life, through the apparent happiness of her engagement to Andrei, through the mistakes of life - betrayal of Andrei with Anatoly, through spiritual crisis and disappointment in oneself, through revival under the influence of the need to help loved ones (mother), through high love to the wounded Prince Andrei - to comprehend the meaning of life in a family in the role of wife and mother.

A lesson on this topic may include numerous written works:

1. Observations on the dynamics of Natasha’s portrait.

2. Search for the most characteristic details in the portraits of different heroines.

3. Comparison of heroines (Natasha Rostova - Princess Marya - Helen - Sonya).

4. External and internal features:

· beautiful or ugly?

· state of mind, ability to experience, loyalty, responsiveness, love, naturalness.

Lesson 7. “Mind of the mind” and “mind of the heart.” The Rostov family and the Bolkonsky family

Tolstoy portrays the Rostov and Bolkonsky families with great sympathy because:

· they are participants in historical events, patriots;

· they are not attracted to careerism and profit;

· they are close to the Russian people.

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Description of the images of Prince Andrei Bolkonsky (a mysterious, unpredictable, gambling socialite) and Count Pierre Bezukhov (a fat, clumsy reveler and an ugly person) in Leo Tolstoy’s novel “War and Peace”. Highlighting the theme of the homeland in the works of A. Blok.

Target: reveal the depth and originality of the characters’ inner lives.

Tasks:

• educational - synthesis and deepening of knowledge about the images of the characters in the novel;
• developmental – develop thinking skills;
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Types of work with students:

• group
• collective
• individual.

Lesson equipment: screen, computer, projector, presentations, film fragments, novel texts, portrait of a writer.

During the classes

The essence of her life is love...
L.N. Tolstoy.

I.Organizational moment

(checking readiness for the lesson).

II. Teacher's word.

Every person is a diamond who can purify or not purify himself. To the extent that it is purified, it shines through eternal light. Therefore, a person’s job is not to try to shine, but to try to purify himself...

L. N. Tolstoy.

We can correlate these words with the heroes of the novel “War and Peace”, with the best of them. The purity of their moral character is manifested in everything: in family life and in everyday life.

Let's remember the topic of the previous lesson: “Life landed nobility" Currently at the implementation stage homework we will listen to the band perform. And you guys, write down the most character traits Rostov family.

III. Implementation of homework.

Conversation (speech in groups).

A) Tell us what aspects of the Rostovs’ life Tolstoy portrays in Part IV, Vol. II? What is the main thing Tolstoy emphasizes in the life of the landed nobility?

What does this great word “love” mean?

To do this, look carefully at the screen.

“Love” is a feeling of selfless, heartfelt affection.

We find this interpretation in the “Dictionary of the Russian Language” by S.I. Ozhegova.

“Love” is the state of a lover, passion, affection.

And we see this in “ Explanatory dictionary" IN AND. Dalia.

Let's follow the development of a great feeling among our heroes.

Students list scenes of hunting, Christmas entertainment, a trip to their uncle, scenes of his singing and Natasha dancing, and the Rostovs’ home lifestyle. Their family still has cordiality, cordiality, sensitivity, naturalness, hospitality, and purity of moral character. In all scenes, Tolstoy emphasizes the closeness of the local nobility to nature and to the common people. This is what allows Tolstoy to see positive heroes in Rostov.

The hunting scene reflects the theme of “man and nature”; the author interestingly shows the similarities in the behavior of people and animals (“the hunter Danila gallops towards the notch just like Karai (the dog) - across the beast, choosing the only right direction).

The scenes in the uncle's house are important for understanding the characters. Their uncle’s singing and Natasha’s dancing reveal their closeness to the people, their understanding of the Russian spirit and character (but not as an understanding of the needs of the people) - “Where, how, when did this countess suck into herself from that Russian air that she breathed. .-... and in the aunt, and in the mother, in every Russian person.” “Uncle sang the way the people sing...” Tolstoy solves the problem: is mutual understanding possible between different layers of society (“peace”, “harmony” between them) - and answers that it is possible. “How nice he is, uncle!” - Nikolai Rostov says about him. Tolstoy repeats the words more than once: harmony, charm, happiness, good, excellent. That’s why Natasha is happy because she felt her closeness with the people. “You know,” she suddenly said, “I know that I will never be as happy, as calm as I am now.”

B) Another topic, the resolution of which is included in Volume II, is the depiction of the heroes’ love.

Not only the main characters: Andrei, Pierre, Natasha - experience a feeling of love at this time, but also minor characters: Dolokhov, Denisov, Nikolai Rostov, Sonya, Berg, B. Drubetskoy and others. Without love there is no life.

- Does Helen have a “heart” (in Tolstoy’s understanding)?

Helen Kuragina has never loved anyone, her heart is dead. She doesn’t just get carried away and make mistakes, moving from admirer to admirer, but this is her conscious line of behavior. That is why depravity and evil appear, because she has no shame, but only base instincts. In the novel, Napoleon says about her: “This is a beautiful animal.” The baseness of her behavior with Pierre, her connection with Dolokhov and B. Drubetsky, her ugly role in the story with Natasha and Anatole, her attempt to marry two husbands at once while Pierre was alive - everything creates the image of a depraved and calculating social beauty. “Where you are, there is depravity, evil,” Pierre said about her, and this exhausts her description. Remember the words Pierre said to Anatole: “Oh, vile, heartless breed!”

- Berg and Vera Rostova. Does Berg love Vera?

It’s not a matter of material calculation (Berg could have found a bride even richer) and not only a desire to become related to the counts. Berg loves Vera in his own way, because he finds in her kindred spirit. “And I love her... - which completely personified his dreams of happiness.” The love of these heroes does not elevate them, it also does not come from the heart, because Berg does not have a heart, or he has it as neat and dry as he himself.

- Tell us what guided B. Drubetsky’s relationship with Julie Kuragina.

Related to this turn of the theme of love in the novel is the story of B. Drubetsky’s marriage, using the example of which the author once again emphasizes the falseness and self-interest in the relationships of people of the world. Tolstoy shows what guides people of high society when entering into marriages (Nizhny Novgorod forests, Penza estates, not love).

- What is the charm of the pages dedicated to the beginning of the love of Natasha Rostova and Prince Andrei?

The charm of this love is created by its moral purity. Prince Andrei was attracted to Natasha by her poetry, her fullness of life, purity, and spontaneity. The desire for happiness inherent in her awakens the strength of other people. Her singing gives Prince Andrei pleasure; he is amazed by Natasha’s sensitivity, ability to guess someone else’s mood, and understand everything perfectly. And Natasha fell in love with Prince Andrei, felt him inner strength, nobility. The words of Prince Andrei: “The whole world is divided for me into two halves: one is she, and there is all the happiness, hope, light; the other half is everything where she is not there, everything is dull and dark there...” and Natasha’s: “... but this has never happened to me” - they convince of the strength and seriousness of their feelings.

- How does Tolstoy describe the emergence and development of this love?

Ball scene. We feel Natasha’s subtlest emotions. When Prince Andrei invited Natasha, her smile seemed to tell him: “I’ve been waiting for you for a long time.”

The arrival of Prince Andrei to the Rostovs’ house after the ball is full of poetry, the way he listens to Natasha singing and answers the question of whether he likes her singing. “It never even occurred to him that he was in love with Rostova,” but “his whole life seemed to him in a new light.”

The carefully tender expression on Prince Andrei’s face and the bright light of Natasha’s inner fire at the Bergs’ evening are a new step in this love. Their explanation, conversations, Prince Andrei’s departure - all this is remembered. The author follows all the shades of thoughts and feelings of his characters.

- Natasha's betrayal. How do you explain and evaluate this act?

The power of Natasha’s own repentance is great, the moral consequences of her betrayal for her and others are grave, the grief she caused to Prince Andrei is great, but Natasha’s passion for Anatole does not come from the depravity of her nature, but from her youth, overcrowding with life and inexperience. For her, this is not a habitual line of behavior, as for Helen, but a mistake that she will soon understand, but will not soon forgive herself.

- What place does love occupy in the characters’ lives?

The female theme occupies an important place in L. N. Tolstoy’s epic novel “War and Peace.” This work is the writer's polemical response to supporters of women's emancipation. At one of the poles artistic research there are numerous types of high society beauties, hostesses of magnificent salons in St. Petersburg and Moscow - Helen Kuragina, Julie Karagina, Anna Pavlovna Scherer; Cold and apathetic Vera Berg dreams of her own salon... Secular society immersed in eternal vanity. In the portrait of the beautiful Helen Tolstoy sees the whiteness of her shoulders, the shine of her hair and diamonds, her very open chest and back, and her frozen smile. Such details allow the artist to emphasize the inner emptiness and insignificance of the high society lioness.

The place of genuine human feelings in luxurious living rooms is taken by monetary calculation. The marriage of Helen, who chose the rich Pierre as her husband, is a clear confirmation of this. Tolstoy shows that the behavior of Prince Vasily’s daughter is not a deviation from the norm, but the norm of life of the society to which she belongs.

In fact, is Julie Karagina, who, thanks to her wealth, has a sufficient choice of suitors, behave differently? or Anna Mikhailovna Drubetskaya, placing her son in the guard? Even before the bed of the dying Count Bezukhov, Pierre's father, Anna Mikhailovna experiences not a feeling of compassion, but fear that Boris will be left without an inheritance. Tolstoy also shows high-society beauties in family life.

Family and children do not play a significant role in their lives. Helene finds Pierre’s words funny that spouses can and should be bound by feelings of heartfelt affection and love. Countess Bezukhova thinks with disgust about the possibility of having children. With amazing ease she leaves her husband.

Helen is a concentrated manifestation of complete lack of spirituality, emptiness, and vanity. Excessive emancipation leads a woman, according to Tolstoy, to an incorrect understanding of her own role. In the salon of Helen and Anna Pavlovna Scherer there are political disputes, judgments about Napoleon, about the situation of the Russian army... A feeling of false patriotism forces them to speak exclusively in Russian during the period of the French invasion.

High-society beauties have largely lost the main features that are inherent in a real woman. On the contrary, in the images of Sonya, Princess Marya, and Natasha Rostova, those traits that constitute the type of woman in the true sense are grouped. At the same time, Tolstoy does not try to create ideals, but takes life as it is.

In fact, in the work there are no consciously heroic female characters like Turgenev’s Marianna from the novel “Nov” or Elena Stakhova from “On the Eve”. Need I say that Tolstoy’s favorite heroines are devoid of romantic elation? Women's spirituality lies not in intellectual life, not in the passion of Anna Pavlovna Scherer, Helen Kuragina, Julie Karagina for political and other men's issues, but exclusively in the ability to love, in devotion to the family hearth. Daughter, sister, wife, mother - these are the main positions in life in which the character of Tolstoy’s favorite heroines is revealed. This conclusion may be questionable upon a superficial reading of the novel. Indeed, the actions of Princess Marya and Natasha Rostova during the period of the French invasion are patriotic, and Marya Bolkonskaya’s reluctance to take advantage of the patronage of the French general and the inability for Natasha to stay in Moscow under the French are also patriotic. However, the connection between female images and the image of war in the novel is more complex; it is not limited to the patriotism of the best Russian women.

Tolstoy shows what was needed historical movement millions of people so that the heroes of the novel (Marya Bolkonskaya and Natasha Rostova and Pierre Bezukhov) could find a way to each other. Tolstoy's favorite heroines live with their hearts, not their minds. All of Sonya's best, cherished memories are associated with Nikolai Rostov: common childhood games and pranks, Christmastide with fortune telling and mummers, Nikolai's love impulse, the first kiss... Sonya remains faithful to her beloved, rejecting Dolokhov's proposal.

She loves uncomplainingly, but is unable to give up her love. And after Nikolai’s marriage, Sonya, of course, continues to love him. Marya Bolkonskaya, with her evangelical humility, is especially close to Tolstoy. And yet, it is her image that personifies the triumph of natural human needs over asceticism.

The princess secretly dreams of marriage, of her own family, of children. Her love for Nikolai Rostov is a high, spiritual feeling.

In the epilogue of the novel, Tolstoy paints pictures of the Rostov family happiness, emphasizing that it was in the family that Princess Marya found the true meaning of life. constitutes the essence of Natasha Rostova’s life. Young Natasha loves everyone: the uncomplaining Sonya, and the countess mother, and her father, and Nikolai, and Petya, and Boris Drubetsky. The rapprochement and then separation from Prince Andrei, who proposed to her, makes Natasha suffer internally.

An excess of life and inexperience are the source of mistakes and rash actions of the heroine (the story with Anatoly Kuragin). Love for Prince Andrei awakens with renewed vigor in Natasha. She leaves Moscow with a convoy, which includes the wounded Bolkonsky. Natasha is again overcome by an exorbitant feeling of love and compassion. She is selfless to the end. The death of Prince Andrei deprives Natasha's life of meaning. The news of Petya's death forces the heroine to overcome her own grief in order to keep her old mother from insane despair.

Natasha “thought that her life was over. But suddenly love for her mother showed her that the essence of her life - love - was still alive in her.

Love woke up and life woke up.” After marriage, Natasha abandons social life, “all her charms” and devotes herself entirely to family life. Mutual understanding between spouses is based on the ability “to understand and communicate each other’s thoughts with extraordinary clarity and speed in a way that is contrary to all the rules of logic.”

This is the ideal of family happiness. This is Tolstoy’s ideal of “peace.” Tolstoy’s thoughts about the true purpose of a woman, it seems, are not outdated today. Of course, a significant role in today's life is played by women who have devoted themselves to political or social activities. But still, many of our contemporaries choose what Tolstoy’s favorite heroines chose for themselves. And is it really so little to love and be loved?

One of the most striking female images in the novel is the image of Natasha Rostova. Being a master of depicting human souls and characters, Tolstoy embodied the best features of the human personality in the image of Natasha. He did not want to portray her as smart, calculating, adapted to life and at the same time completely soulless, as he made the other heroine of the novel, Helen Kuragina. Simplicity and spirituality make Natasha more attractive than Helen with her intelligence and good social manners. Many episodes of the novel talk about how Natasha inspires people, makes them better, kinder, helps them find love for life, and find the right solutions.

For example, when Nikolai Rostov, having lost a large sum of money at cards to Dolokhov, returns home irritated, not feeling the joy of life, he hears Natasha singing and suddenly realizes that “all this: misfortune, and money, and Dolokhov, and anger, and honor - it’s all nonsense, but she’s real...” But Natasha not only helps people in difficult life situations, she also simply brings them joy and happiness, gives them the opportunity to admire themselves, and does this unconsciously and disinterestedly, as in the episode of the dance after the hunt, when she “stood up and smiled solemnly, proudly and cunningly.” - fun, the first fear that gripped Nikolai and everyone present, the fear that she would do the wrong thing, passed, and they were already admiring her.”

Just like she is close to the people, Natasha is also close to understanding the amazing beauty of nature. When describing the night in Otradnoye, the author compares the feelings of two sisters, closest friends, Sonya and Natasha.

Natasha, whose soul is full of bright poetic feelings, asks Sonya to go to the window, peer into the extraordinary beauty of the starry sky, and inhale the smells that fill the quiet night. She exclaims: “After all, such a lovely night has never happened! “But Sonya cannot understand Natasha’s enthusiastic excitement. She does not have the inner fire that Tolstoy sang in Natasha.

Sonya is kind, sweet, honest, friendly, she does not commit a single bad act and carries her love for Nikolai through the years. She is too good and correct, she never makes mistakes from which she could learn life experience and receive an incentive for further development. Natasha makes mistakes and draws from them the necessary life experience. She meets Prince Andrei, their feelings can be called a sudden unity of thoughts, they suddenly understood each other, felt something uniting them. But nevertheless, Natasha suddenly falls in love with Anatoly Kuragin, even wants to run away with him. An explanation for this can be that Natasha is a very ordinary person, with her own weaknesses. Her heart is characterized by simplicity, openness, and gullibility; she simply follows her feelings, not being able to subordinate them to reason.