Research analysis of key aspects of L.N. Tolstoy’s novel "War and Peace" Automatic translate

The great epic novel by Leo Tolstoy is a multifaceted work that combines deep philosophical analysis with the epic scope of historical events. This study aims to systematize the answers to twenty fundamental questions that reveal the ideological and artistic originality of the text, its chronology, the system of characters and the author’s concept of history. The analysis is based on a detailed examination of the plot lines, the author’s remarks and key episodes of the work.

"War and Peace", summary

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War and Peace is a Russian historical (and somewhat fantastic) novel by Leo Tolstoy, published in 1865-1869. The novel tells about the alliances and wars between Russia and France at the beginning of the 19th century, as well as the life of characters drawn by historical events. "War and Peace" is considered one of the most significant novels in Russian and world literature, films, TV shows and much more have been filmed based on it.

Chronological framework and narrative structure

Temporal limits of action

The novel begins in July 1805, which is confirmed by the scene of the evening at Anna Pavlovna Scherer’s, where the events of the beginning of the Napoleonic Wars are discussed. The finale of the main part of the work refers to 1812 - the period of the Patriotic War, while the epilogue, describing the fates of the heroes, takes the reader to 1820. Thus, the time span of the main narrative is seven years, and taking into account the epilogue - fifteen years, which allows the author to trace the evolution of the characters in the context of historical upheavals.

Intermediate chronological milestones include the Battle of Schöngraben (November 1805), the Battle of Austerlitz (December 1805), the Treaty of Tilsit (1807), the Battle of Borodino (August 1812) and the fire of Moscow. These events form the "skeleton" of the historical canvas onto which the destinies of fictional characters are strung.

Compositional features of the first volume

The culmination of the first volume is the Battle of Austerlitz, where a turning point in Prince Andrei Bolkonsky’s worldview occurs. The moment of his wounding and contemplation of the "high sky" symbolizes the collapse of Napoleon’s ambitions and the beginning of spiritual quests. This episode artistically embodies Tolstoy’s idea of ​​the insignificance of individual aspirations before eternal truths.

Genre originality and the author’s concept of history

The problem of genre definition

Tolstoy himself categorically rejected the definition of "novel", calling "War and Peace" a "book" in a letter to A.A. Fet in 1866. In the preface to a separate edition of 1868, the author emphasizes: "This is not a novel, even less a poem, even less a historical chronicle." Such genre innovation is explained by the synthesis of a philosophical essay, a family chronicle, and a battle epic.

Philosophy of the historical process

The central thesis of Tolstoy’s concept of history is the assertion that the people are the decisive force in historical events. In the description of the Battle of Borodino and the guerrilla war, this idea finds vivid embodiment: "The cudgel of the people’s war rose with all its menacing and majestic force." Even in the images of "little captains" like Tushin or Timokhin, this spontaneous folk wisdom is manifested, opposed to the official patriotism of the salons.

The symbol of popular resistance is Tikhon Shcherbaty, whose "wrong" guerrilla war embodies the organic connection of the peasant with his native land. His actions, contrary to the regulations but effective in practice, emphasize Tolstoy’s thesis on the superiority of popular initiative over military doctrine.

Character system and their evolution

Contrast of historical figures

Napoleon is contrasted in the novel primarily with M.I. Kutuzov, who embodies the author’s ideal of a commander who "could not interfere with anything useful." By comparing the two commanders, Tolstoy develops the concept of genuine and false greatness: "There is not and cannot be greatness where there is no simplicity, goodness and truth." If Bonaparte is concerned with the theatricality of poses, then Kutuzov displays "wise passivity," trusting the natural course of events.

Spiritual quests of the central characters

Prince Andrei goes to war in 1805, driven by a thirst for glory and disappointment in social life: "I am going because this life that I lead here, this life is not for me!" However, after Austerlitz, his ideas about heroism undergo a radical revision. A secondary disappointment in the civil service of 1812 is connected with the rejection of the bureaucratic routine of Speransky, whose reforms the prince calls "toys".

Pierre Bezukhov finds temporary solace in Freemasonry, attracted by the idea of ​​a "brotherly union of love" and the possibility of moral self-improvement. However, he gradually becomes disillusioned with the ritual side of the movement, realizing that many brothers "sought in Freemasonry only the possibility of getting closer to the powerful and the rich."

Family Chronicles and Social Context

Characteristics of the Rostov family

At the beginning of the novel, Natasha Rostova is 13 years old, as is evident from the mentions of her birthday in 1805 and her subsequent maturation by 1812. Count Ilya Andreevich’s family has four children: Nikolai (20), Vera (24), Natasha (13), and Petya (9). The famous ball of 1810, when 16-year-old Natasha makes her debut in society, becomes a key moment in her maturation.

The episode with Nikolai Rostov losing 43 thousand rubles to Dolokhov (a sum comparable to the family’s annual income) reveals the crisis of the patriarchal order. It is significant that Count Rostov, arranging a dinner at the English Club in honor of Bagration, demonstrates the "Rostov" type of patriotism - sincere, although somewhat theatrical.

Space of personal drama

The break in Natasha’s engagement with Prince Andrei is due to a combination of reasons: the influence of Helen Bezukhova’s intrigues, the heroine’s inexperience, and the fatal postponement of the wedding for a year. Tolstoy masterfully shows how social conventions (the ban on explaining to the groom) aggravate personal drama. Andrei’s rebirth after being wounded at Borodino is associated with the discovery of all-forgiving love for Natasha, which is the culmination of his spiritual quest.

The village of Bogucharovo, given to his son by the old prince Bolkonsky, becomes the site of his social experiments. The transfer of peasants to free farmers (20 years before the reform of 1861) reflects Tolstoy’s interest in the problem of relations between the nobility and the peasantry.

Military epic and philosophy of feat

Artistic representation of battles

The Battle of Borodino is presented through the perception of Pierre Bezukhov, a civilian, which allows the author to give an "alienated" view of the war. The hero’s observations of the artillerymen, his confusion in the face of death and gradual insight into the nature of the feat create a three-dimensional picture of a "people’s" battle.

It is symbolic that Tushin, a modest battery commander, becomes the true hero of Shengraben, while the staff officers are busy with intrigues. It is after this battle that Prince Andrei experiences the bitterness of disappointment: "All this is so strange, so unlike what I expected." This episode lays the foundation for his future rethinking of values.

synthesis of history and private life

The philosophical depth of the novel is revealed in the dialectic of freedom and necessity, where great events are formed from millions of individual wills. Tolstoy denies "great people" as creators of history, asserting that true greatness is born in the simplicity of national existence. Through the prism of individual destinies, the author recreates an epic picture of national existence, where war and peace turn out to be interpenetrating elements of human existence.