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The meaning of Grinev's symbolic dreams in "The Captain's Daughter" by A. S. Pushkin and Raskolnikov - in "Crime and Punishment" by F. M. Dostoevsky

Like the ocean, the globe is voluminous,

Earthly life is surrounded by dreams...

And the abyss is laid bare to us

With your fears and darkness...

F. I. Tyutchev

There is a time in our lives when we do not belong to ourselves, when we are played by mysterious and incomprehensible forces generated by Cosmos and Chaos. This time is the time of sleep, when the soul breaks away from the body and lives its own independent life. The dream of a literary hero is part of the story of his soul.

Together with Pushkin's Tatiana, we run in her dream through a mysterious forest to a strange hut, where there is "half crane and half cat." And we will recognize her Russian soul, filled with fairy tales and traditions of “common antiquity.” Together with Katerina Ostrovsky, we fly away from the “dark kingdom” of Kabanikha and Dikiy into the bright world of dreams. Together with Oblomov we find ourselves in the stagnant paradise of the sleeping Oblomovka. Together with Vera Pavlovna, we see in her dreams the embodiment of the cherished dreams of the great utopian N. G. Chernyshevsky.

What abysses do the dreams of Grinev and Raskolnikov reveal to us? Why are these heroes nearby in the formulation of the theme? I'll try to answer. They are both young, both are looking for their own paths in life. Grinev's dream is a prediction of what this thorny path will be like; Raskolnikov's dreams are repentance for taking a crooked path. Both heroes are thrown out of balance by the circumstances of life. Grinev is immersed in “tender visions of half-asleep”; Raskolnikov is in a semi-conscious state, close to delirium. And at such moments, dreams are convex, clear, expressive. Grinev, torn away from his father and mother, of course, sees his native estate in a dream. But everything else... Instead of a father, there is a bearded counselor. The ax is in his hands. Bloody puddles. Petrusha sees future events and his role in them. He will witness a bloody battle, he will try to resist it. He will become close to the instigator of the riot - this terrible bearded counselor who will become his imprisoned father. If a dream is a sign, then Grinev’s dream is a sign of fate.

Rodion Raskolnikov’s first dream could have been such a warning sign. Fearing the very word murder,” he kept asking himself: “... will that really happen?” He doubted whether he was ready to commit the worst of violence against a living being. And in a dream, little Rodion, crying over a horse tortured by a drunken crowd, seemed to be saying to an adult To Rodion: “Thou shalt not kill!” Waking up, Raskolnikov asks himself: will he really take an ax and begin to hit him on the head? But, alas, this dream did not prove to the hero of F. M. Dostoevsky that murder is disgusting to human nature.

And then I remembered V. Mayakovsky’s “good attitude towards horses.” The same crowd laughing at a fallen horse, the same tears of a living creature... And the poet’s unique vision of humanism: ... we are all a little bit of a horse, Each of us is a horse in our own way. But Raskolnikov finds another word for the old pawnbroker - “louse,” the most useless of lice. And he has a dream that he beats and hits an old woman on the head with an ax, and she laughs and laughs. Rodion would be ready to kill her even before going to sleep if she woke up. Why does he think about her so much? The real hero of his theory (the “prophet”, Napoleon) does not think about any old women. He would put a battery across the street and “blow on right and wrong,” without feeling any remorse. And since Rodion dreams of an old money-lender, it means he has remorse; means “weakling”, “trembling creature”. This is what Rodion cannot forgive the old woman. If these dreams reflected the struggle taking place in the soul of the hero, then in Raskolnikov’s last dream we hear Dostoevsky himself, polemicizing with those who rely on the transformative power of ideas in search of the harmony of the world. Rodion dreamed of these ideas in the form of trichinas, microscopic creatures endowed with intelligence and will. They nested in people's brains. The most terrible thing for Dostoevsky was that those infected with these trichinae considered themselves the most intelligent and unshakable in their rightness.

The writer did not accept that truth could be born from the head, and not from the heart. And therefore, people infected with trichinae did not know what was good and what was evil, and they killed each other in senseless rage in the name of the triumph of truth. This dream of Raskolnikov reveals to us the cherished dream of F. M. Dostoevsky that the world will be saved not by a brilliant idea, but by the moral re-education of humanity. Why are there so many painful dreams in F. M. Dostoevsky’s novel?

Grinev's dream in Pushkin sets the tragic tone for the subsequent narration. Dostoevsky, with the dreams of his hero, not only aggravates the overall gloomy background of the narrative, but also argues, argues, argues. Why is this so? I think the answer is that "The Captain's Daughter" is the author's story about a historical tragedy that happened, and "Crime and Punishment" is a warning about a historical tragedy that may happen.

Bibliography

To prepare this work, materials from the site http://ilib.ru/ were used

I am not the first to point out the connection between “The Captain’s Daughter” and folklore. But, pointing to it, researchers look for confirmation of this: some - in other images or motifs of the novel, some - in epigraphs to chapters, some - in proverbs and sayings scattered throughout the speeches of its characters.

The first thing that struck Petrusha about the person he met was his truly wolfish instincts. “It smelled like smoke,” the roadman explained why it was necessary to go in the direction he indicated, although no one else smelled any smoke except him. Even the coachman, who by virtue of his position was obliged to be extremely sensitive to everything that was happening around him, did not hear him (and he was like that: after all, it was he who warned Petrusha about the approaching snowstorm).

The point is not only that Grinev’s prophetic dream (“wonderful” Pushkin himself called such dreams) is a kind of condensed summary of the “strange circumstances” of the hero’s life, which occupy the entirety of his “family notes” and are the main artistic subject of the novel’s research “ Captain's daughter". And it’s not that certain details of this dream coincide with reality: Petrusha actually refused to kiss Pugachev’s hand, Pugachev was not actually offended by him for this. And Pugachev almost became Grinev’s imprisoned father. More precisely, all these fragments of Petrushin’s “wonderful” dream, which coincide with reality, speak of the possibilities of the werewolf that Grinev saw in the black-bearded man. They call him by his father's name, he lies in his father's bed, but it turns out not to be his father. Everyone “with sad faces” expects his imminent death, and he looks cheerfully at Petrusha. He chopped up a lot of people with an ax, filled the bedroom with bloody puddles, but he is affectionate towards Grinev - he shows a readiness to bless him...

in "The Captain's Daughter" by A. S. Pushkin

and Raskolnikov - in "Crime and Punishment"

F.M. Dostoevsky

Like the ocean, the globe is voluminous,

Earthly life all around

engulfed in dreams...

And the abyss is laid bare to us

With your fears and darkness...

F. I. Tyutchev

There is a time in our lives when we don't belong

ourselves when we are played by mysterious and incomprehensible forces generated by Cosmos and Chaos. This time is the time of sleep, when the soul breaks away from the body and lives its own independent life.

The dream of a literary hero is part of the story of his soul. Together with Pushkin's Tatiana, we run in her dream through a mysterious forest to a strange hut, where there is "half crane and half cat." And we will recognize her Russian soul, filled with fairy tales and traditions of “common antiquity.” Together with Katerina Ostrovsky, we fly away from the “dark kingdom” of Kabanikha and Dikiy into the bright world of dreams. Together with Oblomov we find ourselves in the stagnant paradise of sleeping Oblomovka. Together with Vera Pavlovna, we see in her dreams the embodiment of the cherished dreams of the great utopian N. G. Chernyshevsky.

What abysses do the dreams of Grinev and Raskolnikov reveal to us? Why are these heroes nearby in the formulation of the theme? I'll try to answer. They are both young, both are looking for their own paths in life. Grinev's dream is a prediction of what this thorny path will be like; Raskolnikov's dreams are repentance for taking a crooked path. Both heroes are thrown out of balance by the circumstances of life. Grinev is immersed in “tender visions of half-asleep”; Raskolnikov is in a semi-conscious state, close to delirium. And at such moments, dreams are convex, clear, expressive.

Grinev, torn away from his father and mother, of course, sees his native estate in a dream. But everything else... Instead of a father, there is a bearded counselor. The ax is in his hands. Bloody puddles. Petrusha sees future events and his role in them. He will witness a bloody battle, he will try to resist it. He will become close to the instigator of the riot - this terrible bearded counselor who will become his imprisoned father. If a dream is a sign, then Grinev’s dream is a sign of fate.

Rodion Raskolnikov’s first dream could have been such a warning sign. Fearing the very word “murder,” he kept asking himself: “...will it really happen?” He doubted whether he was ready to commit the worst of violence against a living being. And in a dream, little Rodion, crying -

standing over a horse tortured by a drunken crowd, as if he was saying to the adult Rodion: “Do not kill.” Having woken up, Raskolnikov asks himself: will he really take an ax and begin to hit him on the head? But, alas, this dream did not prove to the hero of F. M. Dostoevsky that murder is disgusting to humanity nature. And then I remembered V. Mayakovsky’s “good attitude towards horses.” The same crowd laughing at a fallen horse, the same tears of a living creature... And the poet’s peculiar vision of humanism:

...we are all a little horse, Each of us is a horse in our own way.

But Raskolnikov finds another word for the old pawnbroker - “louse,” the most useless of lice. And he has a dream that he beats and hits an old woman on the head with an ax, and she laughs and laughs. Rodion would be ready to kill her even before going to sleep if she woke up.

Why does he think about her so much? The real hero of his theory (the “prophet”, Napoleon) does not think about any old women. He would put a battery across the street and “blow on right and wrong,” without feeling any remorse. And since Rodion dreams of an old money-lender, it means he has remorse; means “weakling”, “trembling creature”. This is what Rodion cannot forgive the old woman. If these dreams reflected the struggle taking place in the soul of the hero, then in Raskolnikov’s last dream we hear Dostoevsky himself, polemicizing with those who rely on the transformative power of ideas in search of the harmony of the world. Rodion dreamed of these ideas in the form of trichinas, microscopic creatures endowed with intelligence and will. They nested in people's brains.

The most terrible thing for Dostoevsky was that those infected with these trichinae considered themselves the most intelligent and unshakable in their rightness. The writer did not accept that truth could be born from the head, and not from the heart. And therefore, people infected with trichinae did not know what was good and what was evil, and they killed each other in senseless rage in the name of the triumph of truth.

This dream of Raskolnikov reveals to us the cherished dream of F. M. Dostoevsky that the world will be saved not by a brilliant idea, but by the moral re-education of humanity.

Why are there so many painful dreams in F. M. Dostoevsky’s novel? Grinev's dream in Pushkin sets the tragic tone for the subsequent narration. Dostoevsky, with the dreams of his hero, not only aggravates the overall gloomy background of the narrative, but also argues, argues, argues. Why is this so? I think the answer is that "The Captain's Daughter" is the author's story about a historical tragedy that happened, and "Crime and Punishment" is a warning about a historical tragedy that may happen.

Color painting in the portrait of the city in F. M. Dostoevsky’s novel “Crime and Punishment”

Here the city will be founded to spite the arrogant neighbor.

A. S. Pushkin. Bronze Horseman

St. Petersburg... A city built in swamps, built on the bones of thousands of people, the product of the superhuman genius of the great Peter, who dared to challenge nature itself. Rodion Raskolnikov challenges human nature in the same way. It is here, in St. Petersburg, where the curse lies, that he hatches his monstrous idea.

The action of the novel “Crime and Punishment” does not take place on a square with fountains and palaces and not on Nevsky Prospect, which for contemporaries was a kind of symbol of wealth, position in society, pomp and splendor. Dostoevsky's Petersburg is disgusting slums, dirty drinking bars and brothels, narrow streets and gloomy alleys, cramped courtyards, wells and dark backyards. It’s stuffy here and you can’t breathe from the stench and dirt; on every corner you come across drunks, ragamuffins,

corrupt women. In this city, tragedies constantly occur: from a bridge, in front of Raskolnikov’s eyes, a drunken woman throws herself into the water and drowns, Marmeladov dies under the wheels of a dandy gentleman’s carriage, on the avenue in front of the tower, Svidrigailov commits suicide, on the pavement Katerina Ivanovna bleeds, and on the boulevard Raskolnikov meets a young girl who was “drunk somewhere, deceived, and then let out onto the street.” Dostoevsky's Petersburg is sick, and most of the characters in his works are sick, some morally, some physically. The characteristic by which we recognize situations and people affected by the disease is the irritating, intrusive, unhealthy color yellow. Yellow wallpaper and yellow wood furniture in the room of the old woman-pawnbroker, Marmeladov’s yellow face from constant drunkenness, Raskolnikov’s yellow closet, “like a closet or chest,” a suicidal woman with a yellow, worn-out face, yellowish wallpaper in Sonya’s room, “yellow furniture polished wood" in Porfiry Petrovich's office, a ring with a yellow stone on Luzhin's hand. These details reflect the hopeless atmosphere of the existence of the main characters of the novel and become harbingers of bad events.

The color red is also a harbinger of bad events. A month and a half before the murder, Raskolnikov goes to pawn “a small gold ring with three red stones” - a souvenir gift from his sister. “Red pebbles” become, as it were, harbingers of the inevitable shedding of blood. The color detail is repeated: the red lapels on Marmeladov’s boots are noticed by Raskolnikov, whose thoughts persistently return to the crime...

Raskolnikov's eyes have already become accustomed to "the city dust, the lime and the huge crowding and oppressive buildings." Not only the streets, bridges and courtyards are disgusting, but also the homes of the novel’s heroes - “poor, humiliated and insulted.” Numerous and detailed descriptions of crooked staircases, low platforms and gray cage rooms make a depressing impression. In such a tiny closet, more like

look at the “coffin” or “closet”, where “you’re about to hit your head on the ceiling,” the main character drags out his existence. It is not surprising that here he feels oppressed, downtrodden and sick, “a trembling creature.”

It’s as if some destructive and unhealthy passion is dissolved in the very air of St. Petersburg. The atmosphere of hopelessness, despondency and despair that reigns here takes on ominous features in Raskolnikov’s inflamed brain; he is haunted by images of violence and murder. He is a typical product of St. Petersburg, he, like a sponge, absorbs the poisonous fumes of death and decay, and a split occurs in his soul: while his brain harbors the idea of ​​murder, his heart is filled with pain for the suffering of people. He does not hesitate to give his last penny to Katerina Ivanovna and Sonya who are in trouble, tries to help his mother and sister, and does not remain indifferent to an unfamiliar prostitute on the street. But nevertheless, the split in his soul is too deep, and he crosses the line that separates him from other people in order to “take the first step” in the name of “universal happiness.” Raskolnikov, imagining himself to be a superman, becomes a murderer, just as this city itself once became a murderer and executioner. Its magnificent palaces stand on the bones of tens of thousands of people, their dying groans and curses frozen in its exquisite architecture.

Petersburg has more than once become the protagonist of Russian fiction.

A. S. Pushkin composed the anthem to the great city in Medny
horseman", lyrically described its magnificent architecture
new ensembles, the twilight of white nights in "Eugene Onegin". But
the poet felt that Petersburg was ambiguous:

A lush city, a poor city, A spirit of captivity, a slender appearance, A pale green vault of heaven, A fairy tale, cold and granite...

V. G. Belinsky admitted in his letters how hated he was
Peter for him, where it is so difficult and painful to live. Petersburg near
N.V. Gogol - a werewolf with a double face: behind the front door
beauty hides an extremely poor and wretched life.

We have just become acquainted with Dostoevsky’s Petersburg. We can conclude that everything together: landscape paintings of St. Petersburg, scenes of its street life, interiors of “corners” - create the overall impression of a city that is hostile to people, crowds them, crushes them, creates an atmosphere of hopelessness, pushes them to scandals and crimes.

The traditions of depicting St. Petersburg were continued by such wonderful poets as A. Akhmatova and O. Mandelstam. Each of them also has their own city. In Akhmatova’s works, her beloved city is presented as beautiful and majestic, like Pushkin’s. Mandelstam's city is eerie black, closer to how Dostoevsky portrayed it:

You have returned here, so quickly swallow the fish oil of Leningrad river lanterns. Find out soon the December day, Where the yolk is mixed with the ominous tar.

L. N. TOLSTOY

The image of the “high sky” in L. N. Tolstoy’s novel “War and Peace”

It is not true that man has no soul. It exists, and it is the kindest, most beautiful, greatest thing a person has. To know and understand the soul is not given to everyone. The science of the soul, morality, ethics (and these concepts are inextricably linked) is the most interesting and complex. And there are two people who discovered it in literature, did for it the same thing that Archimedes did for physics, Euclid did for geometry. These are Dostoevsky and Tolstoy. Dostoevsky was the first. The main theme of his work was the suffering person, that is, a person in a state where his soul is not protected, open, when his individuality finds its fullest expression. Tolstoy went further. He showed life in all its diversity, and at the same time, the main theme of his work remained man, his soul.

L. N. Tolstoy's novel "War and Peace" can be called "an encyclopedia of man and life." The writer showed on the pages of the book everything that a person faces: good and evil, love and hate, wisdom and stupidity, life and death, war and peace. But is it only the greatness of Tolstoy’s genius that he managed, having deeply comprehended everything he encountered along the path of life, to give a detailed picture of people’s lives with its sorrows and joys? The great Tolstoy would not have been so great if he had not penetrated deeper into the essence of things. He not only depicted certain phenomena in the life of man and humanity, but also revealed the causes of these phenomena, the secret sources of obvious rivers.

"War and Peace" is a philosophical work. The peculiarity of Tolstoy as a thinker is that he embodies his thoughts in an extremely clear form and at the same time forces the reader to think about the book, as if to participate in the events described.

Tolstoy the philosopher had a huge influence on Tolstoy the psychologist and artist. It is no coincidence that one of the basic rules that the writer adhered to while working on his works was not to deviate in any way from the truth of life - that which is the basis of true art. Tolstoy's heroes are not “heroes” in the sense that we usually mean by this word. Their images are drawn extremely truthfully and vitally. The words: “The life of the people is one of the main characters of the novel” are more suitable for “War and Peace” than for any other work. And yet, like any author, Tolstoy has his favorite heroes: Pierre, Andrei Bolkonsky, Natasha Rostova, Marya. In these images, the writer showed the human ideal as he imagines it. No, the ideal does not mean “walking virtue”, the image is fictitious and ethereal. Tolstoy's ideal is perceived completely differently: this is a person “in flesh and blood”, to whom nothing human is alien, who can make mistakes, rejoice and be disappointed, who strives for happiness, like all people. But, besides this, in his heroes Tolstoy emphasizes the highest morality, spiritual purity, depth, sincerity of thoughts and feelings, which is characteristic of few. And it’s not originality, but Tolstoy’s wisdom and courage that for him the ideal man is

ranks - this is the ugly and clumsy Pierre, especially as we see him in the epilogue (it was Pierre, who managed to find like-minded people, a cause to which he devoted himself, and not Andrei, smart, strong, but who never found his place in life, who remained lonely), and the ideal of a woman-mother, a woman - the guardian of the family - is the unattractive and withdrawn princess Marya (Natasha is kind and pure, but not without selfishness, which is alien to Marya). The writer endowed his heroes with a beautiful soul, without endowing them with a beautiful appearance, and convincingly showed that the first is immeasurably higher than the second. Thus, he challenged all the Anatoles and Helens, “torn off their masks,” even if outwardly beautiful, and everyone saw an ugly soul underneath them. Tolstoy convinces the reader that lack of spirituality, lack of ideals, lack of faith in the good and beautiful is the most terrible vice, giving rise to many others. Morality, purity of soul, true ideals - this is what the writer values ​​most in a person.

What are true ideals, purity of soul in Tolstoy’s understanding? He gives the answer to this question through the thoughts of Andrei Bolkonsky after being wounded. Only that which is eternal is truly beautiful, Tolstoy convinces the reader. But only the high sky is eternal, which people do not notice, which they forget about. “Everything is empty, everything is deception, except this endless sky.” This largely symbolic image runs through the entire novel and is of great importance for understanding the personality of the author, his views, and intentions when writing the book.

This image, apparently, can also be perceived symbolically. The beauty of the soul, the morality of the main characters of the novel and the author himself - this is their high sky, what makes the novel itself beautiful and sublime, and its heroes - the standard of spiritual perfection and beauty.

"Thought family" in the images of Natasha Rostova and Marya Bolkonskaya

(Based on the novel by L. N. Tolstoy "War and Peace")

The novel "War and Peace" is one of the central works of the great writer Leo Nikolaevich Tolstoy. Not watching

Despite the panoramic view, the abundance of characters and events, this is, first of all, a work about people, about their search for their place in life. Against the background of large-scale historical events, Tolstoy is interested in the private life of a person, which does not consist in serving people in general, his class, people, state, but in serving his relatives, family. This “family thought” was most clearly embodied in the images of women, primarily in the images of Natasha Rostova and Marya Bolkonskaya. Tolstoy, as if from afar, through many obstacles and life difficulties, leads the heroines to the ideal of private life - to the family.

It is difficult to find more different people than Natasha and Marya when they first appear on the pages of the novel. Childishly spontaneous, cheerful, easy to talk to, frivolous, amorous, Natasha from the very first meeting endears herself to those around her. Always sad, quiet and thoughtful, Princess Marya, on the contrary, does not know how to please. Natasha cannot be alone for a minute. She is used to being the center of attention, being everyone's favorite. Marya says about herself: “I... have always been a savage... I love to be alone... I don’t wish for another life, and I can’t wish for it, because I don’t know any other life.”

Natasha's amorousness knows no bounds. Before the story with Kuragin, it was difficult to find a moment in her life when she was not in love with anyone. Boris Drubetskoy, teacher, brilliant Vasily Denisov, again Boris, but already a handsome adjutant, and finally, Prince Andrei. Marya matures for her love gradually, for a long time, as if afraid of it and not believing in its possibility. Natasha goes to her true love through many hobbies, Marya - in modest solitude.

But already at this time one can notice common features in them: love for people and sincerity. In Natasha they manifest themselves violently and enthusiastically. She can throw herself on the neck of a complete stranger to express her gratitude to him. Marya expresses her love with patience and help to her “God’s people.” Both of them are open to sympathy and ready to help.

They also have some external similarities: they are both not very beautiful. But in the moments when Natasha and Marya show the best qualities of their souls, they transform and become beautiful. Tolstoy, emphasizing this circumstance, expresses his deep conviction that the true beauty of a person is not external, but internal.

At first, Natasha and Marya are very far from the goal to which the author is leading them - from a quiet and happy family life that absorbs without a trace. Frivolous Natasha cannot sacrifice her lifestyle, freedom for her loved one. Princess Marya has other reasons. She does not consider it possible for herself to leave her father, from “God’s people,” from her sad loneliness. Marya does not want anything for herself personally and is ready to give her life as a sacrifice to other people: “If they asked me what I want more than anything in the world, I would say: I want to be poorer than the poorest of the poor.”

Self-sacrifice was the motto of Marya’s life before her meeting with Nikolai Rostov and the death of Prince Andrei. Natasha's motto is cheerfulness. Therefore, when the heroines first meet, they naturally do not find a common language. Everything changes with the advent of war. Grief, hardship, loss of shelter, loss of loved ones changed them. They met again at the bedside of the mortally wounded Prince Andrei, completely different women - matured and wiser, realizing responsibility for their families. Natasha is forced to look after her mother, distraught with grief, while Marya is raising her little orphaned nephew.

“Pure, complete sadness is just as impossible as complete joy.” A person has the ability to get used to sorrows and move away from them. So Tolstoy’s heroines are gradually reborn in their everyday worries. They realize not only the emptiness of secular life, but also the aimlessness of a closed monastic life. Women find something worth living for: true love comes to them.

The end of the novel, which describes the everyday, completely prosaic family life of Marya and Nikolai, Natasha and Pierre, seems strange and contradictory to all previous events, full of experiences, quests, worries and anxieties.

By bringing such different heroines through many trials to one denouement, Tolstoy showed the inevitability and necessity for a person of an ordinary family life, not clogged with secular prejudices.

Tolstoy's heroines do not sacrifice anything for the sake of family life. This is not a sacrifice, but natural, normal behavior for them, based on the most sacred feeling - a feeling of love for their husband and children.

"Thought folk" as the basis of artistic

"War And world"

In 1869, from the pen of L.N. Tolstoy came one of the brilliant works of world literature - the epic novel "War and Peace". According to I. S. Turgenev, “nothing better has ever been written by anyone.”

“For a work to be good, you must love the main, fundamental idea in it. In War and Peace, I loved the people’s thought, as a result of the war of 1812,” said Leo Tolstoy.

The main character of the novel is the people. A people thrown into an unnecessary and incomprehensible war of 1805, a people who rose up in 1812 to defend their Motherland and defeated a huge enemy army led by a hitherto invincible commander in the war of liberation.

There are more than a hundred crowd scenes in the novel, over two hundred named people from the people act in it, although the significance of the image of the people is determined not by the number of crowd scenes, but by the people's idea. The most important events of the novel are assessed by Tolstoy from a popular point of view. The writer expresses the popular assessment of the war of 1805 in the words of Prince Andrei: “Why did we lose the battle at Austerlitz?.. We had no need to fight there: we wanted to leave the battlefield as quickly as possible.”

The war of 1812 was not like other wars. “From the time of the fire of Smolensk, a war began that did not fit any previous legends,” wrote Tolstoy.

The Patriotic War of 1812 for Russia was a fair, national liberation war. Napoleonic hordes entered Russia and headed towards its center - Moscow. The entire people came out to fight the invaders. Ordinary Russian people - the peasants Karp and Vlas, the elder Vasilisa, the merchant Ferapontov, the sexton and many others - met the Napoleonic army with hostility and resisted it. The feeling of love for the Motherland embraced all segments of the population.

Tolstoy says that “for the Russian people there could be no question whether things would be good or bad under the rule of the French.” The Rostovs leave Moscow, giving the carts to the wounded and leaving their home to the mercy of fate; Princess Marya Bolkonskaya leaves her native nest Bogucharovo. Dressed in a simple dress, Count Pierre Bezukhov arms himself and remains in Moscow, intending to kill Napoleon.

But disgusting are individual representatives of the bureaucratic-aristocratic society, who, in the days of national disaster, acted for selfish, self-interested purposes. The enemy was already in Moscow, and court life in St. Petersburg went on as before: “There were the same exits, balls, the same French theater, the same interests of service and intrigue.” The patriotism of Moscow aristocrats consisted in the fact that they ate Russian cabbage soup instead of French dishes, and were fined for speaking French.

Tolstoy angrily denounces the Moscow governor-general and commander-in-chief of the Moscow garrison, Count Rostopchin, who, because of his arrogance and cowardice, failed to organize reinforcements for Kutuzov’s heroically fighting army.

The writer talks with indignation about careerists - foreign generals like Wolzogen. They gave all of Europe to Napoleon and “came to teach us - glorious teachers!” Among the staff officers, Tolstoy singles out a group of people who want only one thing: “... the greatest benefits and pleasures for themselves... The drone population of the army.” These people include Nesvitsky, Drubetskoy, Berg, Zherkov and others.

Tolstoy had great sympathy for the people who

ry played a major and decisive role in the war against the French conquerors.

The patriotic feelings that gripped the Russians gave rise to mass heroism of the defenders of the Motherland. Talking about the battles near Smolensk, Andrei Bolkonsky rightly noted that Russian soldiers “fought there for the first time for the Russian land,” that there was such a spirit in the troops that he (Bolkonsky) had never seen, that Russian soldiers “repelled for two days in a row.” the French and that this success increased our strength tenfold."

“People's thought” is felt even more fully in those chapters of the novel where characters are depicted who are close to the people or who strive to understand them: Tushin and Timokhin, Natasha and Princess Marya, Pierre and Prince Andrei - all those who can be called “Russian souls.”

Tolstoy portrays Kutuzov as a man who embodied the spirit of the people.

Kutuzov is a truly people's commander. Thus, expressing the needs, thoughts and feelings of the soldiers, he appears during the review at Braunau and during the Battle of Austerlitz, and especially during the Patriotic War of 1812. “Kutuzov,” writes Tolstoy, “with all his Russian being knew and felt what every Russian soldier felt.” For Russia, Kutuzov is one of our own, a dear person. During the War of 1812, all his efforts were aimed at one goal - cleansing his native land from invaders. “It is difficult to imagine a goal more worthy and more consistent with the will of the entire people,” says the writer. On behalf of the people, Kutuzov rejects Loriston's proposal for a truce. He understands and repeatedly says that the Battle of Borodino is a victory; Understanding, like no one else, the popular nature of the War of 1812, he supports the plan for the deployment of partisan actions proposed by Denisov.

Kutuzov is a bearer of folk wisdom, an exponent of popular feelings. He is distinguished by “an extraordinary power of insight into the meaning of occurring phenomena, and its source lies in the national feeling that he carried within himself in all its purity and strength.” Only recognition of this in him

feelings forced the people to choose him against the will of the tsar as commander-in-chief of the Russian army. And only this feeling brought him to the height from which he directed all his strength not to kill and exterminate people, but to save and take pity on them.

Both soldiers and officers are all fighting not for the Crosses of St. George, but for the Fatherland. The defenders of General Raevsky’s battery are amazing with their moral fortitude. Tolstoy shows extraordinary tenacity and courage of soldiers and the best part of officers. He writes that not only Napoleon and his generals, but all the soldiers of the French army experienced in the Battle of Borodino “a feeling of horror before the enemy, who, having lost half the army, stood just as menacingly at the end as at the beginning of the battle.”

With great knowledge of the matter, Tolstoy describes the combined actions of the Russian partisans and their commanders - Denisov and Dolokhov. At the center of the story about the partisan war are the images of Tikhon Shcherbaty, who embodies the best national traits of the Russian people, and Platon Karataev, who personifies “everything Russian, folk, round, good.” Tolstoy writes: “... good for those people who, in a moment of trial... with simplicity and ease, pick up the first club they come across and nail it with it until in their soul the feelings of insult and revenge are replaced by contempt and pity.”

The culmination of the Patriotic War was the Battle of Borodino. If, when describing the battles that took place on foreign territory (Austerlitz, Shengrabenskoye), the author focused on some heroes, then on the Borodino field he depicts the mass heroism of the people and does not single out individual characters.

The courageous resistance of the Russian troops and their invincibility surprise and amaze Napoleon, who had not yet known defeat. At first, the self-confident emperor could not understand what was happening on the battlefield, since instead of the expected news of the enemy’s flight, the previously orderly columns of French troops were now returning in upset, frightened crowds. Napoleon came across a mass of dead and wounded soldiers and felt horror.

Discussing the results and significance of the Battle of Borodino, Tolstoy says that the Russians won a moral victory over Napoleon's troops. The moral strength of the French attacking army was exhausted. “Not the victory that is determined by the pieces of material picked up on sticks called banners, and by the space on which the troops stood and are standing, but a moral victory, one that convinces the enemy of the moral superiority of his enemy and of his powerlessness, was won by the Russians near Borodino."

The moral qualities of the army, or the spirit of the troops, certainly influence the outcome of military operations, especially since on the part of the French the war was of an aggressive nature, on the part of the Russian people the war was of national liberation.

The people achieved their goal: their native land was cleared of foreign invaders.

Reading the novel, we are convinced that the writer judges the great events of the past, war and peace from the position of popular interests. And this is the “folk thought” that Tolstoy loved in his immortal epic, and which illuminated his brilliant creation with an unfading light.

A.S. Pushkin at the beginning of his story “The Captain's Daughter” used a symbolic device - a prophetic dream. With this dream, the author sets the tone for the entire subsequent narrative, warning the reader about the upcoming tragic changes in the life of the main character.

Pyotr Grinev has a dream in an extreme situation, during a snowstorm and the loss of the road in the steppe. The concept of “buran” is a unique image that shows not only the feelings of the hero experiencing separation from his family, but also the upcoming historical events of that difficult time.

Before going to bed, Grinev meets his counselor, Pugachev, and this man becomes a terrible character in his dream; he also has his own special symbolic meaning.

You should pay attention to the everydayness and reality of events occurring in a dream. This is not even a dream, but a vision; everything seems very clear and distinct to Petrusha.

He dreams that he is returning to his native estate during a snowstorm. And he finds his father mortally ill, wants to take the blessing, and instead of him, a cheerful black-bearded man, a counselor, is lying in bed. The mother calls him a planted father and asks her son to kiss his hand. Petrusha is indignant; he does not need such a blessing. Then the man gets up, pulls out an ax, and a bloody battle begins. But the counselor doesn’t touch Petrusha; on the contrary, he still kindly asks him: “Don’t be afraid, come under my blessing...”

If you comprehend the dream, you can see a prediction of the future Cossack rebellion, as well as the development of the relationship between Pyotr Grinev and the rebel leader Pugachev.

But at first we do not attach much importance to this dream, as well as to the meeting of Pyotr Grinev with the counselor. However, as the storyline develops, assumptions appear that the man is similar to Emelyan Pugachev, and the bloody massacre in the dream is the execution of the defenders of the Belogorsk fortress.

From the dream it is clear that Grinev will resist the bloody massacre. And in fact, he will not take the side of the rebels, he will not kiss the hand of the impostor. But he will have to become related to Pugachev. If Peter’s own father did not consent to his marriage with Masha Mironova, then the robber and villain becomes a symbolic imprisoned father and arranges the happiness of Peter Grinev. Pugachev was as affectionate to Grinev as a man is a counselor in a dream.

Peter Grinev’s dream is a prophecy, so it had to come true. The dream makes an indelible impression on the hero himself. He will remember it forever. Until the end of his days, Grinev will believe that all the events of his life are connected with this vision.

Several interesting essays

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  Platon Mikhailovich - for the reader, this is the most memorable supporting character in the narrative of the comedy “Woe from Wit”. He often comes to visit the Famusovs, all because he is an old friend and acquaintance of Chadsky

In the everyday world, we often come across such a concept as “progress”. It can be defined as success in something - achievements in sports activities, excellent results in training or a jump in sales in a company

• Essay What is Character (15.3 9th grade OGE reasoning)

  Very often in a conversation about a person you can hear the phrase “a spineless person” or “a strong-willed character.” What is this character really?

• What does the story of Matrenin Dvor make you think about? essay reasoning

  Solzhenitsyn, as a writer and philosopher, was always concerned with eternal questions, problems of our time. All disturbing thoughts could not help but find their reflection in his work

• Outline of Astafiev's story Strizhonok Skrip

  Creak, along with his brothers and sisters, hatched from an egg in his mother's warm nest. They could only see a small spot of light from their nest on the river bank.

Peter Grinev. Rare amateur drawing from a private site

Grinev’s prophetic dream is inspired by a blizzard (“... I dozed off, lulled by the singing of the storm and the rolling of the quiet ride...”), the dream seems to continue the description of the storm. Grinev's dream is endowed with the function of predicting subsequent events. But this “prediction” is needed for very special purposes: Pushkin it is necessary to force the reader, when encountering familiar facts, to return to the dream scene. It is important to remember that the dream seen is prophetic: Grinev himself warns the reader about this: “I had a dream that I could never forget and in which I still see something prophetic when I consider the strange circumstances of my life with it.” . Grinev remembered his old dream all his life. And the reader had to remember him all the time, just like Grinev, to “reflect” with him everything that happened to the memoirist during the Pugachev uprising.

Grinev and Masha Mironova

Such a perception of symbolic meaning is determined by a centuries-old folk tradition. A researcher of dreams in folk beliefs rightly wrote: “From the most ancient times, the human mind has seen in dreams one of the most effective means for lifting the mysterious veil of the future.” Prophetic dreams are never forgotten by a person until they come true. Pushkin knew these beliefs. That is why Grinev did not forget his prophetic dream. The reader should not have forgotten him either.

Grinev in front of Emelyan Pugachev

What kind of dream did Grinev have? He dreamed that he returned home:

“Mother meets me on the porch with an air of deep grief. “Hush,” she tells me, “your father is dying and wants to say goodbye to you.” - Struck by fear, I follow her into the bedroom. I see the room is dimly lit; there are people with sad faces standing by the bed. I quietly approach the bed; Mother lifts the curtain and says: “Andrei Petrovich, Petrusha has arrived; he returned after learning about your illness; bless him. I knelt down and fixed my eyes on the patient. Well?.. Instead of my father, I see a man with a black beard lying in bed, looking at me cheerfully. I turned to my mother in bewilderment, telling her: “What does this mean?” This is not father. And why should I ask for a blessing from a man? - “It’s all the same, Petrushka,” my mother answered me, “it’s your imprisoned father; kiss his hand and may he bless you..."

Grinev's fight with Shvabrin

Let us pay attention to the emphasized reality of the events of the dream and the characters - everything is everyday, there is nothing symbolic in the described picture. It is rather absurd and fantastic, as often happens in dreams: a man is lying in his father’s bed, from whom one must ask for a blessing and “kiss his hand”... The symbolic content in it will appear as the reader gets acquainted with the plot development of the novel - then the guess will be born that a man with a black beard looks like Pugachev, that Pugachev was just as affectionate with Grinev, that it was he who arranged his happiness with Masha Mironova... The more the reader learned about the uprising and Pugachev, the more rapidly the versatility of the image of the man from the dream grew, the more clearly his symbolic nature.

This becomes especially clear in the final scene of the dream. Grinev does not want to fulfill his mother’s request - to come under the man’s blessing. “I didn’t agree. Then the man jumped out of bed, grabbed the ax from behind his back and began swinging it in all directions. I wanted to run... and couldn’t; the room was filled with dead bodies; I stumbled over bodies and slid in bloody puddles... The scary man called me affectionately, saying: “Don’t be afraid, come!” with my blessing..."

A man with an ax, dead bodies in the room and bloody puddles - all this is already openly symbolic.

An ax in the hands of a villain... Did Grinev dream about the same ax that Raskolnikov later picked up?

Remember this at the right time

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