The unity and inspiration here are apparent and fragile, because they are based on personal and petty, selfish goals. “They had no choice but to shout “Vive l’empereur!” and go fight to find food and rest for the victors in Moscow” (vol. III, part III, chapter 28). For Napoleon himself, the future battle was big game, which absolutely must be won, and for this he must correctly arrange the chess - troops.
Landscapes play a significant role in the description of the battle (vol. III, part II ch. 30-39): the morning sun, just splashing out from behind a cloud and scattering fog, mixed with the smoke of shots; the sun, obscured by smoke and still high, in the middle of the battle; the sun hits “slanting rays on Napoleon’s face”; at the end of the battle, clouds covered the sun, rain began to fall on the dead, on the wounded, on the frightened and exhausted people, “as if he was saying: “Enough, people. Stop it.... Come to your senses. What are you doing? On the field “there was now a haze of dampness and smoke and there was a strange smell of saltpeter and blood.” Thus, the image of the sun accompanies smoke and shots, and this single visual-auditory image marks the stages of the battle.
Raevsky's battery (chap. 31-32).
The soldiers and officers of the battery perform their duty; Everyone is busy all the time: bringing shells, loading guns, doing it with panache; Everyone is animated all the time, everyone is joking: at Pierre, at themselves, at the grenade. And this is not frivolity, but a manifestation of perseverance. endurance. And Pierre, who was watching them, also wanted to become a participant in the battle and offered his services as a carrier of shells. “To be a soldier, just a soldier...” Pierre thinks later. Learn to “align your life with theirs. Tormented by the fact that the bloodiness of the battle frightened him, Pierre again turns his thoughts to the soldiers. “And they... they were firm and calm all the time until the end... They don’t talk, but they do.” "Enter this common life with their whole being, to become imbued with what makes them so. But how to throw off all this unnecessary, devilish, all the burden of this outer man? (vol. III, part III, chapter 9)
The behavior of Napoleon and Kutuzov in the battle (chap. 33-35)
One of them, leading, as it seems to him, the battle, gives a lot of orders, reasonable in themselves, but such “which either had already been executed before he made them, or could not be and were not executed” (chap. 35), because the situation changed, and the order became incorrect. Slender masses of French troops were returning from the battlefield in “frustrated, frightened crowds,” and Napoleon felt that the terrible scope of his arm was falling powerless. And Kutuzov only monitors the spirit of the army and leads it as best he can. He gives only those orders that can support or strengthen the steadfastness of the army: he orders the troops to be notified about the capture of Murat, about tomorrow’s offensive, etc.
The wounding of Prince Andrei, his courage (chap. 36-37)
As a result of the Battle of Borodino, Tolstoy’s conclusion sounds like a moral victory for the Russians. Read out (chapter 39).
IV. Verification work based on the episode “Battle of Borodino” (Part II, Ch. 19-39).
Why did Tolstoy show a significant part of the events of the Borodino battle in the perception of Pierre?
What significance did the soldier’s words have for Pierre: “They want to attack all the people...” Ch. 20?
How are the characters of historical figures and main characters of the novel revealed in the central scene - the description of the Battle of Borodino?
What are the results of his life that Prince Andrei sums up on the eve of the battle?
Explain the words of Prince Andrei: “while Russia was healthy, a stranger could serve her” Ch. 25.
How do you understand Pierre's thoughts about the hidden warmth of patriotism, chap. 25?
How does the scene with the portrait of his son and the phrase characterize Napoleon: “The chess is set, the game begins tomorrow” Ch. 26, 29?
How is the true heroism of the people revealed in one of the episodes of the Battle of Borodino (at the Raevsky battery)?
For what purpose does Tolstoy compare Napoleon with a player? 29?
What meaning does Tolstoy put into the words about the moral victory of the Russian army, Ch. 39?
Homework: (according to options)
Systematize the material according to the images of Napoleon and Kutuzov.
Questions about the image of Kutuzov.
Do they correspond to real historical figures images of Kutuzov and Napoleon in the novel?
Why does Tolstoy have a negative attitude towards Napoleon and love Kutuzov?
Who are these heroes opposed to and similar to in the novel?
Why did Kutuzov avoid battles in 1805, but give the Battle of Shengraben?
Why does he sleep at the military council before Austerlitz and actively act in battle? Are his orders carried out at Austerlitz?
Prove that Kutuzov is “one of our own” dear person"for the people.
Is there a contradiction between the way Tolstoy defines the role of Kutuzov in the Battle of Borodino and the behavior of Kutuzov shown by Tolstoy?
How does Kutuzov, not wanting to first give up Moscow without a battle, come to this decision?
Does Kutuzov claim to be a hero in history?
Is Kutuzov’s attitude towards different people? Show this using the example of the hero’s speech.
Questions about the image of Napoleon.
How is Napoleon perceived by Prince Andrei and Pierre at the beginning of the novel? Where and why does this perception of Napoleon as a hero collapse?
What is the traditional idea of Napoleon's appearance? How does Tolstoy draw Napoleon?
Does Tolstoy know anything positive about the real Napoleon? Why does he exclude this from the image of his hero? What was Napoleon guided by when he went “from West to East to kill his own kind”?
Why are Napoleon’s “reasonable” orders not followed in the Battle of Borodino? Are all his orders reasonable?
Does Napoleon notice other people? What is his attitude towards himself?
Show him acting and hypocrisy.
Compare Napoleon's speech with Kutuzov's speech.
Show what artistic components make up the images of both commanders?
Appendix - individual cards for Volume III.
1) The beginning of the war of 1812 (part I, chapter 1). How does Tolstoy assess the role of personality in history? What importance does he attach to the personal and “swarm” life of a person?
2) Crossing of the Polish lancers across the Neman (Part I, Chapter 2). How does the author reveal his attitude towards Bonapartism?
3) Pierre at the beginning of the war (Part I, Chapter 19). What do Pierre’s mental turmoil, his dissatisfaction with himself and those around him indicate?
4) The fire of Smolensk and the retreat of the Russian army (Part II, Ch. 4, 5). What common feeling are shared between the city residents and the soldiers? How do the soldiers treat Prince Andrei and why?
5) In St. Petersburg salons (Part II, Chapter 6). What idea underlies the “interconnection” of episodes: the fire of Smolensk and the life of St. Petersburg salons?
b) Bogucharovsky revolt (Part II, Chapter 6). Why couldn’t Princess Marya understand the Bogucharov men? For what purpose did Tolstoy introduce a riot scene into the novel? How are the main participants in the riot and Nikolai Rostov shown?
7) Conversation between Kutuzov and Prince Andrei (Part II, Chapter 16). How do you understand Kutuzov’s words: “... your road is the road of honor”? What is the significance of Prince Andrei’s thoughts about Kutuzov in the novel: “...he is Russian, despite the novel Zhanlis and French sayings...”?
8) Council in Fili (Part III, Chapter 4). Why does Tolstoy portray the advice through the perception of the girl Malasha?
9) Departure of residents from Moscow (Part III, Chapter 5). How does Tolstoy explain the mood of the residents leaving Moscow?
10) Natasha at the wounded Prince Andrei (Part III, Ch. 31-32). What do you remember most about the scene of Natasha’s date with the wounded Prince Andrei? How does the author emphasize the connection between the fates of the novel’s heroes and the fate of Russia?
Information for teachers
Final Lesson on this topic " Patriotic War 1812" can be carried out in the form of the game “Clever and clever girls”.
Why Russia's war with Napoleonic France in 1812 is called the Patriotic War?
About which hero of the war of 1812 A.V. Suvorov said: “During the assault on Izmail, he commanded my left flank, but was my right hand»?
Name the commander-in-chief of the Russian army in the War of 1812. How did Russian soldiers talk about him?
Green path.
In which poem does Lermontov first address the theme of the Patriotic War of 1812? ("Two Giants")
Who did M. Yu. Lermontov call in the poem “Two Giants” “a three-week daredevil”? (Napoleon)
But he fell in the distant sea
On unknown granite,
Where the storm is out in the open
Name the most important battle in the War of 1812. Why is it called that? (The Battle of Borodino took place near the village of Borodino.)
Yellow path.
Where do these lines come from?
In a cap of cast gold
Old Russian giant
Was waiting for someone else to join me
From distant foreign lands. (From the poem “Two Giants”)
In what form did Lermontov talk about Napoleon's defeat in this poem? (In a fairy-tale-allegorical form, like a battle between two giants).
In which poem does Lermontov first refer to the image of the Battle of Borodino? (In the poem “Borodino Field”.)
The Red carpet.
What did M. Yu. Lermontov talk about in the poem “Two Giants”? (About Bonaparte’s defeat in a clash with the “Russian giant” - Russia.)
Which of the 19th century poets you know took part in the Battle of Borodino? (P. A. Vyazemsky.)
Questions for drawing tracks
When was the poem "Borodino" written? What date is it dedicated to? (25th anniversary of the Battle of Borodino.)
On whose behalf is the story told about the events of 1812? (On behalf of an old soldier, war veteran.)
How does the poem begin? (Read.)
green path
What is the poem? In what form is it written? (In the form of a dialogue between an old and a young soldier).
How long did the battle last? How did Lermontov say about this? (“We were in a firefight for two days. // What’s the use of such a trifle? // We waited for the third day.”)
Who owns the words:
Guys! Isn't Moscow behind us?
We'll die near Moscow,
How our brothers died!
(To Colonel of the Russian Army.)
What feelings did Lermontov express in this poem? (Feeling of pride for the Motherland and the Russian people.)
Yellow path.
How do you explain why the story of a great event was entrusted to an ordinary soldier, a war veteran?
What is the mood in the Russian camp on the eve of the battle?
How to explain that the poem “Borodino” contains simple, colloquial and very solemn words?
The Red carpet.
Which artistic technique did the author use when describing the battle? Give lines from the poem.
Questions for drawing tracks
Why is the passage in the literature textbook called “Petya Rostov”?
What period of the War of 1812 is this passage about?
Green path.
- “The riders went down the mountain, disappeared from view, and after a few minutes they appeared again. An officer rode ahead at a tired gallop - disheveled, thoroughly wet and with his trousers billowed above his knees.” Who is this officer?
What state was Petya Rostov in when he arrived at Denisov’s detachment? (Petya was in an enthusiastic childish state of tender love for all people and was sure that people treated him the same way.)
- “He dressed in a checkmen, wore a beard and St. Nicholas the Wonderworker on his chest.” Introduce your hero. (Vasily Denisov, commander of a partisan detachment.)
How do you assess the attitude of Petya and all adult partisans towards the prisoner? French boy? (Cruelty towards the enemy is replaced by pity for the prisoner.)
Yellow path.
Which of the partisans especially attracted Petya? Tell us about it.
- “I have wonderful raisins, you know, the ones without seeds. We have a new sutler - such wonderful things. I bought ten pounds. I'm used to something sweet." Who owns these words?
“Ready,” Denisov repeated and quickly went to the prisoners, who were surrounded by dismounted Cossacks. - We won’t take it! - he shouted to Denisov.” What did Dolokhov mean?
the Red carpet
- “His face was clean-shaven, he was dressed in a guards cotton frock coat with George in the buttonhole and a simple cap straight on.” (Dolokhov.)
Why, seeing the dead Petya, Denisov remembers his words:
“I'm used to something sweet. Excellent raisins, take them all.”
The final
Name the names of Russian military leaders who took part in the Patriotic War of 1812.
Green path.
To resolve what issue did the military council meet on September 13, 1812 in the village of Fili near Moscow?
What monument to the liberators was built in St. Petersburg? Where is he located?
Which Russian artist most often turned to the theme of the Patriotic War in his work? (Vasily Vasilyevich Vereshchagin: “Napoleon on the Borodino Heights”, “In the Kremlin. Fire”, “On high road. Retreat. Escape".)
Yellow path.
Why, having won the Battle of Borodino, does Kutuzov decide to leave Moscow?
What temple was built in Moscow in honor of the victory over Napoleon's army? With what funds was it built? What is the fate of this monument?
What order was awarded to the most famous military leaders during the Great Patriotic War of 1941-1945? (Order of Kutuzov.)
The Red carpet.
When did M.I. Kutuzov die? Where is he buried? (April 28, 1813; St. Petersburg, Kazan Cathedral.)
Summing up the results of the game, rewarding the winner.
L. N. Tolstoy. "War and Peace"
Image of the War of 1812. Questions for assessment
1. The beginning of the war of 1812 (part I, chapter 1). How does Tolstoy assess the role of personality in history?
2. Crossing of the Polish lancers across the Neman (Part I, Chapter 2). How does the author reveal his attitude towards Bonapartism?
3. The fire of Smolensk and the retreat of the Russian army (Part II, Ch. 4, 5). What common feeling are shared between the city residents and the soldiers?
4. What idea underlies the “interconnection” of episodes: the fire of Smolensk and the life of St. Petersburg salons (Part II, Chapter 6)?
5. For what purpose did Tolstoy introduce into the novel the scene of the riot of Bogucharov’s men (Part II, Chapter 6)? Why couldn’t Princess Marya understand the men?
6. Council in Fili (Part III, Chapter 4). Why does Tolstoy portray the advice through the perception of the girl Malasha?
7. Departure of residents from Moscow (Part III, Chapter 5). How does Tolstoy explain the mood of the residents leaving Moscow?
8. Why did Tolstoy show most of the events of the Battle of Borodino through the eyes of Pierre?
9. How do you understand Pierre’s thoughts about the hidden warmth of patriotism (Part III, Chapter 25)?
10. Explain the words of Prince Andrei: “while Russia was healthy, a stranger could serve her.” (Part III, Chapter 25).
11. How does the scene with the portrait of his son (on the eve of the battle) and the phrase: “The chess is set, the game begins tomorrow” characterize Napoleon? (Ch. 26, 29, part III).
12. How is the true heroism of the people revealed in one of the episodes of the Battle of Borodino (at the Raevsky battery)? (Ch. 31-32).
14. What meaning does Tolstoy put into the words about the moral victory of the Russian army (chapter 39, part III)?
16. Why, having won the Battle of Borodino, does Kutuzov decide to leave Moscow?
18. Tolstoy about the war of 1812. The personality of Kutuzov (part IV, chapter 11). What does the author see as the main significance of the Patriotic War of 1812, and what, in his opinion, is Kutuzov’s role in it?
On the topic: methodological developments, presentations and notes
Literature lesson "Depiction of the War of 1812 in L.N. Tolstoy's novel "War and Peace"
The Patriotic War of 1812 is the climax of the novel: it broke the previous living conditions, destroyed, at least temporarily, social barriers, and brought main force historically...
Patriotic War of 1812. Philosophy of war in the novel by L.N. Tolstoy "War and Peace".
Reveal the compositional role of philosophical chapters; trace the image of the Patriotic War of 1812; based on the writer’s views on history, reveal their strengths and weaknesses; development of creative abilities...
Literature lesson in the 10th grade "The Patriotic War of 1812. The Battle of Borodino" (based on L. Tolstoy's epic novel "War and Peace").
Methodological development for a literature lesson using modern technologies....
Introduction
Historical figures have always been of particular interest in Russian literature. Dedicated to some individual works, others are key images in the plots of novels. The image of Napoleon in Tolstoy’s novel “War and Peace” can also be considered as such. We meet the name of the French emperor Napoleon Bonaparte (Tolstoy wrote precisely Bonaparte, and many heroes called him only Buonoparte) already on the first pages of the novel, and part only in the epilogue.
Heroes of the novel about Napoleon
In the living room of Anna Scherer (maid of honor and close associate of the Empress), the political actions of Europe in relation to Russia are discussed with great interest. The owner of the salon herself says: “Prussia has already declared that Bonaparte is invincible and that all of Europe can do nothing against him...”. Representatives secular society- Prince Vasily Kuragin, the emigrant Viscount Mortemar invited by Anna Scherer, Abbot Moriot, Pierre Bezukhov, Andrei Bolkonsky, Prince Ippolit Kuragin and other members of the evening were not unanimous in their attitude towards Napoleon. Some did not understand him, others admired him. In War and Peace, Tolstoy showed Napoleon from different sides. We see him as a general-strategist, as an emperor, as a person.
Andrey Bolkonsky
In a conversation with his father, the old Prince Bolkonsky, Andrei says: “... but Bonaparte is still a great commander!” He considered him a “genius” and “could not allow shame for his hero.” At an evening with Anna Pavlovna Sherer, Andrei supported Pierre Bezukhov in his judgments about Napoleon, but still retained his own opinion about him: “Napoleon as a great man on the Arcole Bridge, in the hospital in Jaffa, where he gives his hand to the plague, but... there are other actions which are difficult to justify." But after a while, lying on the field of Austerlitz and looking into blue sky, Andrei heard Napoleon’s words about him: “Here beautiful death" Bolkonsky understood: “...it was Napoleon - his hero, but at that moment Napoleon seemed to him such a small, insignificant person...” While examining the prisoners, Andrei thought “about the insignificance of greatness.” Disappointment in his hero came not only to Bolkonsky, but also to Pierre Bezukhov.
Pierre Bezukhov
Having just appeared in the world, young and naive Pierre zealously defended Napoleon from the attacks of the Viscount: “Napoleon is great because he rose above the revolution, suppressed its abuses, retaining everything good - the equality of citizens, and freedom of speech and the press - and only That’s why he acquired power.” Pierre admitted for French Emperor"greatness of soul." He did not defend the murders of the French emperor, but the calculation of his actions for the good of the empire, the willingness to take on such a responsible task - to start a revolution - this seemed to Bezukhov a real feat, the strength of a great man. But when he came face to face with his “idol,” Pierre saw all the insignificance of the emperor, cruelty and lawlessness. He cherished the idea of killing Napoleon, but realized that he was not worth it, since he did not even deserve a heroic death.
Nikolay Rostov
This young man called Napoleon a criminal. He believed that all his actions were unlawful and, out of the naivety of his soul, he hated Bonaparte “as best he could.”
Boris Drubetskoy
A promising young officer, a protégé of Vasily Kuragin, spoke of Napoleon with respect: “I would like to see a great man!”
Count Rastopchin
A representative of secular society, a defender of the Russian army, said about Bonaparte: “Napoleon treats Europe like a pirate on a conquered ship.”
Characteristics of Napoleon
The ambiguous characterization of Napoleon in Tolstoy's novel "War and Peace" is presented to the reader. On the one hand, he is a great commander, a ruler, on the other, an “insignificant Frenchman,” a “servile emperor.” External features bring Napoleon down to earth, he is not as tall, not as handsome, he is fat and unpleasant as we would like to see him. It was “a plump, short figure with broad, thick shoulders and an involuntarily protruding belly and chest.” Description of Napoleon is present in different parts novel. Here he is before the Battle of Austerlitz: “... thin face he didn't move a single muscle; his shining eyes were motionlessly fixed on one place... He stood motionless... and on his cold face there was that special shade of self-confident, well-deserved happiness that happens on the face of a lover and happy boy" By the way, this day was especially solemn for him, since it was the anniversary of his coronation. But we see him at a meeting with General Balashev, who arrived with a letter from Emperor Alexander: “...firm, decisive steps,” “round belly... fat thighs short legs...white plump neck...looking youthful full face... an expression of gracious and majestic imperial greeting." The scene of Napoleon awarding the bravest Russian soldier with the order is also interesting. What did Napoleon want to show? Your greatness, the humiliation of the Russian army and the emperor himself, or admiration for the courage and steadfastness of the soldiers?
Portrait of Napoleon
Bonaparte valued himself very much: “God gave me the crown. Woe to anyone who touches her." These words were spoken by him during the coronation in Milan. Napoleon in War and Peace is an idol for some and an enemy for others. “The trembling of my left calf is a great sign,” Napoleon said about himself. He was proud of himself, he loved himself, he glorified his greatness over the whole world. Russia stood in his way. Having defeated Russia, it was not difficult for him to crush all of Europe under him. Napoleon behaved arrogantly. In the scene of a conversation with the Russian general Balashev, Bonaparte allowed himself to pull his ear, saying that it was a great honor to be pulled by the ear by the emperor. The description of Napoleon contains many words containing a negative connotation; Tolstoy characterizes the emperor’s speech especially vividly: “condescending”, “mockingly”, “viciously”, “angrily”, “dry”, etc. Bonaparte also speaks boldly about the Russian Emperor Alexander: “War is my craft, and his business is to reign, and not to command troops. Why did he take on such responsibility?”
The image of Napoleon in “War and Peace” revealed in this essay allows us to conclude: Bonaparte’s mistake was in overestimating his capabilities and excessive self-confidence. Wanting to become the ruler of the world, Napoleon could not defeat Russia. This defeat broke his spirit and confidence in his strength.
Work test
Lev Nikolaevich Tolstoy completed work on his novel War and Peace in 1867. The events of 1805 and 1812, as well as military leaders who took part in the confrontation between France and Russia, are the main theme of the work.
Like any peace-loving person, Lev Nikolaevich condemned armed conflicts. He argued with those who found “the beauty of horror” in warfare. When describing the events of 1805, the author acts as a pacifist writer. However, when talking about the War of 1812, Lev Nikolaevich moves to the position of patriotism.
Image of Napoleon and Kutuzov
The images of Napoleon and Kutuzov created in the novel are a vivid embodiment of the principles used by Tolstoy in depicting historical figures. Not all heroes coincide with real prototypes. Lev Nikolaevich did not strive to draw reliable documentary portraits of these figures when creating the novel “War and Peace”. Napoleon, Kutuzov and other heroes act primarily as carriers of ideas. Many are omitted from the work known facts. Some qualities of both commanders are exaggerated (for example, the passivity and decrepitness of Kutuzov, the posturing and narcissism of Napoleon). Assessing the French and Russian commander-in-chief, as well as other historical figures, Lev Nikolaevich applies strict moral criteria to them. The image of Napoleon in the novel "War and Peace" is the topic of this article.
The French emperor is the antithesis of Kutuzov. If Mikhail Illarionovich can be considered positive hero of that time, then in Tolstoy’s depiction Napoleon is the main anti-hero in the work “War and Peace”.
Portrait of Napoleon
Lev Nikolaevich emphasizes the limitations and self-confidence of this commander, which is manifested in all his words, gestures and actions. The portrait of Napoleon is ironic. He has a “short”, “plump” figure, “fat thighs”, a fussy, swift gait, a “white plump neck”, “a round belly”, “thick shoulders”. This is the image of Napoleon in the novel War and Peace. Describing the morning toilet of the French emperor before the Battle of Borodino, Lev Nikolaevich is revealing portrait characteristics, given initially in the work, enhances. The emperor has a “groomed body”, “overgrown fat chest”, “yellow” and These details show that Napoleon Bonaparte (“War and Peace”) was a man far from working life and alien to folk roots. The leader of the French is shown as a narcissistic egoist who thinks that the entire Universe obeys his will. People are of no interest to him.
Napoleon's behavior, his manner of speaking
The image of Napoleon in the novel "War and Peace" is revealed not only through a description of his appearance. His manner of speaking and behavior also reveals narcissism and narrow-mindedness. He is convinced of his own genius and greatness. Good is what came into his head, and not what is actually good, as Tolstoy notes. In the novel, every appearance of this character is accompanied by the author's merciless commentary. So, for example, in the third volume (first part, sixth chapter) Lev Nikolaevich writes that it was clear from this man that only what was happening in his soul was of interest to him.
In the work "War and Peace" the characterization of Napoleon is also marked by the following details. With subtle irony, which sometimes turns into sarcasm, the writer exposes Bonaparte's claims to world domination, as well as his acting and constant posing for history. The French emperor played all the time; there was nothing natural or simple in his words and behavior. This is shown very expressively by Lev Nikolaevich in the scene when he admired the portrait of his son. In it, the image of Napoleon in the novel "War and Peace" acquires some very important details. Let's describe this scene briefly.
Episode with a portrait of Napoleon's son
Napoleon approached the picture, feeling that what he would do and say now “is history.” The portrait depicted the emperor's son playing with a globe in a bilbok. This expressed the greatness of the leader of the French, but Napoleon wanted to show “fatherly tenderness.” Of course it was clean water acting. Napoleon did not express any sincere feelings, he was only acting, posing for history. This scene shows a man who believed that all of Russia would be conquered with the conquest of Moscow and thus his plans for domination over the entire world would be realized.
Napoleon - actor and player
And in a number of further episodes, the description of Napoleon (“War and Peace”) indicates that he is an actor and player. He says on the eve of the Battle of Borodino that the chess has already been set, the game will begin tomorrow. On the day of the battle, Lev Nikolaevich remarks after the cannon shots: “The game has begun.” Further, the writer shows that it cost tens of thousands of people their lives. Prince Andrei thinks that war is not a game, but only a cruel necessity. A fundamentally different approach to it was contained in this thought of one of the main characters of the work “War and Peace”. The image of Napoleon is shaded thanks to this remark. Prince Andrei expressed the opinion of a peaceful people who were forced under exceptional circumstances to take up arms, as the threat of enslavement loomed over their homeland.
Comic effect produced by the French Emperor
It didn’t matter to Napoleon what was outside of himself, since it seemed to him that everything in the world depended only on his will. Tolstoy makes such a remark in the episode of his meeting with Balashev (“War and Peace”). The image of Napoleon in it is complemented by new details. Lev Nikolaevich emphasizes the contrast between the insignificance of the emperor and his comic conflict that arises at the same time - the best proof of the emptiness and powerlessness of this one, which pretends to be majestic and strong.
The spiritual world of Napoleon
In Tolstoy's understanding spiritual world the leader of the French is an “artificial world” inhabited by “ghosts of some kind of greatness” (volume three, part two, chapter 38). In fact, Napoleon is living proof of one old truth that “the king is a slave of history” (volume three, part one, chapter 1). Believing that he is fulfilling own will, this historical figure merely played the “difficult”, “sad” and “cruel” “inhuman role” that was intended for him. He would hardly have been able to bear it if this man’s conscience and mind had not been darkened (volume three, part two, chapter 38). The writer sees the darkening of the mind of this commander-in-chief in the fact that he consciously cultivated spiritual callousness in himself, which he mistook for true greatness and courage.
So, for example, in the third volume (part two, chapter 38) it is said that he loved to look at the wounded and killed, thereby testing his spiritual strength (as Napoleon himself believed). In the episode when a squadron of Polish lancers was swimming across and the adjutant, in front of his eyes, allowed himself to draw the attention of the emperor to the devotion of the Poles, Napoleon called Berthier to him and began to walk with him along the shore, giving him orders and occasionally looking displeasedly at the drowned lancers who were entertaining his attention . For him, death is a boring and familiar sight. Napoleon takes for granted the selfless devotion of his own soldiers.
Napoleon is a deeply unhappy man
Tolstoy emphasizes that this man was deeply unhappy, but did not notice this only due to the absence of at least some moral feeling. The "Great" Napoleon, the "European hero" is morally blind. He cannot understand beauty, goodness, truth, or the meaning of his own actions, which, as Leo Tolstoy notes, were “the opposite of good and truth,” “far from everything human.” Napoleon simply could not understand the meaning of his actions (volume three, part two, chapter 38). According to the writer, one can come to truth and goodness only by renouncing the imaginary greatness of one’s personality. However, Napoleon is not at all capable of such a “heroic” act.
Napoleon's responsibility for what he did
Despite the fact that he is doomed to play in history negative role, Tolstoy does not at all diminish the moral responsibility of this man for everything he has done. He writes that Napoleon, destined for the “unfree”, “sad” role of the executioner of many peoples, nevertheless assured himself that their good was the goal of his actions and that he could control and guide the destinies of many people, do things through his power of beneficence. Napoleon imagined that the war with Russia took place according to his will; his soul was not struck by the horror of what had happened (volume three, part two, chapter 38).
Napoleonic qualities of the heroes of the work
In other heroes of the work, Lev Nikolaevich associates Napoleonic qualities with the characters’ lack of moral sense (for example, Helen) or with their tragic errors. Thus, in his youth, Pierre Bezukhov, who was carried away by the ideas of the French emperor, remained in Moscow in order to kill him and thereby become the “savior of mankind.” In the early stages of his spiritual life, Andrei Bolkonsky dreamed of rising above other people, even if this required sacrificing loved ones and family. In the image of Lev Nikolaevich, Napoleonism is a dangerous disease that divides people. It forces them to wander blindly along the spiritual “off-road.”
Portrayal of Napoleon and Kutuzov by historians
Tolstoy notes that historians extol Napoleon, thinking that he was a great commander, while Kutuzov is accused of excessive passivity and military failures. In fact, the French emperor developed vigorous activity in 1812. He fussed, gave orders that seemed brilliant to him and those around him. In a word, this man behaved as a “great commander” should. Lev Nikolaevich’s image of Kutuzov does not correspond to the ideas about genius accepted at that time. The writer deliberately exaggerates his decrepitude. Thus, Kutuzov falls asleep during a military council not to show “contempt for the disposition,” but simply because he wanted to sleep (volume one, part three, chapter 12). This commander-in-chief does not give orders. He only approves of what he considers reasonable, and rejects everything unreasonable. Mikhail Illarionovich is not looking for battles, he is not doing anything. It was Kutuzov, while maintaining external calm, who made the decision to leave Moscow, which cost him great mental anguish.
What determines the true scale of a personality, according to Tolstoy?
Napoleon won almost all the battles, but Kutuzov lost almost all of them. The Russian army suffered failures near Berezina and Krasny. However, it was she who ultimately defeated the army under the command of the “brilliant commander” in the war. Tolstoy emphasizes that historians loyal to Napoleon believe that it was precisely great person, hero. In their opinion, for a person of such magnitude there cannot be good and bad. The image of Napoleon in literature is often presented from this angle. Various authors believe that the actions of a great man fall outside moral criteria. These historians and writers even evaluate the shameful flight of the French emperor from the army as a majestic act. According to Lev Nikolaevich, the real scale of a personality is not measured by the “false formulas” of various historians. Great historical lies it turns out the greatness of a man like Napoleon (“War and Peace”). The quotes we have given from the work prove this. Tolstoy found true greatness in Mikhail Illarionovich Kutuzov, a humble worker of history.
On August 25, on the eve of the Battle of Borodino, Prefect of the Emperor's Palace French m-r de Beausset and Colonel Fabvier arrived, the first from Paris, the second from Madrid, to Emperor Napoleon at his headquarters at Valuev. Having changed into a court uniform, Mr. de Beausset ordered the parcel he had brought to the emperor to be carried in front of him and entered the first compartment of Napoleon’s tent, where, talking with Napoleon’s adjutants who surrounded him, he began to uncork the box. Fabvier, without entering the tent, stopped, talking with familiar generals, at the entrance to it. Emperor Napoleon had not yet left his bedroom and was finishing his toilet. He, snorting and grunting, turned first with his thick back, then with his overgrown fat chest under the brush with which the valet rubbed his body. Another valet, holding the bottle with his finger, sprinkled cologne on the emperor’s well-groomed body with an expression that said that he alone could know how much and where to sprinkle the cologne. Short hair Napoleon's forehead was wet and matted. But his face, although swollen and yellow, expressed physical pleasure. “Allez ferme, allez toujours...” he said, shrugging and grunting, to the valet who was rubbing him. The adjutant, who entered the bedroom in order to report to the emperor about how many prisoners were taken in yesterday's case, having handed over what was needed, stood at the door, waiting for permission to leave. Napoleon, wincing, glanced from under his brows at the adjutant. “Point de prisonniers,” he repeated the adjutant’s words. - Ils se font démolir. “Tant pis pour l"armée russe,” he said. “Allez toujours, allez ferme,” he said, hunching his back and exposing his fat shoulders. “C"est bien! Faites entrer monsieur de Beausset, ainsi que Fabvier,” he said to the adjutant, nodding his head. “Oui, sire,” and the adjutant disappeared through the door of the tent. Two valets quickly dressed His Majesty, and he, in a blue guards uniform, with quick steps went out to the reception area. At this time, Bosse was hurrying with his hands, placing the gift he had brought from the Empress on two chairs, right in front of the Emperor’s entrance. But the emperor got dressed and went out so unexpectedly quickly that he did not have time to fully prepare the surprise. Napoleon immediately noticed what they were doing and guessed that they were not yet ready. He didn't want to deprive them of the pleasure of surprising him. He pretended that he did not see Monsieur Bosset, and called Fabvier to him. Napoleon listened, with a stern frown and in silence, to what Fabvier told him about the courage and devotion of his troops, who fought at Salamanca on the other side of Europe and had only one thought - to be worthy of their emperor, and their only fear is not to please him. The result of the battle was sad. Napoleon made ironic remarks during Fabvier's story, as if he did not imagine that things could go differently in his absence. “I must correct this in Moscow,” said Napoleon. “A tantôt,” he added and called de Bosset, who at that time had already managed to prepare a surprise by placing something on the chairs and covering something with a blanket. De Bosset bowed low with that French court bow, which only the old servants of the Bourbons knew how to bow, and approached, handing over an envelope. Napoleon turned to him cheerfully and pulled him by the ear. - You were in a hurry, I’m very glad. Well, what does Paris say? - he said, suddenly changing his previously stern expression to the most affectionate. “Sire, tout Paris regrette votre absence,” answered de Bosset, as it should. But although Napoleon knew that Bosset had to say this or the like, although he knew in his clear moments that it was not true, he was pleased to hear it from de Bosset. He again deigned to touch him behind the ear. “Je suis fâché de vous avoir fait faire tant de chemin,” he said. - Sire! “Je ne m"attendais pas à moins qu"à vous trouver aux portes de Moscou,” said Bosset. Napoleon smiled and, absentmindedly raising his head, looked around to the right. The adjutant approached with a floating step with a golden snuff-box and offered it to her. Napoleon took it. “Yes, it happened well for you,” he said, putting the open snuffbox to his nose, “you love to travel, in three days you will see Moscow.” You probably didn't expect to see the Asian capital. You will make a pleasant trip. Bosse bowed with gratitude for this attentiveness to his (until now unknown to him) inclination to travel. - A! what's this? - said Napoleon, noticing that all the courtiers were looking at something covered with a veil. Bosse, with courtly dexterity, without showing his back, took a half-turn two steps back and at the same time pulled off the coverlet and said: — A gift to Your Majesty from the Empress. It was bright colors a portrait painted by Gerard of a boy born from Napoleon and the daughter of the Austrian emperor, whom for some reason everyone called the King of Rome. A very handsome curly-haired boy, with a look similar to that of Christ in the Sistine Madonna, was depicted playing in a billbok. The ball represented the globe, and the wand in the other hand represented the scepter. Although it was not entirely clear what exactly the painter wanted to express by representing the so-called King of Rome piercing the globe with a stick, this allegory, like everyone who saw the picture in Paris, and Napoleon, obviously seemed clear and liked it very much. “Roi de Rome,” he said, pointing to the portrait with a graceful gesture of his hand. - Admirable! “With the ability, characteristic of Italians, to change facial expression at will, he approached the portrait and pretended to be thoughtfully tender. He felt that what he would say and do now was history. And it seemed to him that the best thing he could do now was that he, with his greatness, as a result of which his son played with the globe in a bilbok, should show, in contrast to this greatness, the simplest fatherly tenderness. His eyes became misty, he moved, looked back at the chair (the chair jumped under him) and sat down on it opposite the portrait. One gesture from him - and everyone tiptoed out, leaving the great man to himself and his feelings. After sitting for some time and touching, without knowing why, his hand to the roughness of the glare of the portrait, he stood up and again called Bosse and the duty officer. He ordered the portrait to be taken out in front of the tent, so as not to deprive the old guard, who stood near his tent, of the happiness of seeing the Roman king, the son and heir of their beloved sovereign. As he expected, while he was having breakfast with Monsieur Bosse, who had received this honor, in front of the tent the enthusiastic cries of the officers and soldiers of the old guard who had come running to the portrait were heard. - Vive l"Empereur! Vive le Roi de Rome! Vive l"Empereur! - enthusiastic voices were heard. After breakfast, Napoleon, in the presence of Bosse, dictated his orders for the army. - Courte et énergique! - said Napoleon when he read the written proclamation immediately without amendments. The order was: “Warriors! This is the battle you have longed for. Victory depends on you. It is necessary for us; she will provide us with everything we need: comfortable apartments and a speedy return to our homeland. Act as you acted at Austerlitz, Friedland, Vitebsk and Smolensk. May later posterity proudly remember your exploits to this day. Let it be said about each of you: he was in great battle near Moscow! - De la Moscow! - Napoleon repeated and, inviting Monsieur Bosse, who loved to travel, to join him in his walk, he left the tent to the saddled horses. “Votre Majesté a trop de bonté,” Bosset said when asked to accompany the emperor: he wanted to sleep, and he did not know how and was afraid to ride a horse. But Napoleon nodded to the traveler, and Bosse had to go. When Napoleon left the tent, the screams of the guards in front of the portrait of his son intensified even more. Napoleon frowned. “Take it off,” he said, pointing to the portrait with a graceful and majestic gesture. “It’s too early for him to see the battlefield.” Bosse, closing his eyes and bowing his head, took a deep breath, with this gesture showing how he knew how to appreciate and understand the words of the emperor.