Municipal Autonomous General Educational Institution

"Secondary school No. 141

with in-depth study of individual subjects "

Sovetsky district of Kazan

Literature lesson summary

in 10th grade

Analysis of the episode "Pierre in captivity"

(vol. 4, part 1, g. XI - XII novel by L.N. Tolstoy "War and Peace")

Prepared

teacher of Russian language and literature

Gimatutdinova Irina Lvovna

Kazan

2011

I . Introduction by the teacher.

- The path of Pierre's searches in the continuation of the novel is a path of trials, errors, doubts and disappointments.

Why was Pierre captured?

- Captivity turned out to be the penultimate stage of his quest for Pierre. In one of his letters, Tolstoy claimed that "the idea of ​​the limits of freedom and dependence" was central to the novel. The pictures of the execution of the "arsonists" are also devoted to the proof of this idea.

II . Episode analysis.

– Who are the participants in this scene and how does Tolstoy portray them?(The participants in this scene are the French, the arsonists and the crowd. The “large crowd of the people” consisted of Russians, Germans, Italians, French and stood in a semicircle. The French troops were located in “two fronts”, the arsonists were placed “in a certain order”).

- Why did the French try to put an end to the execution as soon as possible?("… All were in a hurry , - and in a hurry not like hurry up to make things understandable to everyone, but in the way that hurry up to complete the necessary, but unpleasant and incomprehensible matter »).

– How did those sentenced to death behave, how did they feel?(“The watchmen, having approached the pillar, stopped and ... silently looked around them, how downed beast for the right hunter. “Factory could not go. He was dragged under the armpits, and he was shouting something. When they brought him to the post, he suddenly fell silent ..., waiting for the bandage along with others and, as shot beast looking around…” Let us pay attention to the nature of repeated comparisons).

– The fraternal bond between people is broken: some people have turned into “killed animals”, and others?(In "hunters").

- How do these "hunters" feel?(“There was smoke, and the French with pale faces and trembling hands were doing something by the pit.” “One old mustachioed Frenchman was shaking his lower jaw ...”).

- Why? What did everyone, without exception, understand, both those who executed and those who were executed?("Everyone, obviously, undoubtedly knew that they were criminals who needed to hide the traces of their crime as soon as possible”).

- What question torments Pierre?( « But who does it in the end? They all suffer just like me. Who? Who?").

 So it wasn't them, but someone else, or rather something else, that created this whole nightmare. Man is a sliver that is carried along by the flow of history.

How did this thought affect Pierre?(“From the moment Pierre saw this terrible murder committed by people who did not want to do this, it was as if the spring on which everything rested was pulled out in his soul ... and everything fell into a heap of senseless rubbish”).

 But at this moment it is absolutely necessary in the development of Pierre. In order to accept the new faith, it was necessary to disbelieve in the old beliefs, to renounce faith in human freedom. The whole scene of the execution, even more terrible than the scene of the Battle of Borodino(remember the description of burying the factory) , was intended to show both Pierre and readers howman is powerless to change the inevitable fatal order established by someone other than him .

 And right here...

- Who does Pierre meet in captivity?(With a soldier, former peasant Platon Karataev) .

 We come to the ideological center of the novel. In Platon Karataev - the ultimate expression of Tolstoy's thoughts aboutboundaries of freedom and dependence . We must carefully read everything that is said about Platon Karataev.

- What is Pierre's first impression of Platon Karataev?(“Pierre felt something pleasant, soothing and round…”).

- What had such an effect on Pierre, what interested him in this man?("Round" movements, smell, Plato's busyness, completeness, coherence of movements).

- What is the manner of speech of Karataev?(Its language is vernacular).

 Let's analyze together one of Platon Karataev's remarks(“Eh, falcon, don’t grieve,” he said with that softly melodious caress with which old Russian women speak. “Don’t grieve, my friend: endure an hour, but live forever!”). What features of speech did you pay attention to?(colloquial; saturation with proverbs and sayings; manner of communication).

 Work on options:

I option : vernacular, elements of folklore(“bude”, “important potatoes”, “hospital”, “self-sem”, “the yard is full of stomachs”, etc.).

II option : Proverbs and sayings(“To endure an hour, but to live a century”, “Ged is a court, it’s not true”, “The worm is worse than cabbage, but before that you disappear”, “Not by our mind, but by God’s judgment”, etc.). We will talk about the meaning of these sayings, but now we will only note the presence of these proverbs as a feature of Karataev's speech.

III option : manner of communicating with the interlocutor(“... he said with a tender, melodious caress ...”, with a “restrained smile of affection”, “he was upset that Pierre did not have parents”).

 He listened with equal interest and readiness to others and talked about himself. He immediately began to ask Pierre about life. For the first time (!) someone became interested not in the captive Bezukhov, but in the man Bezukhov. In Plato's voice - caress.

- Describe the appearance of Karataev.(“When the next day, at dawn, Pierre saw his neighbor, the first impression of something round completely confirmed: the whole figure of Plato ... was round , the head was completely round , back, chest, shoulders, even the arms that he wore, as if always about to hug something, were round ; pleasant smile and big brown gentle eyes were round ).

 Once Natasha said about Pierre that he« quadrangular ». Pierre is attracted by this "roundness" of Karataev. And Pierre himself must, as it were,"cut corners" in their attitude to life and also become"round" like Karataev.

- What is the meaning of Karataev's story about how he got into the soldiers?

 Everything will be done as it should, and everything will be for the best. He got into the soldiers illegally, but it turned out that a large brother's family benefited from this. Karataev expresses Tolstoy's idea that the truth is in the rejection of one's "I" and in complete submission to fate. All Karataev's proverbs come down to this belief in the inevitability of what is destined to happen, and this inevitable is the best.

– “Yes, the worm is worse than cabbage, but before that you yourself disappear” - these are his thoughts about the war with the French. The French invasion is eating into Russia like a worm in a cabbage. But Karataev is sure that the worm disappears before the cabbage. This is the belief in the inevitability of God's judgment. Immediately in response to Pierre's request to clarify what this means, Plato replies "not with our mind, but with God's judgment."

- In this saying - the basis of Karataevshchina:the less one thinks, the better. The mind cannot influence the course of life. Everything will be done according to God's will.

 If this philosophy is true(quietism), then you can not suffer from the fact that there is so much evil in the world. You just have to give up the idea of ​​changing anything in the world.

 Tolstoy trying to prove it , but life refutes this philosophy.

– How did this Karataev philosophy influence Pierre?(Pierre “felt that the previously destroyed world was now being erected in his soul with new beauty, on some new and unshakable foundations).

III . Development of the theme in "subsequent episodes" (vol. 4, part 2, ch. XII, XIV).

- What did Pierre strive for all his life?(To agree with myself).

Where did he seek this peace?(“... he was looking for this in philanthropy, in freemasonry, in the dispersion of secular life, in wine, in the heroic deed of self-sacrifice, in romantic love for Natasha; he searched for it by thought, and all these searches and attempts all deceived him.

- In what did Pierre find happiness now?(Happiness is now in the absence of suffering, the satisfaction of needs, and "as a result, freedom of choice of occupation" ... "Satisfaction of needs - good food, cleanliness, freedom - Now , when he was deprived of all this, seemed to Pierre perfect happiness ... ").

 The thought that tries to lift a person above his immediate needs only brings confusion and uncertainty into the soul of a person. Man is not called to do more than that which concerns himpersonally . (Pierre "... did not even think about Russia, or about the war, or about politics, or about Napoleon"). A person must determine the boundaries of his freedom, says Tolstoy. And he wants to show that the freedom of man is not outside him, but in himself.

- How does Pierre respond to the rude demand of the sentry not to leave the ranks of the prisoners?(“And he spoke aloud to himself: “The soldier didn’t let me in. They caught me, locked me up. They hold me captive. Who me? Me? Me—my immortal soul!”).

 Feeling inner freedom, becoming indifferent to the external flow of life. Pierre is in an unusually joyful mood, the mood of a man who has finally discovered the truth.

IV . Conclusion.

 Prince Andrei at Austerlitz was close to this truth.("endless high sky"). "Endless Gave" opened up to Nikolai Rostov, but they remained alien to him. And now Pierre, having known the truth, not only sees this distance, but feels himself a particle of the world.(« High a full moon stood in the bright sky. Forests and fields, previously invisible outside the camp, were now opening up. away . And further further of these forests and fields one could see a bright, oscillating, inviting endless distance . Pierre looked into the sky, into the depths of the departing, playing stars. “And all this is mine, and all this is in me, and all this is me!” thought Pierre.

 This is how Tolstoy expressed the thought that, as he wrote to Pogodin, was most dear to him in the novel. We may disagree with Tolstoy's views on the limits of human freedom and dependence, but we must understand them.

In continuation of the lesson, the main provisions are introduced into the reference diagram:

"Thought on the Limits of Freedom and Dependency"

v.4, part 1, ch. XII

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• Introduction
• 1. Ball in Russian history noble society
• 1.1 The history of the appearance of the ball in Russia
• 1.2 Ball as an important part of the life of the Russian nobility
• 1.3 Ballroom costume and its components
• 1.4 Ballroom dancing
• 2. Episode as a structural element of the text: theoretical and methodological aspects
• 2.1 Issues of studying the episode in literary criticism
• 2.2 Issues of studying the episode in the methodology of teaching literature
• 3. Analysis of the ball episodes in the epic novel by L.N. Tolstoy "War and Peace"
• 3.1 general characteristics points. Moscow ball at Yogel
• 3.2 Image of the "grammar" of the ball
• 3.3 Subjective organization of ball episodes
• 3.4 Spatio-temporal organization
• 3.5 Character system
• 3.6 Typology and functions of the ball episodes in L.N. Tolstoy "War and Peace"
• Conclusion
• List of used literature

Introduction

The epic novel "War and Peace", in our opinion, is the most difficult work studied at school. The scale of creativity and personality of L.N. Tolstoy, the depth of philosophical, social and moral problems, a voluminous system of characters, a "maze of links" of numerous events create certain difficulties for tenth-graders to read and comprehend it.

In the method of studying epic works, the traditional way is to highlight key episodes that allow readers to penetrate more deeply into the artistic world of the work. This path is especially relevant when considering a large epic. On the one hand, this is due to the fact that text analysis in school practice is limited by the time of study, the number of lessons. On the other hand, in the process of research literary work at school, it is necessary to take into account the peculiarities of the perception of school readers, their interest in the work, the level of understanding of the historical and cultural realities of the text, the complexity of the problems of the novel. Finally, a teacher of literature should also keep in mind the problems associated with the reading of a large classical work by schoolchildren.

“The thought of the people” in the epic novel by L. N. Tolstoy is a connecting idea of ​​two image plans, reflected in the title of the work, showing the life of Russian society in the first quarter of the 19th century in peacetime and wartime. In this final qualifying work, episodes have been selected for consideration, which, in our opinion, are key to the image of the Russian nobility in peacetime - these are episodes describing balls and holidays, which are close to balls in their structure.

The choice to study the episodes of the ball is due to the following reasons that determine the relevance of the work:

1) a ball is an important phenomenon in the history of culture and life of Russian society in the 18th - early 20th centuries, interest in which has revived in our days, including among schoolchildren;

2) in the composition of the epic novel, the episodes of the ball play important role and, in our opinion, are opposed to episodes of battles (opposition "war - peace");

3) the episodes of the ball are polyfunctional and allow, in the process of analysis, to go to the study of various levels of the structure of the work (character, subject organization, plot-plot, spatio-temporal, etc.);

4) the study of ball episodes can become the realization of intra-subject connections in the course of literary education (through comparative analysis), since the image of the ball is found in the works of many Russian writers (including other works of L.N. Tolstoy);

5) these episodes are of direct interest to school readers.

Epic novel by L.N. Tolstoy is a work that has a deep tradition of study, both in literary criticism and in the methodology of teaching literature. Meanwhile, in our opinion, in scientific research, insufficient attention is paid to a comprehensive in-depth analysis of the ball episodes, the definition of the leading functions of these episodes. It is no coincidence, therefore, that in the guidelines for studying "War and Peace" at school, the teacher is offered a more detailed consideration of only the episode of Natasha Rostova's first adult ball in terms of characterization of characters' images and plot and plot organization. In practice, the analysis of this episode is often replaced by viewing a fragment of the Soviet film adaptation by S.F. Bondarchuk or well-known foreign film versions of the novel.

Of course, the first ball of Natasha Rostova is not only one of the key episodes of the novel, it is already a certain symbol of the era, a symbol of Russia. But no less important for understanding the problematics of the work and interesting for studying are other episodes describing balls and holidays, which in their structure are close to balls. In the novel by L.N. Tolstoy, we identified three such episodes:

1. Moscow Ball at Yogel (Volume 2, Part 1, Chapter 12)

2. Ball in St. Petersburg, the first adult ball of Natasha Rostova (2 volume, 3 part, chapter 14-17)

3. Ball in Vilna before the entry of French troops into Russia (3 volume, 1 part, 1 chapter)

The object of the study is the epic novel by L.N. Tolstoy "War and Peace".

The subject of the study is the episodes of the image of the ball in the epic novel by L.N. Tolstoy "War and Peace", as well as the methodology for studying them in high school.

Purpose of the work: based on the analysis of the ball episodes in L. N. Tolstoy's epic novel "War and Peace", to determine their role and functions in the overall composition of the work.

Research objectives:

1. Analyze the scientific and methodological literature on the research topic.

2. To trace the history of the functioning of the ball in Russia, outline the structure of the ball ceremonial, determine the role of the ball in the life of Russian noble society.

3. Determine the main types and functions of the episode as a structural element of the composition of a literary work; consider the study of the episode.

4. To identify the episodes of the ball in the epic novel by L. N. Tolstoy "War and Peace", to indicate their boundaries, to determine based on the analysis of the text ideological and artistic features of these episodes.

5. Design teaching materials using the analysis of the ball episode in the epic novel by L. N. Tolstoy "War and Peace".

The main provisions of the final qualification work were presented at the scientific student conferences of VSU in 2015, 2016.

The structure of the final qualification work is determined by the objectives of the study and consists of an introduction, three chapters, a conclusion and a list of references.

1. Ball in the history of Russian noble society

The ball in the 19th century was an important part of the life of the noble society. As Yu. M. Lotman noted, at the ball “the social life of a nobleman was realized: he was neither a private person in private life, nor a serviceman in the public service; he was a nobleman in a noble assembly, a man of his class among his own. To understand the problematics and the compositional role of the ball episodes in Leo Tolstoy's novel, it is necessary to turn to the history of the appearance of balls, its role in the life of Russian society, and consider the ball ceremony.

1.1 The history of the appearance of the ball in Russia

Ball (French bal, Italian ballo, German Ball from ballare - to dance) - a gathering of a large society of people of both sexes for dancing. Balls differ from other dance gatherings in their famous brilliance, stricter etiquette, and predetermined order. Their beginning goes back to the festivities at the French and Burgundian courts. The first ball, of which there is information in history, was given in 1385 in Amiens on the occasion of the marriage of Charles VI and Isabella of Bavaria.

The ball has captured Europe since the XIV century. Since the time of Marie de Medici, the ball has become popular in France, and since the reign of Louis XIV it has become an integral part of court festivities.

Ballroom culture in Russia develops after the reforms of Peter the Great, at the beginning of the 18th century as an element of Western European culture. The ball was artificially grafted onto Russian soil, and in connection with this it came into conflict with the traditional culture of our country and thus, at the beginning of its existence, violated some of the foundations of its social life.

Gradually, ballroom culture became firmly rooted in the secular gatherings of Russia. On November 26, 1718, Peter I regulated the assemblies by his decree. The appearance of the assemblies has become one of the most important cultural symbols of the renewed Russia. One of the main innovations was the release of a woman from the captivity of prohibitions imposed by the “terem culture”. A woman at Peter's assemblies acquires the status of "queen of the ball." At the meetings, a custom was established, reminiscent of the times of knightly tournaments: the owner presented a bouquet of flowers to one of the ladies, who became the “queen of the ball”. She directed the assembly.

Such significant changes could not instantly change the consciousness of the people, therefore, over a fairly long period of time, there was a negative attitude towards ballroom culture. Many frankly condemned the dances, considered the ball a place of death of the soul. Unusual clothes, a large number of unfamiliar faces with whom it was necessary to behave properly, dancing with all sorts of pas, and the presence of the sovereign brought inconvenience to the secular circle.

Already during the reign of Elizabeth Petrovna, up to three thousand people gathered for court balls. In both capitals, balls became the highlight of the programs of commercial pleasure gardens, organized in the likeness of "the glorious London, Paris and Vienna amusement parks."

Holding a ball in Russia differed from Western European tradition. The peculiarity of the Russian ball, according to A. V. Kolesnikova, can be expressed by the formula - “Russian in a Russian ball, more than French in French”. The European ball is political culture, Russian is nationally specific. The explanation for this phenomenon probably lies both in the peculiarities of the Russian national character and in the fact that the formation of the ballroom culture in Russia happened with a great delay.

At a social event, the performance of Russian folk dances was preserved, which was a kind of hallmark Russian secular assemblies, maintaining not only foreign, but also national. In some cases, at a social event, Russian folk dance took precedence over a solemn minuet.

Thus, it can be said with confidence that in the process of the development of the ballroom culture, European borrowings could not supplant the “Russian flavor”, so we can talk about the originality of the Russian ball.

1.2 Ball as an important part of the life of the Russian nobility

By the middle of the 18th century, the ball "became the crown of society, its highest expression, dances - a cult, the only one worthy of children

"fun and luxury", and at the same time, almost the only cement for communication between gentlemen and ladies ... ".

For the sake of the ball, they sewed the most fashionable outfits, invited the most famous musicians and organized sumptuous dinners, because of him they rebuilt the entire daily routine. The ball forced me to stay awake at night and rest during the day, so that the next day I would go to the dance meeting again. The ball turned into a duty, attractive, but difficult.

A prominent figure in Russia, N. A. Epanchin, believed that being in a secular society is a life school that should be completed in the same way as a family school and a training school.

Aristocrats were required to hold balls in order to maintain the reputation of a secular person. The very organization of the ball helped build a career: “in old Moscow, a hospitable rich man could make a good name for himself, gain a position in society and friends, even being an insignificant and vile person,” notes E. Volskaya.

Dancing skills and secular manners contributed to career advancement. If a high-ranking person or his wife liked a young man at the ball, then the young man could soon wait for a promotion. Many issues of a diplomatic, personal, official nature were resolved at the balls. These holidays became a place where dancing and fun became just a bright background for everything else.

“The ball was also used as a place to discuss business issues, when their solution in a normal official situation turned out to be difficult for one reason or another. It was a meeting place for officials divided by official hierarchy.

Holding the ball was a very costly event for its organizer. It was necessary to impress wealthy people who were accustomed to luxury and wealth, and this required large material costs and moral efforts (remember Father Onegin, who "gave three balls annually / And finally squandered").

An example of a magnificent celebration was the ball given by G. A. Potemkin for Catherine II in the Tauride Palace on April 28, 1791 on the occasion of the capture of Ishmael and the conclusion of peace with the Turks. Prince Potemkin arranged a truly royal reception: the palace was illuminated by 140,000 lamps and 20,000 candles, the orchestra consisted of 300 musicians, a sumptuous dinner was laid on 42 tables and bursting with the most exquisite dishes, among which was a very original dish - baked ox's eyes in a sauce of truffle mushroom ash. The most prominent cultural figures took part in organizing the artistic side of the holiday: Derzhavin, Le Pic, Kozlovsky. During the ball, three ballets and two French comedies were shown, there was a wedding ceremony, and fireworks. The whole holiday cost the organizer 200 thousand rubles. “But the game was worth the candle,” notes the modern ball researcher A.V. Kolesnikov, - since such festivities ensured prestige and respect in society.

History of European ballroom dancing XVII century has already spanned centuries. In Russia, they learned to dance under the supervision of the sovereign, and this training was mandatory and not subject to discussion. At Peter's assemblies, dancing was considered as a kind of duty, and only later, during the reign of Catherine I, the inability to dance was considered great ignorance.

The ball has become a cult. Every member of secular society had to dance beautifully. It was unthinkable not to dance, especially for a lady from the time of Alexander I. Mastering this type of art was an undoubted advantage.

Oddly enough, the ball had a downside: it was physical and emotional exhaustion. Dances, all the more incessant, fast, took place in a place of a large crowd of people and required great physical effort. Inconvenient for this type of activity, costumes and dresses not only fettered movements, but also subjected their owner to a kind of “torture”. In addition to all this at the ball, it was necessary to watch, as was said earlier, for your appearance, words, behavior, dances - in general, control yourself completely, but at the same time look at ease and friendly. And all this was taught, taught for a long time, starting from an early age. Ballroom culture entered life in childhood in the form of numerous dance lessons, etiquette, attendance at children's balls and social events.

1.3 Ballroom costume and its components

The ceremonial toilets of that time involuntarily made them admire:

“By the splendor of uniforms, by the luxury of toilets, by the richness of liveries, by the splendor of decoration< ... >the spectacle is so magnificent that not a single courtyard in the world could compare with it, ”wrote the French ambassador to Russia M. Paleolog.

Costume at the ball of the 18th - 19th centuries. was one of its important components. During the transformations of Peter the Great, the costume of the Western European model was able to completely displace the Russian one. The monarch becomes the trendsetter. To look like a monarch meant to show one's loyal obedience. Elizaveta Petrovna set a special tone for panache at the ball.

During the time of Catherine the Great, an attempt was made to regulate the female ceremonial court costume in order to give it a national flavor. Contemporaries recalled that at the balls "ladies liked to be in Russian dresses, but only of a special solemn cut."

A special decree of 1834 legalized the nature of the ceremonial women's costume. The color of velvet and the pattern of gold or silver embroidery were determined by the rank of the owner.

Ladies of state and ladies-in-waiting were allowed to appear at balls in a top green velvet dress with gold embroidery; tutors of the Grand Duchesses - in fabrics of blue color; Her Majesty's ladies-in-waiting were supposed to appear in crimson dresses; but the ladies-in-waiting the princesses - in light blue.

Ladies coming to the court were given a wide range of colors to choose from in the dress, its cut, but patterns intended for court ladies were forbidden. The cut at that time followed the pattern: long folded sleeves with an open armhole, which hung almost to the knees, a vertical line of the center of the front, emphasized by the decor, as in a Russian sundress. All ladies, both courtiers and visitors, had to have a warrior or kokoshnik with veils with them.

The colors of the ballrooms of the early 19th century were very diverse: blue satin dresses; a light silk dress with a cashmere shawl with colored stripes on the border; pink and pale yellow tones; pale blue and pearl gray; white never went out of fashion and occupied one of the leading places in the wardrobe of fashionistas.

By the middle of the 19th century, the ballroom costume undergoes some changes: it begins to resemble baroque clothes.

At the ball, the girls were recommended to wear a crepe dress, decorated in front with a garland and flowers that formed a semicircle and ended at the knees with two bouquets of roses, from under which two ribbons emerge, skillfully framing the outfit.

In order to follow all the fashion trends of that era, “enamel” bandages with pearls and diamonds could be woven into hairstyles.

For ladies, not only fashion trends and considerations of their own taste were important, but also the creation of a unique image that makes a man's heart tremble. As many contemporaries of that time emphasized, the ladies' outfits changed over time, but only one thing did not change - open ball gowns. The ball was one of the few places where the ladies could show themselves in all their glory.

In the 19th century, the Russian aristocracy brought costumes from Europe, in particular from Paris, or sought to meet the standards of European costume cut.

The task for fashionistas of that time was very difficult: for a start, strict adherence to fashion was necessary, they corresponded to the rules of good taste, to all this, the ball gown should be individual, harmonious, in order to create a unique charm inherent only to its owner. In addition, the ball gown could not be used more than 2 times.

From the second half of the 19th century, the tailcoat, black or colored, established itself as a formal, ballroom dress for men, it was complemented by a white waistcoat. But it was not always so. Men also did not lag behind the ladies and in fashion they fully corresponded to their companions.

During the reign of Paul I, the tailcoat, which appeared in Russia at the end of the 18th century, was banned as a symbol of the ideas of revolutionary France.

During the reign of Alexander I, court balls were supposed to come in military and civilian uniforms. The splendor of women's outfits was matched by gold on military uniforms.

Gloves were one of the important attributes of a ball gown. From the 17th century, they began to come into fashion, both for women and for men. These are gloves with gaiters - bells tapering to the brush. They were not only purely practical, but also testified to social status. In subsequent eras, it was considered bad manners to touch with bare hands.

A.V. Kolesnikova notes: “According to ballroom etiquette, ladies appeared at dance meetings in long white silk gloves above the elbow, gentlemen in suede gloves if they were dressed in military uniform, and in kid gloves if they were in civilian clothes. The white ball glove acquired an important function: it hid wrinkles, flaws, it balanced youth and old age, beauty and ugliness, erased national differences, turned into a sign of being chosen and classifying its owner as high society.

Ballroom shoes of that time were slippers with a semicircular toe, without a heel. Most often they were made from dress fabrics, velvet and thin skin of light tones. Shoes were decorated with embroidery, beads, rhinestones, ribbons.

Another important companion of the lady, in addition to her gentleman, was a fan that protected its owner both from the heat in the crowded hall and from the cold that arose due to the opening of the windows. Later, this accessory turned into an indispensable attribute of the dress of any lady who comes to the ball. How gracefully the fans opened and closed - it was a whole art. The color of the fan was supposed to match the outfit of its owner, but it was also a kind of sign language: for example, in order to say “I love you”, you had to put a closed fan to your heart with your right hand. Therefore, it was impossible to thoughtlessly choose a fan.

Thus, men's and women's attire and details of the toilet were important elements of the ballroom ceremonial.

1.4 Ballroom dancing

Monotonous and crazy, Like a whirlwind of young life,

The waltz whirlwind is spinning noisy...

A.S. Pushkin

Dancing is the most spectacular part of the ball. At the beginning of the 19th century, “the ball becomes on a par with the words “brilliance”, “noise”, “whirlwind”, “talk”, “youth”, “joy”. The ball is a movement, which means youth and joy, which means the brightness of colors and sounds, ”writes E. Volskaya.

However, behind the external brightness of colors and sounds was the strict structure of the ball. The dances had to go in a certain sequence, which was not allowed to be broken for many decades. Yu. M. Lotman noted: “The sequence of dances during the ball formed a dynamic composition. Each dance, having its own intonations and tempo, set a certain style and not only movements, but also conversation ... The chain of dances also organized a sequence of moods.

The ball was opened by a solemn polonaise, followed by a light, romantic waltz, followed by an exquisite mazurka and a perky polka, and the casual cotillion had to end the evening.

But at the balls of the 19th century, this clear sequence of the dance program, regulated since the time of the Peter's assemblies, was often not observed. Court balls, as a rule, always opened with a polonaise, followed by a waltz, a French quadrille and a mazurka.

Representatives of the royal family, in addition to the solemn polonaise, gave special preference to quadrille and waltz.

At private balls, there were much more liberties with a dance program. The ball could open with a waltz. The most inventive dance masters made their own adjustments to the fashionable dances of that time: they combined the individual movements of various dances into one, making the spectacle even more unforgettable.

Let's take a closer look at each dance.

“The Polonaise was a permanent exhibition of brilliance, glory, meaning. In the 18th century, the polonaise was the main ceremonial dance. It was performed by an indefinite number of couples and more like a solemn procession to the music. In Russia, "Polish" became known even in pre-Petrine times. It is considered the first European dance that penetrated the court of the Moscow tsars.

The polonaise is based on “a rhythmic, graceful and light step, which was accompanied by a shallow and smooth squat in the third quarter of each measure. The dance also included curtsies and bows. There are no complex choreographic decorations, intricate movements and poses in the polonaise. But at the same time, no dance requires such a strict posture, pride and composure as a polonaise.

Polonaise made it possible to get to know each other, as well as quietly join the general flow of those who were late.

Usually, during a polonaise, the host with the most distinguished guest of the ball set the tone for the ball: all movements were repeated after them. And if the emperor and empress were present at the balls, then the polonaise turned into a real sacred ceremony.

The most famous polonaise figures were "two columns", "crosses", "labyrinth", "garland", "serpentine lines".

Gradually, the polonaise began to be simplified and later it turned into only a solemn walk. But this "walk" was one of the most important parts of the ball.

As a rule, the waltz was traditionally considered the second dance, which was performed almost immediately after the completion of the polonaise, and in many cases did not even require a second invitation. The etymology of the word waltz perfectly reflects its very meaning: “circle”, “rotate”.

Waltz originated among the people, for the most part as a mixture of various European dances with numerous simplifications. This is how the dance that personifies the “universe” arose (pairs circle like the movement of planets around the sun).

Waltz had many both supporters and opponents. “The main reason for the attacks on the waltz was the fact that it destroyed the foundations of the aesthetics of the salon dance of past centuries. The waltz was the most erotic dance of its time. The gentleman and the lady formed a couple full face, facing each other, while the gentleman supported the lady by the waist with his hand, which was considered extremely indecent. It was a truly intoxicating dance, which was allowed to be interrupted by performing two or three rounds of the dance.

The waltz had several varieties, but the most commonly performed were French in two steps and German in three.

This is a dance of passion, a declaration of love. It is no coincidence that the entire 19th century passed under his symbol. In addition, this is one of the few ballroom dances that has managed to go through the ages, making the dancers whirl in a whirlwind of passions and emotions.

The French quadrille was very popular at balls and soirees in the 19th century. Oddly enough, England is the birthplace of the French quadrille, and around the beginning of the 18th century this dance came to France and already there it underwent changes not only in movements, but also in the name.

The quadrille consisted of five figures that had very peculiar names: "la Pantalon" (pants), "I" Ete" (summer), "La Poule" (chicken), "La Pastourelle" (pastoral). The solo was considered the climax of the dance From the point of view of choreography, this dance was quite complex and required great effort and long preparation.

The French quadrille was considered an etiquette dance. Gradually, the square dance underwent changes, and by the end of the 19th century it was already difficult to recognize it: the ladies danced opposite their gentlemen, often there were so many couples that they had to disperse into several columns.

The culmination of the ball was undoubtedly the mazurka. It settled in Russia since the time of Catherine the Great, but the mazurka became one of the favorite dances only at the beginning of the 19th century.

“The leading role in it belonged to the gentleman, it was on him that the successful performance of the dance depended: he chose the figures, movements, transitions. The lady, obeying the dance pattern proposed by the gentleman, performed her part - pas couru (“easy run”).

There were two types of performance of the mazurka: bravura and refined. The first type resembled spasmodic movements, and the second was recognized as the only correct one. The mazurka ended the first part of the evening.

In the middle of the 19th century, the Polish woman took over the world. A simple dance came to taste not only in aristocratic salons, but also at court balls. The main movement of the dance is half steps connected by a prefix.

Initially, the polka was performed with constant figures, but then cardinal changes began to occur with the polka, as with many other dances of that time: the simplification of the figures, their disappearance, and various variations.

Cotillion is a kind of intro from all dances, that is, it is like a game of dancing. It included figures of the most common dances: waltz, mazurka, polka. The first pair followed in front and was the initiator of the figures, invented them, and the column, in turn, strictly followed the movements of the previous pairs.

The number of figures of this dance could not be counted, and the dance masters, who tried to surprise the dancers and give them pleasure, continued to invent new ones.

The most common of them were “wine and love”, “extra gentleman”, “names”. There were also figures with all kinds of objects that were in every house, the dancers put on masks to play the "Zoological Garden".

Thus, the ball was the spirit of the era, its style. It had to comply with all the rules and regulations. Society dictated ballroom manners, a culture of behavior, and all this had to be strictly observed.

The organization of the ball was of great importance. The ball determined the type of social behavior within the noble culture.

“These are not just dances in which, like at a feast, everyone lives for their own pleasure, but something directly opposite - one of the climaxes of the ceremonial ceremony, this is a duty, more often a class one, but not entertainment for one’s own pleasure.”

This festival was a ritualized procession: a strict sequence of parts, stable and obligatory components, etiquette features. There was a special "grammar" of the ball. However, strict adherence to all rules and norms began to bring the ball closer to a theatrical performance, where each participant corresponded to a set of certain emotions and behavioral styles.

The study of the grammar of the ball makes it possible to understand the features of the historical and cultural era depicted in a literary work, to identify the features of the image of the ball, and makes the author's intention more understandable.

2. Episode as a structural element of the text: theoretical and methodological aspects

2.1 Issues of studying the episode in literary criticism

In the composition of a literary work, all elements are interconnected and subject to the author's intention. The epic literary text is a change of episodes, which are determined by the development of the plot.

An episode is usually understood as a part of the plot organization of a literary work. The term goes back to ancient Greek culture (gr. epeisodion - insert), is widely used in science and in school literary education, is included in all special dictionaries. Meanwhile, the analysis of studies has shown that the development of this concept has not been completed, in particular, the question of the criteria for identifying an episode remains controversial.

V.E. Khalizev defines an episode as “a relatively independent unit of action in epic, lyrical-epic and dramatic works, fixing what happened within the closed boundaries of space and time. Episodes can correspond to the main plot links; but sometimes the plot component does not develop into an episode, or, on the contrary, is presented in several episodes. The arrangement of episodes in the text is an important facet of the composition of the work.

The episode is considered as a microtext, which, on the one hand, has an independent semantic significance and a complete composition, on the other hand, is characterized by external incompleteness in relation to the entire text of the work.

Each episode has its own internal logic, internal plot, microcomposition. An important role in the overall composition of the work is played by the location of the episodes in the text. According to E. E. Sergeeva, “the division into episodes may or may not coincide with the external composition of the work, that is, with the division of the text into chapters, actions (acts), scenes, phenomena, etc. The selection of episodes is an act of interpreting the work as a whole; in the light of one interpretation or another, various options for dividing into episodes are possible.

There are several classifications of episodes in the scientific literature. One of the latter belongs to L.M. Krupchanov and is connected with the way of narration in episodes.

1. Specific narrative episodes are a narrative about specific events, actions of characters, their actions, etc. These episodes can only be stage, as they depict only what is happening before the eyes of the reader.

2. Summary-narrative episodes tell about events in general terms, taking place both at the present time of the plot, and with large digressions and excursions into the past, along with the author's comments, incidental characteristics.

3. Descriptive episodes almost entirely consist of descriptions of the most diverse nature: landscape, interior, scene, certain circumstances and situations.

4. Psychological episodes depict internal experiences, the processes of psychological experiences of characters.

HER. Sergeeva also singles out stage episodes where the speech of the characters predominates.

There is also a classification in which episodes are considered according to the degree of significance in the entire composition of the work.

1. Extra-fable episodes, or they are also called inserted in another way. Such episodes do not belong to the composition of the work, but at the same time they are very important, since they carry an ideological load. Such episodes help to identify the author's position, contribute to highlighting the main idea.

2. Minor episodes. Such episodes are directly related to the composition of the work, but, as a rule, are not directly related to the main conflict. Undoubtedly, such episodes carry other functions.

3. Key episodes. These episodes are directly related to the main conflict and play a decisive role in its development. Such episodes contain the main idea of ​​the work, its idea.

The problem of determining the boundaries of the episode remains relevant. It is not always possible to define with certainty the clear boundaries of an episode. This is a very complex process, since it is necessary to see clear edges, to catch the composition of the episode, its semantic content, to build a system of characters, and the main characters here can be minor characters in relation to the whole work as a whole. It is very important to determine what role this episode plays for the previous and subsequent development of the plot, how the dominant and peripheral themes and problems of the work develop in it, and the main motives are realized. The pathos of the analyzed episode may differ from the general pathos of the work. To determine the place and role of the episode in question in the plot of a work, you need to understand the internal logic of its development - its microplot, which is decomposed into the same components as the "classical" order of parts in the composition of a work of art: exposition, plot, development of action, climax and denouement. . Thus, defining the boundaries of an episode is an important stage in its study, helping to determine its semantic role in a work.

V.V. Kurilov, in his definition of an episode, points to the following positions for separating episodes: 1) one completed moment of action; 2) the presence of two or more characters; 3) unity of place; 4) a limited period of time or an act of one of the characters. The change of episodes, respectively, "is due to a change in the place and time of the action, the number of characters participating in it and a change in the connections between the characters" .

HER. Sergeeva clarifies these criteria and proposes the following:

1) episode - a certain course in the development of an action or its retardation;

2) the presence of common spatial and temporal boundaries; 3) a certain composition of the main characters or their absence in the epic, when there is, for example, a description of nature.

E.L. Beznosov notes: “The event concluded in a particular episode most often contains some specific motive: the meeting of heroes, their dispute, quarrel, and the like. The content function of episodes, therefore, can be very different.

Thus, in a literary work, each episode has a specific function. Let's highlight the main features of the episode:

1) Characterological

The episode reveals the character of one or more characters, their worldview, offers a portrait of the characters. Often an important role for the implementation of this function is played by the indirect characteristics of the characters - the landscape, the interior.

2) Psychological

This function is related to the disclosure internal state characters.

3) Plot-forming

As a rule, these episodes are key in the development of the plot and plot. They can create intrigue, mark a new turn in the relationship of the characters, change or slow down the course of action (using the techniques of flashback and retardation).

Note that most often we can talk about the multifunctionality of a particular episode, that is, about the performance of two or more functions by it, which enhances its semantic significance.

Thus, "an episode is a link in the development of the plot, but it is also part of the composition of the work, that is, the episode is not a simple message about the event, but its image, more or less detailed" .

2.2 Issues of studying the episode in the methodology of teaching literature

The theoretical characteristics of the episode are the basis for the development of methodological models for the analysis of the episode, ways and means of studying it. In the process of preparing episode analysis lessons, the language teacher faces a set of important questions, including:

1) What is the purpose of episode analysis?

2) Which episode should be chosen for analysis?

3) How does this episode relate to previous and subsequent episodes?

4) Which way to analyze the episode to choose? What methods should be used to study it?

5) What theoretical concepts are needed to analyze this episode?

6) What knowledge and skills of schoolchildren are formed in the process of analyzing the episode?

7) What role does the episode analysis lesson play in the system of lessons for studying the work?

The analysis of the episode in the lesson should be carried out in stages. To begin with, it is necessary to clearly define its boundaries. In order for this episode not to be taken out of the context of the work, it is necessary to give brief description previous episodes, to establish the relationships of the characters traced earlier. From this it will already be possible to draw a conclusion about what this scene gives for understanding the characters' characters, their state of mind, and experiences. It is also necessary to analyze the techniques that help to reveal the characters' characters. After that, certain conclusions can be drawn about character traits, moral guidelines, life values ​​of the characters, in general - the author's idea. It is very important to determine the place of the episode, its role in the development of the action of the work, its semantic load, and draw certain conclusions. Episode analysis helps to understand the significance of the analyzed episode in revealing the ideological content of the entire work.

It is very important to teach children to develop the ability to notice details, to highlight what at first glance seems simple, unimportant. Much in revealing the functions of an episode depends on the nuances that lie in the details. As a rule, many details carry a semantic load. When analyzing the episode, it is also worth tracing the change of moods, experiences of the character, his feelings. Extra-plot elements, such as: portrait, landscape, interior, inserted episodes, digressions- always help to get to the semantic content of the episode.

O.V. Tsvetkova identifies two main ways of analyzing the episode:

2. Choose one of the aspects of the analysis: issues, a system of images, the relationship of parts, ways of expressing the author's position, etc. - and focus on it, subordinating other aspects of the text to this one.

These paths of analysis determine the choice of methodology for analyzing the episode. The first path reveals in detail the meaning of the episode, its functions, role, and subsequent meaning for the whole work. It is incredibly interesting to go “following the author”: significant details are revealed that would be impossible to reveal with a cursory, introductory analysis of the episode; the author's intention becomes visible, all plot lines appear. But this kind of analysis requires a lot of time, which teachers do not always have in the classroom.

In the practice of teaching, as a rule, the second way of analyzing the episode is frequent. Teachers choose the most revealing episodes that can reveal one of the aspects. Thus, the analysis of the work turns into a phased analysis of all aspects on the example of different episodes. Of course, when analyzing each episode, even if it is indicative of one of the aspects, it is necessary to cover a number of other aspects, which in general can form certain conclusions that help to reach the problematics and the ideological component of the work.

As a rule, students are offered in advance a plan (scheme) for analyzing the episode, which is the basis for independent individual work at home or group work in the classroom. Analysis methodological literature allowed us to develop the following plan for a comprehensive analysis of the epic work:

1. Determine the boundaries of the episode, the place of the episode in the plot. Give the episode a title.

2. Describe the event underlying the episode. Determine the episode type.

3. Formulate the problem that is in the spotlight:

Characters (especially in stage episodes where dialogue is the basis);

4. Determine the central conflict of the episode (micro-conflict in relation to the episode or an element of the development of the conflict in relation to the entire text); indicate the type of conflict.

5. Describe the structure of the episode: what microepisodes are included in it. Select the elements of the plot-plot organization. Determine the role of the beginning and ending of the episode.

6. Determine the character system of the episode:

List the participants in the episode;

Determine their role in the system of characters: main, secondary; characters-circumstances and characters-actors;

Compare their role in the character system of the episode and the overall composition of the work.

7. Describe the main characters of the episode: naming method; portrait; speech; details; behavior, attitudes of characters, etc.

8. To identify the presence of artistic descriptions: portrait, landscape, interior; describe the features and significance of these elements of the episode.

9. Reveal the role of the artistic detail in the episode, determine the type of detail and its significance.

10. Analyze the language tools used by the author to depict characters and express the author's position, determine their role.

12. Determine the general pathos of the episode. Does it change as the action progresses?

13. Formulate the main idea (idea) of the episode.

14. Determine the functions of the episode in the overall composition of the work.

Such schemes for analyzing episodes are designed to organize the student's thought, but not to constrain his analytical creativity. Of course, in the course of work, a violation of the proposed procedure is possible, the student's own observations are necessary, which are not provided for by the plan, but which have arisen during the analysis of the text. In any case, the attitude to the plan must be creative, otherwise, in the process of studying the episode, the problem of the destruction of the reader's emotional perception due to excessive schematization will arise. To avoid this, it is necessary, firstly, to choose exactly the key episodes, and secondly, to constantly link the part and the whole, the episode and the whole work in order to preserve the integrity of perception; thirdly, to vary the methods of analysis.

Methodists and teachers are actively developing techniques for working with the episode in the classroom. It is very important to provide for such questions and tasks that create an attitude towards an emotional response and help the reader's experience to manifest itself. Among the methods of analysis of the episode are the following:

Heuristic (analytical) conversation;

Commentary reading;

Planning an episode

Compilation of the episode dictionary;

Composing a commentary for an episode;

Use of modern reading strategies (“Question tree”, “Reading with stops”, “Brainstorm”, “Fishbone”, etc.);

Drafting of a film script;

Oral word drawing, etc.

The main thing in the choice of techniques is to take into account the specifics of a literary work, the ideological and artistic features of the episodes. It is also important to take into account the level of reading and age development of schoolchildren. The nature of the tasks and the choice of methods for analysis will vary depending on the age and preparedness of the students. The degree of independence of students in the process of studying the text also depends on this: the older the class and the higher the literary development of schoolchildren, the greater the degree of their independence. Thus, when choosing ways and methods for analyzing an episode, one must remember that the main task of a teacher is to teach his students to understand the laws of a literary work, to determine how to implement the author's intention, and thereby educate a qualified reader.

In the whole process of analyzing the episode, it is necessary to form the following reading skills of schoolchildren:

1. The ability to correctly divide the text into its constituent elements, to see the boundaries of these parts, to be able to determine the main theme of the microtext. In the process of analyzing an episode, the student acquires the ability to identify key episodes in a work of art, while pointing out their relationship.

2. The ability to give clear arguments that help strengthen your opinion, make it more detailed and conclusive. Pupils master the ability to identify artistic details, which are the key to understanding the work.

3. The ability to correctly perform a logical comparative analysis. The episode, undoubtedly, assumes a certain independence, but it is still a mistake to consider it separately from all other episodes of the text. Therefore, it is most important when analyzing an episode to compare different parts of the text, to consider them in two ways: on the one hand, as a kind of independent part; on the other hand, as a single inseparable whole.

4. The ability to highlight the idea, meaning. In the process of analyzing an episode, the author's position is always determined, which is closely related to the whole meaning of the work. Pupils also master the ability to recognize ways of expressing the author's position. There is an immersion in the creative laboratory of the writer.

The key skill that a student should possess is the ability to perceive the episode as a whole, to see in a separate episode an expression of the author's concept of the world and man. This is the most difficult and most creative moment of the reader's work. All these skills help to transfer already acquired knowledge and skills to a new situation, because the knowledge gained in literature lessons is the foundation for all other disciplines. In the process of analyzing the episode, you need to remember the main thing - this is the way of educating a reader capable of co-creation.

3. Analysis of the ball episodes in the epic novel by L.N. Tolstoy "War and Peace"

The ball was an important aspect of the life of the noble society. It is no coincidence that many works of Russian literature describing the life of the nobility include episodes describing balls. In Leo Tolstoy's epic novel "War and Peace" there are three episodes describing the ball: a Moscow ball at Yogel's (volume II, part 1, chapter XII), a ball in St. Petersburg (Natasha Rostova's first adult ball - volume II, part 3, chapters XIV - XVII)), a ball in Vilna before the entry of French troops into Russia (volume III, part 1, chapter I).

All episodes of the ball are important both in the development of the plot of the whole work, and in the fate of an individual character.

In our opinion, these episodes, not only closely related to each other by the very situation of the ball, are built according to one model, but also implement various models of the life of a noble society: family - society; Moscow nobility - St. Petersburg high society - the army.

3.1 General characteristics of the balls Moscow ball at Yogel

These were special balls for teenagers, where they honed their newly learned steps. But this was the best fun, which both adult girls and young people looked at, noting the ease and lightness of this event. This kind of celebration was arranged by Pyotr Andreevich Yogel, a Moscow dance master, a dance teacher at Moscow University, and an organizer of balls. He was invited to Russia by G.I. Bibikov in 1798 and began his work with ballets at the Grebnevo estate. And in January 1800, Pyotr Andreevich began to give the first lessons in Moscow. And immediately became a fashion teacher. He had children's masquerades, parents took their sons and daughters to Yogel, sewed costumes according to his advice. A few years later, Yogel began to organize not only children's parties, but also public balls, "the most fun in Moscow."

The peculiarity of these balls was that they were attended only by those who really wanted to have fun and, of course, dance, dance with that mischief and ease that thirteen and fourteen-year-old girls can afford, putting on long dresses for the first time.

This ball did not fit into the foundations of a typical secular ball of that time. Firstly, there was no hostess and host of the ball, and secondly, they danced only what their heart desires, such as: a dance with a shawl, ecossaises (an old Scottish folk dance), anglaises (the collective name for dances common in Europe in the 17th - XIX centuries(French, hornipe, country dance, etc.) and, of course, a mazurka.

The hall where the celebration took place was taken from Count Bezukhov. This ball was attended by Natasha, Sonya, Nikolai Dolokhov, Denisov. By right, Natasha's first ball should be considered the Moscow ball at Yogel's, but this is just a "teenage" ball, and the ball, corresponding to secular canons and customs, took place in Natasha's life a little later.

Ball in Petersburg.

The long-awaited ball for Natasha, at the mention of which her heart fluttered with incredible force and a captivating feeling of celebration arose, was scheduled for December 31, on the eve of the new year 1810, a ball at the Catherine's nobleman. This ball is a very important ball, since it was attended by the diplomatic corps and the sovereign himself. The ball was appointed strictly according to the canons: at half past ten. The Promenade des Anglais, the famous house of a nobleman, the gloss of celebration, countless lights of illumination. Was the host and hostess of the celebration. This ball was attended by a large number of guests, such as: the sovereign, the Dutch envoy, the queen of St. Petersburg - Countess Bezukhova, millionaire daughters-in-law, Anatole Kuragin, Drubetskoy, Marya Antonovna, Peronskaya, Pierre Bezukhov, the Rostov family, Andrei Bolkonsky and many others. The main characters of the episode are Natasha Rostova, Andrei Bolkonsky, Pierre Bezukhov. The holiday was distinguished by a special scope, extravaganza.

Ball in Vilna before the entry of French troops into Russia.

This ball was scheduled for June 13, 1812. Dinner, boating, fireworks, and the ball itself were supposed to take place at Zakret, the country house of Count Bennigsen, in Poland. The ball was given by the adjutant general. On that very day, Napoleon gave the order to cross the Neman, and the advanced troops of the French army crossed the border. It was a cheerful, brilliant holiday, which brought together a myriad of beauties. The guests at this ball were Countess Bezukhova, Boris Drubetskoy, Adjutant General Balashev, Arakcheev and, of course, the sovereign himself. But the main characters in this episode were Countess Bezukhova and Boris Drubetskoy.

A feast on the day the war began, and meanwhile it was a ball where all the formal traditions of holding balls were observed.

...

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The attitude towards the figure of Leo Nikolayevich Tolstoy and all the work of the great genius is best defined by the word "reader", the perception of his heroes has become so traditional, the interpretation of his works is so familiar. The contradictions noted in the views of the writer do not affect the established characteristics of the characters.

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I.A. Esaulov in his work “Category of Sobornost in Russian Literature” points out that the special, “Orthodox context” of “one of the pinnacle works for Russian literature”, the novel “War and Peace”, is not only not described by literary criticism, but also ... not even designated." The author notes "the special significance for this novel of the motive of prayer" . In particular, referring to the study by S.G. Bocharov “War and Peace” by L.N. Tolstoy" (M., 1978) and clarifying the position set forth in it, Esaulov writes that in "the conciliar prayer, in which Natasha Rostova participates, exactly this conjugation of heaven and earth(highlighted by the author), that conciliar unity in a single prayer, which is so characteristic of Orthodox worship, which largely determines the structure of the Orthodox mentality. Moreover, the confirmation of the truth of such a conclusion for the author of the “Category of catholicity ...” (and not only for him) is the feelings of the heroine (“Let us recall that feels(highlighted by the author) Natasha is always true, ”the text says with reference to the work of Khalizev V.E., Kormilova S.I. “Roman L.N. Tolstoy “War and Peace” (M., 1983)). The literary critic is not embarrassed by the fact that the heroine’s fasting, her repentant mood is considered in the text as a medicine: “The countess, who hoped that“ prayer will help her (Natasha) more medicine, ”turns out to be right.” I think the clarification that "... repentance(highlighted by the author) of the heroine ... took place in accordance with the Orthodox annual cycle” does not clarify anything in the behavior and in our assessment of this image.

A more detailed study of the worldview of Lev Nikolayevich, in particular, the religious aspect of the writer's work, is contained in the work of M.M. Dunaev "Faith in the crucible of doubt". Describing Tolstoy's story "Three Deaths", Dunaev says that using the image of a peasant as an example, the writer shows the "religion of nature": "The death of a peasant is calm precisely because he is not a Christian. The world of nature, the world of the animal, is for Tolstoy the world of happiness, beauty (earthly, sensual) and harmony. The Rostov family lives the same life: it (this family) is immersed "in the elements of the soul-emotional", which, "alien to rational calculation, having little understanding of the rational foundations of life", opposes the Rostovs to civilization, but, as it seems to us, in no way testifies to their religiosity.

The "small church" faith of Platon Karataev, as the researcher correctly notes, for Tolstoy there is an undoubted dignity of the hero: "this is the naturalness, the naturalness of the worldview on man level(highlighted by the author)" . Natasha, participle " man level, level of the people (highlighted by the author)» , « initially given to the unconscious following the laws standing above her, not condescending to thinking about her place in life in relation to these laws ", and" the famous scene at the uncle should be perceived as a symbolic, symbolic image that reveals natural being Natasha (highlighted by the author)» . And this again - following the "religion of nature" . Therefore, the words of Dunaev that the contradiction between the natural state of the heroine and her rejection of relations with Anatole Kuragin is removed by the fact that Natasha “is saved by the craving for spiritual life inherent in her nature,” since the nature of this spirituality is not entirely clear in this case. After all, the researcher himself, comparing the natures of Marya Bolkonskaya and Natasha, notes that the latter is more likely to be distinguished by sincerity, and not spirituality, that is, in other words, Natasha’s being is limited by an earthly understanding of goodness. However, the episode of the heroine’s fasting is considered in the work in the context of true Orthodoxy: “Natasha decides to fast - joyfully. She goes to the temple and prays, sincerely giving herself to a new spiritual experience for her.

The humility with which Natasha's prayer is associated is a hallmark of her prayer. And further: “In Russian (and in world) literature, this is perhaps the most perfect description of the internal state of a person standing in prayer.” At the same time, the fact that Natasha prays, “sincerely giving herself new to her spiritual experience (highlighted by us) ”(compare with Tolstoy:“ a new feeling for Natasha humility before the great, incomprehensible, seized her when she, in this unusual hour of the morning looking at the black face of the Mother of God, illuminated both by candles burning in front of him and by the light of the morning falling from the window, she listened to the sounds of the service, which she tried to follow, understanding them ").

Meanwhile, it is obvious that in the text of Tolstoy's novel, in any case, in the episodes relating to the characterization of Natasha and the depiction of the traditions of life of the Rostov family, we will not see that natural involvement in Orthodox life (in fact, Orthodox folk life), which in the novel by A.S. Pushkin is expressed in just one line (“Twice a year they fasted ...”). Speaking about the work of I.S. Shmelev, in whose works the prayer and the prayerful state of the characters are an integral part of the aesthetic reality, S.V. Tolstoshey notes the "meaningful spiritual vitality" of the heroes of Shmelev's prose, exactly what is by no means observed in Tolstoy's heroes.

The entire Rostov family, bearing in itself the idea of ​​the family ideal in the understanding of Tolstoy, understands by fasting "to listen to three services at home." To Natasha herself, the desire to fast comes “at the end of the Petrovsky fast”, that is, the very beginning of the fast for the heroine, painfully experiencing her misconduct, went unnoticed.

Prepare for the sacraments Orthodox Church Natasha decides not on her own spiritual understanding and not on the advice of her confessor (the existence of such a thing is not even mentioned in the text), but at the suggestion of the “Otradnenskaya neighbor”.

A departure from the Orthodox Russian traditions of the heroine is also her “search” for a parish that would correspond to the importance and exclusivity of the moment she was experiencing: “On the advice of Agrafena Ivanovna, Natasha did not preach in her parish, but in the church, in which, according to the pious Belova, there was a priest of a very strict and high life.”

The decision made by Natasha to prepare for repentance and communion (Repentance - (from the Greek. metanoia) - a change in thinking, a change in outlook on the world. The Russian view of this concept is deeper and more specific, it is based on the original meaning of the root - kai- in the Slavic language. "Word kayat was originally understood as set a price, a ransom for sin. That's why cursed is a person who is obliged to atone for sin, and penitential is the one who is already paying the price for his crime. Restless but a person is not atoning for his guilt, who has not come to repentance ".) - nothing more than an "occupation" that should distract her from experiences, a game ("... happiness to join (the feeling of "pure life and happiness") or to communicate how, Joyfully playing with this word, Agrafena Ivanovna told her (Natasha). Hence - thoughtfully "the worst ... dress" and "an old mantilla."

Natasha’s perception of the service, on the one hand, is rational (“I tried to follow” (the sounds of the service), “understood them”, “didn’t understand”, “it was sweeter to think”, “I must ... believe”), on the other hand, sensual. Natasha is not in a state of deep spiritual experience, but in a state of exaltation: “when she did not understand (the sounds of the service), it was even sweeter for her to think that the desire to understand everything is pride, that it is impossible to understand everything, that one must only believe and surrender to God, which in those moments - she felt - ruled her soul. The misunderstanding of the service by the heroine is a more than strange phenomenon, because we are talking about a misunderstanding of the Old Slavonic language, in which the church service was conducted in the 19th century and is still being conducted to this day. And such a lack of understanding by a person who has received a full-fledged, that is, not subjected to secularized influence, education, is surprising. Not understanding, Natasha thinks that one should not indulge in pride, pride. But this is not about penetrating into the mystery of the Divine word, but about comprehending the content of the service, which, I think, was understandable and accessible even to an illiterate peasant.

Oddly enough, the behavior of the heroine before the start of the service serves as evidence "by the contrary". A sincere awareness of sin would not allow her to think of anything but repentance, but Natasha “out of habit examined the ladies’ toilets, condemned ... an indecent way to cross herself with a hand in a small space ...”, and then the heroine compensates for this spiritual absent-mindedness with excessive prayerful enthusiasm.

Natasha's prayer is devoid of a moment of deep spiritual "living" of the spoken words, so she invents "enemies and haters in order to pray for them" and wishes "to have more of them, to love them, to pray for them." Such a “humiliation” of oneself, an experience of “tender impatience in the soul” and not deeply Orthodox, but an enthusiastically far-fetched surrender to God’s will (“... I surrender myself to your will ... I don’t want anything, I don’t want ...”) is necessary for Natasha in order to feel completely good (“I know that now I am good, before I was bad, but now I am good”) and thus have no “obligations” to the Lord. Initiation (not internal, but external) of Natasha to conciliar prayer does not mean the further spiritual development of the heroine: Tolstoy, as it were, completes the path of correcting her character, canceling the need for a person’s constant striving for the ideal. It is safe to say that in describing Natasha's fasting, the writer goes not from the hero's act to the definition of character, but vice versa: the predetermination of character determines actions. Therefore, this episode is perceived in a single paradigm of the character of the heroine: the image of Natasha is positive, and everything she does is designed to confirm this.

The predestination, lack of feeling of the episode by the author is also manifested in the description of the church service. Invisible to the perception of the churched modern reader, the inaccuracies made by the author could not be unknown to a person living in an Orthodox environment of the 19th century. The reason for them, as already noted, lies in one thing: in the author's neglect, in the fact that the episode of prayer is a passing one, "necessary" to characterize the image, but in no way is it internally experienced by the writer.

The described behavior of the deacon, who straightens, "setting wide thumb, long hair from under the surplice ", it is difficult to imagine with your own eyes, since dressing him does not imply such an action. Tolstoy concludes the peaceful litany, beginning with the words “Let us pray to the Lord in peace”, as follows: “the deacon crossed the orarion around his chest and said: “We will betray ourselves and our belly to Christ our God.” Here there is a confusion of parts of the liturgical worship: the Great, or peaceful litany, which is pronounced by the deacon after the initial exclamation of the Liturgy, ends with words that complete the 2nd Petitionary litany before communion in the third part of the service - the so-called Liturgy of the faithful. The deacon crosses the chest with the orarion after pronouncing the 2nd Litany of Petition, and not before, as we see in Tolstoy.

Thus, recognizing Lev Nikolayevich as the creator of one of the greatest masterpieces of Russian literature, an epic in which the heroic spirit of one of the most tragic and glorious pages of our history is fully reflected, one should not idealize his ideas about the world, ideas in which a God-given genius turned out to be embarrassed by the temptation of earthly grandeur.

Literature.

1. Esaulov I.A. The catholicity category in Russian literature. - Petrozavodsk, 1995.
2. Dunaev M.M. Faith in the crucible of doubt. / Electronic resource: Access mode http://palomnic.org/bibl_lit/bibl/dunaev
3. Tolstoy L.N. War and Peace. - M.: Enlightenment, 1981. V.3.
4. Tolstoshey S.V. On some features of the spiritual realism of I.S. Shmeleva / In the book: Synergetics of Education: Fourth International Cyril and Methodius Readings. - M., Rostov-on-Don, 2008.
5. Mirinova T. Cross and sword. - M., 2008. - From 96.

In Leo Tolstoy's novel "War and Peace" there are many vivid episodes, separate pictures, each of which means a lot in itself. Moonlit night in Otradnoye, Natasha's first ball, hunting. All episodes serve as a general connection of the novel, represent a vast whole, but each one individually is complete and interesting in its own way.
Almost at the beginning of the episode, which describes the meetings of Prince Andrei with the old oak tree, Tolstoy reflects on the fact that private life does not depend on politics. This life, which is called by the author of the present, is devoted to "the interests of health, disease,

Labor, rest. interests of thought. It is saturated at every moment of time.
Disappointed in his former aspirations and ideals, having experienced repentance and grief (wounded at Austerlitz, death of his wife), Prince Andrei comes to the conclusion that life in its simple manifestations, life for himself and for his loved ones is the only thing left for him.
Bolkonsky thinks that life path defined. But can an active, ebullient nature remain outside the public interest for a long time? And now Prince Andrei, “despite the indifference he expressed to Pierre to all external events in the world,” begins to return to active life.
Tolstoy did not recognize life as frozen, identical, and therefore dead. In her, as in people, he saw and appreciated constant development, movement forward.
The author shows how slowly his hero returns to life, to people, to new aspirations.
The meeting with the old oak helped him to comprehend his current state of mind.
The oak, which Prince Andrei meets twice on his way, reveals to him the “meaning of life” in completely different ways: in one case, it seems to Bolkonsky the personification of hopelessness, in the other, a symbol of joyful faith in happiness.
At the first meeting, the oak appears to him as a living being, “an old, angry, contemptuous freak”, which is endowed with the ability to think, persist, frown and despise the cheerful family of “smiling birches”. Prince Andrei ascribes his thoughts and feelings to the oak and, thinking about it, uses the pronouns “we”, “our”: “. We know life - our life is over!
The hero finds in the grove something that is consonant with him - an unblown oak, which "alone did not want to submit to the charm of spring and did not want to see either spring or the sun."
Sad, hopeless thoughts crowded at that time in the head of Prince Andrei: “Yes, he is right, this oak is a thousand times right. Let others, young people, again succumb to this deception, but we know life, our life is over!
Tolstoy often connects the inner life of his favorite characters with the life of nature. Such parallelism is characteristic artistic method writer.
So the “thoughts” of the oak correspond to the thoughts of Prince Andrei. For the first time, he drives past him disappointed in his former ideals, when it seems to him that an active creative and personal life is already behind him. The second time - after a trip to Otradnoye and a meeting with Natasha, when a turning point is planned in his fate and hopes for happiness and a desire for serious state activity return again.
The description of the moonlit night in Otradnoye, which Prince Andrei and Natasha admire at the same time, is emotionally and romantically elevated. A large number of epithets in a relatively short passage convey shades of contrasting colors: the night is motionless-light, the trees are black on one side and silvery lit on the other, vegetation with silvery leaves and stems in some places, the roof is shiny with dew, a tree with a bright white trunk, full moon in a bright, almost starless sky. Night, moon, light and shadows - everything enchants with unforgettable charm.
The final part of the episode is very important. Prince Andrey, after this charming night, when “an unexpected confusion of young thoughts and hopes” arose in his soul, sees the same oak tree on the way back, but already transformed, spread out “a tent of juicy, dark greenery”. Prince Andrei suddenly experienced a long-forgotten feeling of joy.
He recalls “all the best moments of his life”, moments of spiritual upheavals that gave him the experience of painful emotional experiences (“the dead reproachful face of his wife”), opened the light of a new truth (Austerlitz with his high sky, Pierre on the ferry and the night in Otradnoe).
It is especially important to emphasize here the word “renewal”. Indeed, the trip to Otradnoye will become a major milestone on the path of Prince Andrei's spiritual quest. He will again feel the desire to be useful, to live among people dear to him: “Not only do I know everything that is in me, it is necessary that everyone should know it.”
The episode once again provides an opportunity to see how Tolstoy shows the ability of his characters to develop spiritually and change their inner world. (This method Chernyshevsky called "dialectic of the soul").
Thus, the episode "Prince Andrei's trip to Otradnoye" is important from several points of view: it depicts one of the main characters of the epic novel at the most important stage of his life, reveals his complex inner world and gives an idea of ​​some characteristic features artistic world Tolstoy.

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2. Tolstoy's pictures of nature, notes V. Dneprov, “are closely connected with the inner life of the characters. The beauty of nature, as it were, continues the human image, supports and carries it. The position of the landscape in Tolstoy's novel...
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11. From the epilogue of the novel we cannot learn anything about Nekhlyudov's future. “His business with Katyusha was over. She did not need him, and he was both sad and ashamed ....
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15. Among the heroes of Tolstoy's novel "War and Peace" a considerable place is occupied by staff officers of the Russian army. What is connected with the concept of headquarters? This is the brain, the heart, the leading center of the army! Staff officers must be human...
At the center of the epic novel "War and Peace" are authentic historical events beginning of the 19th century: wars and peace negotiations, military councils and reviews. In the first part of the work, L. N. Tolstoy tells about foreign ...
16. In the early 80s. there is a decisive change in Tolstoy's views on life, on its moral foundations, on social relations. “A coup has taken place with me,” the writer admitted, “which has been preparing for a long time ...
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The epic novel "War and Peace" is full of a large number of small but important episodes that do not directly affect the development of the plot and do not play a decisive role in the fate of the main characters. These episodes are special meaning to understand the novel as a work that combines ideas about the personality of a person, his role in history and the universe as a whole.

The conclusion of the peace treaty in Tilsit is such an episode. In this episode, important ideological lines intersect, the motives of war, honesty, and justice are touched upon. The author allows us to see new details in the descriptions of two emperors - Alexander and Napoleon.

The Peace of Tilsit is the most important event in the development of international politics at the beginning of the 19th century, and the meeting of the great emperors itself became epoch-making. We present an atmosphere of solemnity and majesty.

But Tolstoy, in his characteristic manner, depicts everything without a majestic halo, truthfully and simply.

The author depicts the conclusion of the peace treaty of Tilsit through the perception of Nikolai Rostov, who arrived in order to deliver Denisov's petition for pardon to the emperor. Rostov travels at night, he does not want to be recognized, so he is wearing a civilian dress, he feels awkward and embarrassed, which increase even more when he sees everything that is happening. At first, he was perplexed to discover the French in Boris's apartment, and yet in the army they were still treated with contempt, hatred, and even some fear. At the same time, Tolstoy does not support either Boris or Nikolai. The first quietly dine with former enemies, the second hates them fiercely, although, in fact, they are no longer enemies.

In this episode, the author makes us understand that excessive patriotism is not always justified. Yes, it is natural during the war, but one must be able to communicate with people outside of hostilities. However, this idea is not absolute, because the writer tells us about how Boris, Tolstoy's unloved hero, is easily in the same company with the French.

In this episode, images and their placement are of great importance. We see the opposition of the images of Rostov and Boris. Rostov asks for Denisov, as Boris had previously asked for himself from Prince Andrei. But now the roles have changed. Boris listens to Nikolai from above, as if he is a subordinate and reports on the events to his general. Rostov feels awkward, because before they communicated quite friendly. Tolstoy puts Boris in this scene in an extremely unfavorable light.

In this episode, Nikolai Rostov is also disappointed in his ideals, his former convictions are crumbling. The hero represented the sovereign as an exceptional personality, fairer and more generous than whom there is no one. But the author shows us and his hero the true face of the emperor, and Nicholas gradually changes his mind about Alexander. The emperor turns out to be not at all such an impeccable monarch as he seemed to Nicholas and the people. Here the sovereign appears on the porch, and Nicholas is struck by his appearance, in which greatness and meekness are read at the same time. However, Tolstoy very quickly reduces this image: the emperor is a phrase-monger. For him, to say a phrase is almost to create piece of art. But this phrase has nothing to do with real life.

Nikolay admires the Russian emperor, and Boris admires Napoleon, who is shown in the novel as more vulnerable than Alexander. In turn, Rostov is stronger than Boris.

Tolstoy systematically debunks the image of Napoleon. The French emperor does not hold well in the saddle, his external characteristics are unattractive: an unpleasantly feigned smile on his lips, he is small in stature and has small white hands. Behind Napoleon stretches the long tail of the retinue.

It is unpleasant for Rostov to watch how Bonaparte easily and freely communicates with Alexander, and the Russian emperor responds favorably to him. Nicholas cannot understand how a lawful sovereign and a criminal can communicate peacefully.

Lazarev, who was recognized as the bravest in this war, receives an award. This seems unfair to Nikolai, because, in his opinion, Denisov may have been braver than Lazarev, and now he is serving a sentence. The whole scene of the conclusion of the Tilsit peace treaty is a contrast to the episodes of the war, as well as the previous chapters in the hospital, where we saw the whole truth of life and realized how unattractive it was. At the same time, we cannot say that a cardinal change is taking place in the soul of Nikolai Rostov. He sees what is happening, but does not try to evaluate it, to understand what he feels, he is afraid of his thoughts. And although he understands that the war with its cruelty, with the death of innocent people, torn off hands and crippled destinies, Napoleon with his white pen and Alexander smiling at Bonaparte somehow do not fit together. So a drunken cry breaks out of Rostov's soul - a cry of despair, which is caused by deep disappointment in what he sacredly believed in. But to believe that there is no sovereign, no God, he does not agree. So Tolstoy introduces the motive of doubt, thanks to which the moral growth of a person is possible.

So, the episode of the conclusion of the Peace of Tilsit plays a significant role in the novel, since it shows the other side of the world, which is not subject to the consciousness of truth, but is filled with undisguised life truth. In such a world, a sincere, honest person feels uncomfortable. The author tried to show real life people and the human way in this life.