Boris did not succeed in marrying a rich bride in St. Petersburg, and he came to Moscow for the same purpose. In Moscow, Boris was indecisive between the two richest brides - Julie and Princess Marya. Although Princess Marya, despite her ugliness, seemed more attractive to him than Julie, for some reason he felt awkward courting Bolkonskaya. On her last meeting with her, on the old prince’s name day, to all attempts to talk to her about feelings, she answered him inappropriately and, obviously, did not listen to him. Julie, on the contrary, although in a special way peculiar to her, willingly accepted his courtship. Julie was twenty-seven years old. After the death of her brothers, she became very rich. She was now completely ugly; but I thought that she was not only just as good, but even much more attractive now than she was before. She was supported in this delusion by the fact that, firstly, she became a very rich bride, and secondly, the fact that the older she became, the safer she was for men, the freer it was for men to treat her and, without accepting undertake no obligation to take advantage of her dinners, evenings and the lively company that gathered at her place. A man who ten years ago would have been afraid to go every day to the house where there was a seventeen-year-old young lady, so as not to compromise her and tie himself down, now went to her boldly every day and treated her not as a young lady-bride, but as a acquaintance who has no gender. The Karagins' house was the most pleasant and hospitable house in Moscow that winter. In addition to evening parties and dinners, every day a large company gathered at the Karagins’, especially men, who dined at twelve o’clock in the morning and stayed until three o’clock. There was no ball, theater, or celebration that Julie missed. Her toilets were always the most fashionable. But, despite this, Julie seemed disappointed in everything, told everyone that she did not believe in friendship, nor in love, nor in any joys of life and was only waiting for reassurance there. She adopted the tone of a girl who had suffered great disappointment, a girl as if she had lost a loved one or had been cruelly deceived by him. Although nothing like this had happened to her, she was looked at as such, and she herself even believed that she had suffered a lot in life. This melancholy, which did not prevent her from having fun, did not prevent the young people who visited her from having a pleasant time. Each guest, coming to them, paid his debt to the melancholy mood of the hostess and then engaged in small talk, dancing, mental games, and Burime tournaments, which were in fashion with the Karagins. Only some young people, including Boris, delved deeper into Julie’s melancholy mood, and with these young people she had longer and more private conversations about the vanity of everything worldly and to them she opened her albums, filled with sad images, sayings and poems. Julie was especially kind to Boris: she regretted his early disappointment in life, offered him those consolations of friendship that she could offer, having suffered so much in life, and opened her album to him. Boris drew two trees for her in the album and wrote: “Arbres rustiques, vos sombres rameaux secouent sur moi les ténèbres et la mélancolie.” Elsewhere he drew a picture of a tomb and wrote:

La mort est secourable et la mort est tranquille
Ah! contre les douleurs il n"y a pas d"autre asile

Julie said it was lovely. - Il y a quelque chose de si ravissant dans le sourire de la mélancolie! - she told Boris word for word the passage she had copied from the book. - C "est un rayon de lumière dans l" ombre, une nuance entre la douleur et la désespoir, qui montre la consolation possible. To this Boris wrote her poetry:

Aliment de poison d"une âme trop sensible,
Toi, sans qui le bonheur me serait impossible,
Tendre mélancolie, ah! viens me consoler,
Viens calmer les tourments de ma sombre retraite
Et mêle une douceur secrete
A ces pleurs, que je sens couler.

Julie played Boris the saddest nocturnes on the harp. Boris read “Poor Liza” aloud to her and more than once interrupted his reading from the excitement that took his breath away. Meeting in a large society, Julie and Boris looked at each other as the only people in a sea of indifferent people who understood each other. Anna Mikhailovna, who often went to the Karagins, making up her mother’s party, meanwhile made correct inquiries about what was given for Julie (both Penza estates and Nizhny Novgorod forests were given). Anna Mikhailovna, with devotion to the will of Providence and tenderness, looked at the refined sadness that connected her son with the rich Julie. “Toujours charmante et mélancolique, cette chère Julie,” she said to her daughter. — Boris says that he rests his soul in your house. “He has suffered so many disappointments and is so sensitive,” she told her mother. “Oh, my friend, how attached I have become to Julie lately,” she said to her son, “I can’t describe to you!” And who can not love her? This is such an unearthly creature! Ah, Boris, Boris! “She fell silent for a minute. “And how I feel sorry for her maman,” she continued, “today she showed me reports and letters from Penza (they have a huge estate), and she, poor thing, is all alone: she is being so deceived! Boris smiled slightly as he listened to his mother. He meekly laughed at her simple-minded cunning, but listened and sometimes asked her carefully about the Penza and Nizhny Novgorod estates. Julie had long been expecting a proposal from her melancholic admirer and was ready to accept it; but some secret feeling of disgust for her, for her passionate desire to get married, for her unnaturalness, and a feeling of horror at renouncing the possibility of true love still stopped Boris. His vacation was already over. He spent whole days and every single day with the Karagins, and every day, reasoning with himself, Boris told himself that he would propose tomorrow. But in the presence of Julie, looking at her red face and chin, almost always covered with powder, at her moist eyes and at the expression of her face, which always expressed a readiness to immediately move from melancholy to the unnatural delight of marital happiness, Boris could not utter a decisive word; despite the fact that in his imagination he had long considered himself the owner of Penza and Nizhny Novgorod estates and distributed the use of income from them. Julie saw Boris's indecisiveness, and sometimes the thought occurred to her that she was disgusted with him; but immediately the woman’s self-delusion came to her as a consolation, and she told herself that he was shy only out of love. Her melancholy, however, began to turn into irritability, and shortly before Boris's departure she undertook a decisive plan. At the same time that Boris’s vacation was ending, Anatol Kuragin appeared in Moscow and, of course, in the Karagins’ living room, and Julie, unexpectedly leaving her melancholy, became very cheerful and attentive to Kuragin. “Mon cher,” Anna Mikhailovna said to her son, “je sais de bonne source que le prince Basile envoie son fils à Moscou pour lui faire épouser Julie.” I love Julie so much that I would feel sorry for her. What do you think, my friend? - said Anna Mikhailovna. The thought of being left in the cold and wasting this entire month of difficult melancholy service under Julie and seeing all the income from the Penza estates already allocated and properly used in his imagination in the hands of another - especially in the hands of the stupid Anatole - offended Boris. He went to the Karagins with the firm intention of proposing. Julie greeted him with a cheerful and carefree look, casually talked about how much fun she had at yesterday's ball, and asked when he was leaving. Despite the fact that Boris came with the intention of talking about his love and therefore intended to be gentle, he irritably began to talk about women's inconstancy: how women can easily move from sadness to joy and that their mood depends only on who looks after them. Julie was offended and said that it was true that a woman needs variety, that everyone will get tired of the same thing. “For this, I would advise you...” Boris began, wanting to say a caustic thing to her; but at that very moment the offensive thought came to him that he could leave Moscow without achieving his goal and losing his work for nothing (which had never happened to him). He stopped in the middle of his speech, lowered his eyes so as not to see her unpleasantly irritated and indecisive face, and said: “I didn’t come here at all to quarrel with you.” On the contrary...” He looked at her to make sure whether he could continue. All her irritation suddenly disappeared, and her restless, pleading eyes were fixed on him with greedy expectation. “I can always arrange it so that I rarely see her,” thought Boris. “And the work has begun and must be done!” He blushed, looked up at her and said to her: “You know my feelings for you!” “There was no need to say any more: Julie’s face shone with triumph and self-satisfaction, but she forced Boris to tell her everything that is said in such cases, to say that he loves her and has never loved any woman more than her. She knew that she could demand this for the Penza estates and Nizhny Novgorod forests, and she got what she demanded. The bride and groom, no longer remembering the trees that showered them with darkness and melancholy, made plans for the future arrangement of a brilliant house in St. Petersburg, made visits and prepared everything for a brilliant wedding.

“Rural trees, your dark branches shake off darkness and melancholy on me”

Death is saving, and death is calm.

MARRIAGES BUILDED BY CALCULATION (BASED ON THE NOVEL BY L.N. TOLSTOY'S "WAR AND PEACE")

Konstantinova Anna Alexandrovna

2nd year student of group S-21 GOU SPO

"Belorechensky Medical College" Belorechensk

Maltseva Elena Alexandrovna

scientific supervisor, teacher of Russian language and literature of the highest category, Belorechensk

Every girl dreams of marriage. Some people dream of a happy family life with a chosen partner once and for all, while others find happiness in profit. Such a marriage, concluded by mutual consent, where each party pursues material wealth instead of love, is usually called a marriage of convenience.

There is an opinion that such marriages are extremely popular right now because people have become more materialistic, but in fact this concept appeared a long time ago. For example, in ancient times, kings married their daughters to the sons of another king in order to obtain a stronger army from this union to destroy a common enemy or to make peace between kingdoms. At that time, children did not really decide anything; more often than not, their marriage was planned even before they were born. It would seem that with the advent of democracy, equal rights for men and women , marriage of convenience should have disappeared. Unfortunately no. If earlier parents were the initiators, now children calculate their fate. Their calculations when concluding a marriage are very different. Some want to raise their status and increase their well-being; others - to get the opportunity to register and improve their living conditions. Girls are afraid of being left alone, being branded as “old maids,” and “the child needs a father.”

There are other reasons to enter into a marriage of convenience: the desire to gain fame, higher social status, to marry a foreigner. In the latter case, the calculation is not material, but rather psychological. The financial condition of the future spouse is important, but not paramount; In a “prudent” union, women hope to find psychological comfort and stability. According to statistics, marriages of convenience are more durable, but if other people’s money is involved, then there is no need to talk about happiness. This is a deal that benefits both. Unfortunately, Russian statistics say: more than half of marriages break up.

Marriages of convenience are not only unions entered into for the sake of money. These are weddings played after analysis and reflection, when it is not the heart that pushes down the aisle, but the mind. People who are tired of looking for an ideal soul mate and are ready to take what at least suits them, or those who did not have a good relationship with their mother in childhood, who saw the tragedy of their parental family, are prone to such enterprises. By choosing a person on whom they have little emotional dependence, they seem to insure themselves against possible pain.

If for one spouse marriage is just a calculation, and for the other it is feelings, then you will hear a well-known saying about them: “One loves, the other allows himself to be loved.” The danger of such a union is that it rests on the will and mind of one of the partners. If both people deliberately enter into an arranged marriage, then the danger lies mainly in love! If she “unexpectedly turns up” and one of the spouses decides that the marriage is not beneficial for him, then it will be almost impossible to prevent him from leaving for his lover. As life shows, unions concluded wisely, into which love and affection then came, are the most viable.

In our article we would like to compare how the calculation in building a modern family differs from the heroes of Tolstoy’s novel “War and Peace”. Having collected and systematized material about arranged marriages and families in the novel, our goal was to show young people the negative aspects of arranged marriages, because marriage is a serious act that determines the fate of later life.

How was this life experience reflected in L. N. Tolstoy’s novel “War and Peace”?

The author realized that the truth of life lies in maximum naturalness, and the main value in life is family. There are many families in the novel, but we will focus on those that are opposed to Tolstoy’s favorite families: the “mean breed of Kuragins,” the cold Bergs and the calculating Drubetsky. An officer of not very noble origin, Berg serves on the headquarters. He always turns out to be at the right time and in the right place, makes the necessary contacts that are beneficial to him, and therefore has advanced far in his career. He told everyone for so long and with such significance about how he was wounded in the Battle of Austerlitz that he still received two awards for one wound. “According to Tolstoy’s classification, he belonged to the little “Napoleons”, like the vast majority of staff workers.” Tolstoy denies him any honor. Berg does not have any “warmth of patriotism”, therefore during the Patriotic War of 1812 he was not with the people, but rather against them. Berg is trying to make the most of the war. When everyone was leaving Moscow before the fire and even noble, rich people abandoned their property in order to free the carts and transport the wounded on them, Berg bought furniture at bargain prices. His wife matches him - Vera, the eldest daughter in the Rostov family.

The Rostovs decided to educate her according to the then existing canons: from French teachers. As a result, Vera completely falls out of the friendly, warm family where love reigned supreme. Even her mere appearance in the room made everyone feel awkward. Not surprising. She was a beautiful girl who regularly attended social balls, but she received her first proposal from Berg at the age of 24. There was a risk that there would be no new proposals for marriage, and the Rostovs agreed to marry an ignorant person. And here it is necessary to note Berg’s commercialism and calculation: he demanded 20 thousand rubles in cash as a dowry and another bill for 80 thousand. Berg's philistinism knew no bounds. This marriage is devoid of sincerity; they even treated their children unnaturally. “The only thing is that we don’t have children so soon.” . Children were considered a burden by Berg; they contradicted his selfish views. Vera fully supported him, adding: “Yes, I don’t want this at all.” The Berg family is an example of a certain immorality. Tolstoy really doesn’t like that in this family everything is assigned, everything is done “like people”: the same furniture is bought, the same carpets are laid, the same evening parties are held. Berg buys expensive clothes for his wife, but when he wanted to kiss her, he first decided to straighten the curled corner of the carpet. So, Berg and Vera had neither warmth, nor naturalness, nor kindness, nor any other virtues that were so important for the humanist Lev Nikolaevich Tolstoy.

According to the Bergs, Boris Drubetskoy. The son of Princess Anna Mikhailovna was raised from childhood and lived for a long time in the Rostov family. “A tall, blond young man with regular, delicate features of a calm and handsome face,” Boris has dreamed of a career since his youth, is very proud, but accepts his mother’s troubles and is lenient with her humiliations if it benefits him. A.M. Drubetskaya, through Prince Vasily, gets her son a place in the guard. Having entered military service, Drubetskoy dreams of making a brilliant career in this area. In the world, Boris strives to make useful contacts and uses his last money to give the impression of a rich and successful person. Drubetskoy is looking for a rich bride, choosing at the same time between Princess Marya and Julie Karagina. The extremely rich and wealthy Julie attracts him more, although she is already somewhat older. But for Drubetsky, the ideal option is a pass into the world of “light.”

How much irony and sarcasm sounds from the pages of the novel when we read the declaration of love of Boris Drubetsky and Julie Karagina. Julie knows that this brilliant but poor handsome man does not love her, but demands a declaration of love according to all the rules for his wealth. And Boris, uttering the right words, thinks that it is always possible to arrange it so that he rarely sees his wife. For people like the Kuragins and Drubetskys, all means are good, just to achieve success and fame and strengthen their position in society.

The Kuragin family also turns out to be far from ideal, in which there is no homely warmth or sincerity. Kuragins do not value each other. Prince Vasily notices that he does not have “the lump of parental love.” "My children are the burden of my existence". Moral underdevelopment, primitiveness of life interests - these are the features of this family. The main motive accompanying the description of the Kuragins is “imaginary beauty”, external shine. These heroes shamelessly interfere in the lives of the Bolkonskys, Rostovs, Pierre Bezukhov, cripple their destinies, personifying lies, debauchery, and evil.

The head of the family, Prince Kuragin, is a typical representative of secular Petersburg. He is smart, gallant, dressed in the latest fashion, but behind all this brightness and beauty hides a completely false, unnatural, greedy, rude man. The most important thing in his life is money and position in society. For the sake of money, he is even ready to commit a crime. Let us remember the tricks he goes to in order to bring the rich but inexperienced Pierre closer to him. He successfully gets his daughter Helen married. But behind her beauty and the sparkle of diamonds there is no soul. She is empty, callous and heartless. For Helen, family happiness does not lie in the love of her husband or children, but in spending her husband’s money. As soon as Pierre starts talking about offspring, she laughs rudely in his face. Only with Natasha is Pierre truly happy, because they “made concessions to one another, merged into one harmonious whole.”

The author does not hide his disgust for the “vile breed” of the Kuragins. There is no place for good motives and aspirations in it. “The world of the Kuragins is a world of “secular rabble,” dirt and debauchery. The selfishness, selfishness and base instincts that reign there do not allow these people to be called a full-fledged family. . Their main vices are carelessness, selfishness and an insatiable thirst for money.

Tolstoy, assessing the lives of his heroes from a moral point of view, emphasized the decisive importance of the family for the formation of a person’s character, his attitude to life, to himself. If there is no moral core in the parents, then there will be none in the children.

Many of our contemporaries choose arranged marriage. The most correct calculation is one that takes into account the interests of everyone, including children. If it is based on mutual respect and even benefit, then such a marriage can turn out to be durable. Statistical data also speaks to this. According to Western psychologists, arranged marriages break up only in 5-7% of cases. At the end of the 20th century, 4.9% of Russians married for financial reasons, and now almost 60% of young women marry for convenience. But men are not averse to entering into an “unequal marriage.” It is no longer uncommon for a pretty young man to marry a successful, wealthy lady who is old enough to be his mother. And - imagine! - according to statistics, such marriages do not fall into the “short-term” category.

At the end of the 20th century, an interesting survey was conducted among married couples with extensive experience. 49% of Muscovites and 46% of St. Petersburg residents surveyed claimed that the reason for getting married was love. However, opinions about what exactly holds a marriage together have changed over the years. Recently, only 16% of men and 25% of women consider love to be the bonding factor of a family. The rest put other priorities first: good work (33.9% of men), material wealth (31.3% of men), family well-being (30.6% of women).

The disadvantages of arranged marriages include the following: lack of love; total control of who finances the marriage; life in a “golden cage” is not excluded; in case of violation of the marriage contract, the “offending party” risks being left with nothing.

We conducted a sociological survey among students of the Belorechensk Medical College, in which 85 people took part, 1st and 2nd year students aged from 16 to 19 years. Young people preferred marriage for financial reasons, and this once again proves that our contemporaries strive to financial stability, even at the expense of others. This is exactly what Tolstoy was afraid of when talking about the loss of moral principles. The exception was 1% of those who believe that the calculation can be noble (to help a loved one, while sacrificing their future fate).

And yet our contemporaries would like to get married for love. Some out of a desire to quickly escape from parental care, others - succumbing to a bright feeling. Increasingly, modern people prefer to live in a civil marriage, without burdening themselves with the burden of responsibility for the fate of another person, they build families of convenience, without “including feelings”, with a sober head . At the same time, they do not suffer from love and inattention; they enter into marriage contracts, eliminating possible risks.

Our respondents believe in love as a bright, all-consuming feeling and do not want to build their families on the basis of commercialism. They consider love, mutual respect, and trust to be the main components of a happy family. A family cannot be considered happy if there are no children in it.

So what is more important: feeling or reason? Why are there more and more people agreeing to arranged marriages? The era leaves its mark on human relations. People value predictability and convenience more, and a marriage of convenience guarantees the future. Everyone will decide for themselves what kind of marriage to enter into and with whom. The strength of both marriages will become approximately the same in a few years. It all depends on how to build a relationship with your loved one. And the truth says: “Find the golden mean between your heart and mind - and be happy!”

Bibliography:

Enikeeva Y.S. Which calculation is the most correct? - [electronic resource] - Access mode. - URL: http://www.yana.enikeeva.ru/?p=510
Roman L.N. Tolstoy's "War and Peace" in Russian criticism / Comp., intro. Art. and comment. I.N. Sukhikh. - L.: Publishing house Leningr. state University, 1989. - 407 p.
Roman L.N. Tolstoy “War and Peace” / Historical, moral, aesthetic in the “great work of the great writer” - Russian literature of the 18th-19th centuries. Reference materials. - M., “Enlightenment” 1995. - 463 p.
Tolstoy L.N. Selected works in three volumes. - M., “Fiction” 1988. - vol. 1, - 686 p.
Tolstoy L.N. Selected works in three volumes. - M., “Fiction” 1988. - vol. 2, - 671 p.

Julie Karagina is one of the minor characters in the book by Lev Nikolaevich Tolstoy called “War and Peace”.

The girl comes from a noble and wealthy family. She has been friends with Marya Bolkonskaya since early childhood, but over the years they have practically stopped communicating.

Julie is approximately twenty years old. She is still unmarried, which was very late at the time described in the literary work, so the girl passionately wanted to go down the aisle as soon as possible, in order to meet someone, Karagina constantly attends various exhibitions, theaters and other social events. Karagina really doesn’t want to become an “old maid” and makes every effort to turn into a married lady. She has a huge inheritance that was left after the death of her parents and brothers: two luxurious mansions and plots of land, as well as cash savings.

Julie is in love with Nikolai Rostov and would willingly marry him, because she believes that this sympathy is absolutely mutual. But the young man behaves nobly towards her and does not want to tie the knot just for the sake of his potential bride’s money, because he does not perceive her as a lover and future wife. The girl continues to be jealous of Nikolai, but she was never able to win his favor. Boris Drubetskoy, on the contrary, diligently looks after Julie in order to take possession of her fortune. He doesn’t like her at all, but Boris proposes marriage to her, pursuing exclusively selfish goals, and Karagina agrees.

The girl is stupid and narcissistic. She pretends to be another person, tries to seem better than she really is. Karagina even demonstrates her feigned patriotism to others in order to earn public approval and praise. Julie knows how to play the harp and often entertains guests of her estate with various musical compositions. Karagina is constantly among representatives of the Moscow elite and knows the rules of behavior in secular society, but she is not an interesting conversationalist, so many are friends with her solely out of politeness.

The girl considers herself a real beauty, but others have a different opinion. She has a round face, big eyes, and short stature. She spares no expense on her outfits and is always dressed in the latest fashion.

Julie does not have her own point of view on various topics and imitates the reasoning and opinions of others. This pushes people away from her, because, for example, Julie’s husband secretly hates his wife, considers her a burden and feels only irritation towards her, even her longtime friend Marya Balkonskaya stopped seeing and communicating with her because Karagina became uninteresting to her.

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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 of 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 is 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, does Julie Karagina, who, thanks to her wealth, have a sufficient selection 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 broadcast only in Russian during the French invasion. High-society beauties have largely lost the main features that are inherent to 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.

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Be bad, but if you get enough

Two thousand ancestral souls,

He's the groom.

Pushkin’s heroine Tatyana Larina speaks with deep sorrow about her marriage:

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 cited 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 also shows Helen in 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 to a real woman.

Helen Bezukhova is not a woman, she is a superbe animal. Not a single novelist has yet encountered this type of high-society slut, who loves nothing in life except her body, lets her brother kiss her shoulders, but does not give money, cold-bloodedly chooses her lovers like dishes on a card, and is not such a fool, 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 situations 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.

The female theme occupies an 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 the 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?

List of used literature

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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. Life of L.N. Tolstoy is an entire era, almost the entire 19th century, which fits into both his life and his works.

A lesson dedicated to the life and creative path of a writer can be conducted 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.).

Periods of life	Internal state	Diary entries	Works reflecting this state
I. 1828 - 1849 Where does personality begin? Childhood, adolescence, youth.	Formation of a sense of homeland under the impression of life in Yasnaya Polyana. Perception of beauty. Developing a sense of justice - the search for the “Green Stick”. A heightened sense of self-awareness during student years. What is moral and immoral? The main thing: live for others, fight with yourself.	“... I would be the unluckiest of people if I had not found a goal for my life - a common and useful goal...” (1847). “1. The goal of every action should be the happiness of your neighbor. 2. Be content with the present. 3. Look for opportunities to do good...” Rules for correction: “Be afraid of idleness and disorder...”. "Fear lies and vanity...". “Remember and write down all the information and thoughts received...”. “Do not believe thoughts born in an argument...”, etc. (1848).	"Childhood". "Adolescence". "Youth". (1852 - 1856) "After the Ball" (188....) "War and Peace" (1863 - 1869).
II. 1849 - 1851 First independent steps. Yasnaya Polyana. Experience of independent living.	Painful self-doubts, disappointment, dissatisfaction. Arguing with yourself. Great attention to self-education and self-education. Relationship "master - man". The main thing: the search for the meaning of life.	“Study the entire course of legal sciences required for the final exam at the university.” "Study practical medicine and part of the theoretical." "Learn French, German, English, Italian and Latin." "Study agriculture...". "Study history, geography and statistics...". "Study mathematics, gymnasium course." "Write a dissertation." “Achieve an average degree of excellence in music and painting, etc.” (1849)	"Youth". "Morning of the landowner." "Lucerne". "Prisoner of the Caucasus"
III. 1851 - 1855 World of War. Service. The other side of life.	Awareness of the inhumanity of any war. A terrible and terrible sight. But salvation lies in the Russian people, who are the main hero of military events and in whom the foundations of morality are based. The main thing is to do good to your neighbor.	“The moral strength of the Russian people is great. Many political truths will emerge and develop in these difficult moments for Russia...” When, when will I finally stop spending my life without purpose and passion, And feeling a deep wound in my heart, And not knowing how to heal it.	"Raid". "Marker's Notes" "The Novel of a Russian Landowner." "Forest cutting." "Cossacks". "Prisoner of the Caucasus". "Hadji Murat" "Sevasto-Polish stories". "War and Peace"
IV. 60s - 70s. The search for sources is a pedagogical and educational activity. Writer's fame.	The desire to change the world through the development of education. The main thing: educating the people.	“I experienced important and difficult thoughts and feelings... All the abominations of my youth burned my heart with horror, the pain of repentance. I suffered for a long time.” (1878).	"Anna Karenina". "ABC". Books for children.
V. 80 - 90s. Refusal from the life of the noble circle. Uncompromising pro-test. Tolstoy.	Acceptance of folk life. Criticism of the state, the corrupting essence of luxury. A call for a return to simple life. The theory of non-resistance to evil by force. The main thing: peace according to the laws of justice.	“The villains who robbed the people gathered, recruited soldiers and judges to guard their orgy, and feasted.” (1881)	"Resurrection". "Confession". "Kreutzer Sonata". "Father Sergius."
VI. 1900 - 1910 Huge connections. Exodus.	Intense spiritual work. Consciousness of the injustice of lordly life. An attempt to reconcile your teaching with life. Relinquishment of property, leaving Yasnaya Polyana. The main thing is that something needs to be done.	“72 years old. What do I believe in? - I asked. And I sincerely answered that I believe in being kind: humble, forgiving, loving...” (1900). “They say, go back to the church. But in the church I saw a gross, obvious and harmful deception.” (1902). “I am becoming more and more burdened by this life” (1910).	"I can't be silent."

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, to 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 a 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, the historical process itself. 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 (Battles of Schöngraben and Austerlitz, Peace of Tilsit, War of 1812, fire of Moscow, 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 Otradnoe 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 I had to name a novel that fits the definition so dear to the hearts of the 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 the hero’s life path.

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.”

General periods:	Bolkonsky's life path."Road of Honor"	Observers of the image of Andrei Bolkonsky.	The life path of Pierre Bezukhov. "...you see what a kind and nice fellow I am."	Observers of the image of Pierre Bezukhov.
I. First acquaintance. Attitude towards secular society.	Evening in the salon of A.P. Scherer. Mutual relationships with others. Why is he a “stranger” here? v. 1. part 1. ch. III - IV.	Portrait. Comparison with other heroes. Speech.	Origin. Evening at A.P. She-rer. Attitude towards others. Where did you come from? How does he behave? v. 1. part 1. ch. II - V.	Portrait. Speech. Behavior. Comparison with other heroes.
II. “Life’s mistakes,” erroneous dreams and actions are a crisis.	Service in the army, at Kutuzov's headquarters. Attitude towards officers and officers towards him. Secret dream of heroism. v. 1. part 1. ch. III, XII.	Portrait. Speech. Behavior. Comparison with other heroes.	Revelry in the company of Anatoly Kuragin. The story with the quarterly. Fighting with yourself, with your contradictory impulses. Vol. 1 Part 1 Ch. VI, part 3. Ch. I - II. Vol. 2. Part 1. Ch. IV - VI. Marriage to Helen Kuragina. Realization of the madness of this step. Gradual conflict with the secular environment. v. 2. part 2. ch. I.	Portrait. Speech. Behavior. Internal monologue.
	Shengraben. Why does Prince Andrei join Bagration’s army? The purpose of the Shengra-Ben battle. Episode at the Tushin battery.	Inner monologue. Speech.
	War council after the battle. The prince's honest act. Andrey. The feeling that “all this is not right.” Vol. 1. Part 2. Ch. XXI.	Behavior.
	Austerlitz. The feat of the book. Andrey. Wound. "Meeting" with the idol, Napoleon. A feeling of insignificance of what is happening. Vol. 1. Part 3. Ch. XVI - XIX.	Inner monologue. Scenery.
III. Spiritual crisis.	Return after injury. Death of his wife. Disappointment in ambitious dreams. The desire to move away from society, limiting itself to family problems (raising a son). v. 2. part 2. ch. XI.	Portrait (of the eyes). Internal monologue - reasoning.	Spiritual crisis.
IV. Gradual awakening from the moral crisis and the desire to be useful to the Fatherland; disappointment; a crisis.	Progressive transformations in estates. Vol. 2 Part 3 Ch. I.		Gradual "awakening" from the crisis. The desire for moral improvement; Freemasonry treatment. An attempt to reorganize the activities of Masonic lodges. v. 2. part 2. ch. III, XI, XII, vol. 2. part 3. ch. VII. An attempt to benefit the peasants; transformations in the village. v. 2. part 2. ch. X. Disappointment both in public endeavors and in personal ones. Vol. 2. Part 5. Ch. I.
	Visit to Otradny (the Rostov estate) on guardianship matters. Meeting with an oak tree. Conversation with Pierre on the ferry. Vol. 2. Part 3. Ch. I - III.	Portrait. Inner monologue. Scenery.
	Participation in Speransky’s legislative activity and disappointment in it. Vol. 2. Part 3. Ch. IV - VI, XVIII. Love for Natasha and breaking up with her.
V. Prince Andrey during the war of 1812. Getting closer to the people, giving up ambitious dreams.	Refusal to serve at headquarters. Relations with officers. Vol. 3. Part 1. Ch. XI, part 2. Ch. V, XXV. The attitude of the soldiers towards the prince. Andrey. What does the fact that he was called “our prince” indicate? How does Andrei talk about the defense of Smolensk? His thoughts about the French invaders. Participation in the Battle of Borodino, wounded. Vol. 3. Part 2. Ch. IV - V, XIX - XXXVI.	Portrait. Inner monologue. Relationships with other characters.	Pierre and the War of 1812. On the Borodino field. Raevsky Kurgan - observation of the fighters. Why is Pierre called “our gentleman”? The role of Borodin in the life of Pierre. The thought of killing Napoleon. Life in abandoned Moscow. Vol. 3. Part 1. Ch. XXII, part 2. ch. XX, XXXI - XXXII, part 3. Ch. IX, XXVII, XXXIII - XXXV.	Portrait. Internal monologue.
VI. The last moments of life. Death of A. Bolkonsky. The further fate of Pierre Bezukhov.	Meeting with Anatoly Kuragin in the hospital - forgiveness. Meeting with Natasha means forgiveness. Vol. 3. Part 2. Ch. XXXVII, vol. 3. part 3. ch. XXX - XXXII.	Portrait. Inner monologue.	The role of captivity in the fate of Pierre. Acquaintance with Platon Karataev. v. 4. part 1. ch. X - XIII.	Portrait. Comparison with other heroes.
VII. After the war with Napoleon. (Epilogue).	The son of Andrei Bol-konsky is Niko-lenka. A conversation with Pierre, in which there is an assumption that Andrei would become a member of a secret society. Epilogue. Part 1. Ch. XIII.	Portrait. Speech.	The role of family in Pierre's life. Love for Natasha and Natasha's love. Participation in secret societies. Epilogue. Part 1. Ch. V.	Portrait. Speech.

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 “ugly, but lively” in one, “thin, miniature brunette” in another, “cold and calm” in the third?

· 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 and Anatole, through a spiritual crisis and disappointment in oneself, through rebirth under the influence of necessity helping loved ones (mother), through high love for the wounded Prince Andrei - to comprehend the meaning of life in the 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. Searches 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.

	Rostov	Bolkonsky
1. Older generation. Evening at A.P. Scherer. Compare: - relations between guests; - reasons for coming (external - high society reception - and internal - personal interests).	The Rostovs' parents are bread-and-butter, simple-minded, simple-minded, trusting, generous (an episode with money for A.M. Drubetskoy; Mitenka, Sonya, brought up in their family). The relationship between parents is mutual respect, respect (treatment). The position of mother is the position of the mistress of the house (name day). The attitude towards guests is cordiality towards everyone without honoring ranks (name day).	Old Prince Nikolai Andreevich Bolkonsky is a stubborn and domineering old man who does not bow to anything. The general-in-chief under Paul I was exiled to the village. Although he was already allowed to enter the capitals under the new reign, he could not forgive the insult and continued to live in Bald Mountains. He considered idleness and superstition to be vices, and activity and intelligence to be virtues. “I was constantly busy either writing my memoirs, or doing calculations from higher mathematics, or turning taba-kerks on a machine, or working in the garden and observing buildings.” The main thing is honor.
2. Family relationships between adults and children.	Trust, purity and naturalness (Natasha's mother's stories about all her hobbies). Respect for each other, the desire to help without boring lectures (the story of Nikolai’s loss). Freedom and love, the absence of strict educational norms (Natasha’s behavior during her name day; Count Rostov’s dance). Loyalty to family relationships (Nicholas did not renounce his father’s debts). The main thing in a relationship is love, life according to the laws of the heart.	Relationships without sentimentality. The father is an indisputable authority, although he “with the people around him, from his daughter to the servants, ... was harsh and invariably demanding, and therefore, without being cruel, he aroused fear and respect for himself ". An attitude of respect for the father, who himself was involved in Marya’s upbringing, rejecting the norms of education in court circles. Hidden love of a father, a man (the scene of the death of the prince - the last words about Princess Marya). The main thing is to live according to the laws of the mind.
3. Children, relationships between them. Compare: Ip-polit’s behavior at A.P.’s party. Scherer, the carousings of Anatoly Kuragin and Dolokhov.	Sincerity, naturalness, love, respect for each other (explanation scenes between Sonya and Nikolai, Natasha and Boris). Interest in each other's fate (Natasha - Sonya, Natasha - Nikolai). Activities: passion for singing, dancing. The main thing in a relationship is the soul.
4. Close to nature. More often they live on estates - Ot-Radny, Bald Mountains - than in the capitals.	The ability to subtly sense nature (moonlit night in Ot-radnoe; hunting scene, Christmastide rides). A feeling of harmony between man and nature.	Constant life in Ot-radnoye is a natural connection with the nature of Princess Marya and the old prince. Comprehension of the eternity and greatness of nature by Prince Andrey (Austerlitz sky, description of an oak tree on the way to Otradnoye).
5. Attitude towards the people.	The perception of the nationality is more on an emotional level (hunting scene, uncle's song, Natasha's dance).	Reasonable perception of people's problems: transformations in the village of Bogu-charovo, aimed at improving the lives of peasants. Andrei's relationship with the soldiers.
6. Patriotism. Attitude towards wars. Compare: - attitude towards the war at A.P.’s evening. Scherer, - behavior in war of Zherkov, Boris Drubetsky, Anatoly.	Sincere patriotism, pain for one's Motherland. Nicholas fights in the war; Petya, still just a boy, goes to war in 1812 with the consent of his parents and dies in the first battle. Natasha demands that the carts be given to the wounded. The Rostovs are leaving their homes, like many residents.	Deep patriotism of both father and children. Andrei fights during the war of 1805 - 1807, goes to Bagrati-on’s detachment, in 1812 - leaves the headquarters, commands a regiment (the soldiers call him “our prince”). Old Bolkonsky himself is trying to defend his land. Princess Marya refuses the patronage of the French and leaves the Bald Mountains, which the French should capture.
7. Disadvantages.	Kindness is sometimes external (Sonia’s story). Sometimes Nicholas's cruelty towards the peasants. The impracticality and extravagance of Father Rostov.	The difficult, sometimes selfish character of old Bolkonsky (the story of Mademoiselle Burien).
	Natasha is Tolstoy’s favorite heroine, the ideal woman embodied in the family.	Princess Marya is also an ideal woman, according to Tolstoy, his beloved heroine, capable of being the keeper of the hearth.

The image of Julie Karagina in the novel War and Peace essay-characteristic. Female characters in the novel War and Peace - essay War and Peace Who is Julie