Homework: Continuous and separate writing not with different parts of speech. Exercises

Russian and French commanders in the novel "War and Peace"

Among historical characters In the novel War and Peace, both Russian and French commanders occupy a central place. Moral qualities and historical role Tolstoy assessed Russian commanders by their ability to sense the mood of the army and the people. In his novel, the writer conducted a thorough analysis of their role in the Patriotic War of 1812 and in the campaign of 1805.

Tolstoy portrays Kutuzov as a commander who embodied the spirit of the people. Thus, expressing the needs and thoughts of the soldiers, he acts both at Braunau and at Austerlitz, and when he feels the flight of soldiers from the Pratzen Heights as his personal wound. This " an old man”, with a loose body and a disfigured face, gets tired quickly and loves to sleep, but while leading the army, he shows subtle and intelligent diplomacy, a sharp mind and military talent. For Russia, Kutuzov is his own, dear person, and when the question of the fate of Russia is being decided, the people demand his appointment as commander-in-chief. Tolstoy believed that one can judge the significance of a particular outstanding person only by the correspondence of his actions to the spirit folk life, the spirit of goodness and truth. Kutuzov with all his Russian being knew and felt what every Russian soldier felt, and he considers it his duty to lead the spirit of the army and feels himself an exponent of this spirit. On behalf of the people, Kutuzov rejects Lauriston's proposal for a truce. He understands and repeatedly says that battle of Borodino there is victory. Understanding like no one else folk character war of 1812, he supports the plan proposed by Denisov for the deployment of partisan actions. Hearing about the flight of the French from Moscow, Kutuzov said in a trembling voice: “Russia has been saved. Thank you, Lord,” and he began to cry. Kutuzov's goal, according to Tolstoy, was worthy and completely coincided with the will of the people. That is why it was “so completely achieved.”

Bagration is one of the few who possess qualities that, according to Tolstoy, correspond to the ideal of a “people’s” commander. Bagration's talent as a commander was also evident in his moral influence on soldiers and officers. His mere presence in the positions raised their morale. Any, even the most insignificant words of Bagration are filled with special meaning for them. “Whose company? - Prince Bagration asked the fireworksman standing by the boxes.” Tolstoy comments: “He asked: “Whose company?”, but in essence he asked: “Aren’t you timid here? “And the fireworksman understood this.

Bagration on the eve of the Battle of Shengraben is a mortally tired man “with half-closed, dull, as if sleep-deprived eyes” and a “motionless face”, indifferent to what is happening. But with the beginning of the battle, the commander was transformed: “There were neither sleep-deprived, dull eyes, nor a feignedly thoughtful look: round, hard, hawk eyes looked forward enthusiastically and somewhat contemptuously, apparently not stopping at anything, although the same slowness and regularity remained in his movements.” . Bagration is not afraid to put himself in danger in battle; he fights side by side with ordinary soldiers and officers. At Shengraben, his personal example was enough to inspire the troops and lead them into the attack. Tolstoy emphasizes his talent as a commander who always knows what he wants and, most importantly, knows how to achieve it. The apparent inactivity in the Battle of Shengraben is just a subtle strategic move, which turned out to be the most effective model behavior. He only pretended to be in command, but in reality he tried not to interfere with the natural course of events.

Unlike most other commanders, Bagration is depicted during battles, and not at military councils. Brave and decisive on the battlefield, in secular society he is timid and shy. At a banquet organized in Moscow in his honor, Bagration found himself “out of place”: “He walked, not knowing where to put his hands, shyly and awkwardly, along the parquet floor of the reception room: it was more familiar and easier for him to walk under bullets across a plowed field, like him walked in front of the Kursk regiment in Shengraben.” Recognizing Nikolai Rostov, he said “several awkward, awkward words, like all the words he spoke that day.”

Bagration resembles Kutuzov in many qualities. Both commanders are endowed with the highest wisdom, historical sense, and always act exactly as needed in this moment, show true heroism, unostentatious greatness. The “leisurely” Bagration seems to duplicate the “inactive” Kutuzov: he does not interfere with the natural course of events, intuitively seeing their meaning, and does not interfere with the actions of his subordinates.

Barclay de Tolly is one of the most famous military leaders of 1812. But in rare judgments of the heroes of the novel, Barclay de Tolly is called an “unpopular German”, “not inspiring confidence”: “he stands for caution”, avoids battles. The words of Captain Timokhin indicate the unpopularity of Barclay de Tolly in the army. Timokhin expressing popular point view, when asked by Pierre Bezukhov what he thought of Barclay, he answered evasively: “They saw the light, your Excellency, as His Serene Highness (Kutuzov) acted...”. There is no place for him in people's war, despite his honesty, “German” diligence and accuracy. Barclay, according to the writer, is too rational and straightforward, far from national interests in order to effectively participate in such a spontaneous event as the Patriotic War.

At the sovereign's headquarters on initial stage during the war there were many generals who “were without military positions in the army, but by their position they had influence.” Among them, Armfeld is “an evil hater of Napoleon and a general, self-confident, which always had an influence on Alexander,” Paulucci, “brave and decisive in his speeches.” One of the “armchair theorists” is General Pfuhl, who tried to “lead the cause of war” without participating in a single battle. His vigorous activity was limited to drawing up dispositions and participating in military councils. In Pfuel, Tolstoy emphasizes, “there was Weyrother, and Mack, and Schmidt, and many other German theoretic generals,” but “he was more typical than all of them.” Main negative traits This general is extremely self-confident and straightforward. Even when Pfuel was threatened with disfavor, he suffered most of all from the fact that he would no longer be able to prove the superiority of his theory, in which he fanatically believed.

Tolstoy showed the Russian army at different hierarchical levels. Much less attention is paid to the depiction of the French army and French commanders. The writer's attitude towards the French commanders is extremely negative. This is due to the fact that the army, led by French commanders, waged an unjust, aggressive war, while the Russian army and many Russian commanders participated in a just war of people's liberation.

Two French commanders - Murat and Davout - are depicted in detail. They are shown, in particular, through the perception of Balashov, the envoy of Alexander I, who meets with both. In the author's characteristics of Murat, an ironic tone dominates, his appearance and behavior are emphatically comical: “I rode on a black horse with harness shining in the sun tall a man in a hat with feathers, with black hair curled to his shoulders, in a red robe and with long legs, stuck out forward, like the French drive.” “The King of Naples” Murat - a horseman with a “solemn theatrical face”, all “in bracelets, feathers, necklaces and gold” - resembles a musketeer from the adventure novels of A. Dumas. In Tolstoy's portrayal, he is an operetta figure, an evil parody of Napoleon himself.

Marshal Davout is the complete opposite of the frivolous and stupid Murat. Tolstoy compares Davout with Arakcheev: “Davout was the Arakcheev of Emperor Napoleon - Arakcheev is not a coward, but just as serviceable, cruel and unable to express his devotion except by cruelty.” This is one of the people who contrasted “living” life with bureaucratic routine. The Napoleonic marshal likes to instill fear, to see in people “a consciousness of subordination and insignificance.” Davout - moral dead man, but even he is capable of experiencing simple human feeling, momentarily “communing” with human brotherhood. This happened when the eyes of the marshal, who was trying the “arsonists” of Moscow, and Pierre, his defendant, met: “They looked at each other for a few seconds, and this look saved Pierre. In this view, in addition to all the conditions of war and trial, between these two people human relations. Both of them in that one minute vaguely experienced countless things and realized that they were both children of humanity, that they were brothers.” But “the order, the set of circumstances” forces Davout to carry out an unjust trial. The guilt of the “French Arakcheev,” Tolstoy emphasizes, is enormous, because he did not even try to resist the “structure of circumstances,” becoming the personification of brute force and cruelty of military bureaucracy.

Many commanders cannot withstand the strict moral judgment of Tolstoy the historian and artist. “Foreign” generals in Russian service are staff theorists. They fuss a lot, thinking that the outcome of battles depends on their dispositions, but they do not bring real benefit, since they are guided only by selfish considerations. You won’t see them on the battlefield, but they participate in all military councils, where they bravely “fight” in verbal battles, as, for example, at the military council the day before Battle of Austerlitz. Everything that the generals talk about meaningfully is dictated by their pettiness and exorbitant pride. For example, the objections of Langeron, who criticized the disposition of the arrogant and proud Weyrother, “were thorough,” but their real goal was “to insult Weyrother in his author’s military pride as sarcastically as possible.”

A crowd of soldiers met, some of whom were not wounded. The soldiers walked up the hill, breathing heavily, and, despite the appearance of the general, they talked loudly and waved their hands. Ahead, in the smoke, rows of gray greatcoats were already visible, and the officer, seeing Bagration, ran screaming after the soldiers walking in a crowd, demanding that they return. Bagration drove up to the rows, along which shots were quickly clicking here and there, drowning out the conversation and shouts of command. The entire air was filled with gunpowder smoke. The soldiers' faces were all smoked with gunpowder and animated. Some hammered them with ramrods, others sprinkled them on the shelves, took charges out of their bags, and still others shot. But who they shot at was not visible due to the gunpowder smoke, which was not carried away by the wind. Quite often pleasant sounds of buzzing and whistling were heard. “What is this?” thought Prince Andrei, driving up to this crowd of soldiers. “This cannot be an attack, because they are not moving; there cannot be a carre: they are not standing like that.” A thin, weak-looking old man, a regimental commander, with a pleasant smile, with eyelids that more than half covered his senile eyes, giving him a meek appearance, rode up to Prince Bagration and received him like the host of a dear guest. He reported to Prince Bagration that there was a French cavalry attack against his regiment, but that although this attack was repulsed, the regiment lost more than half of its people. The regimental commander said that the attack was repulsed, coining this military name for what was happening in his regiment; but he himself really did not know what was happening in those half an hour in the troops entrusted to him, and could not say with certainty whether the attack was repulsed or his regiment was defeated by the attack. At the beginning of the action, he only knew that cannonballs and grenades began to fly throughout his regiment and hit people, that then someone shouted: “cavalry,” and our people began to shoot. And until now they were shooting not at the cavalry, which had disappeared, but at the foot French, who appeared in the ravine and fired at ours. Prince Bagration bowed his head as a sign that all this was exactly as he wished and expected. Turning to the adjutant, he ordered him to bring two battalions of the 6th Jaeger, which they had just passed, from the mountain. Prince Andrei was struck at that moment by the change that had occurred in the face of Prince Bagration. His face expressed that concentrated and happy determination that occurs in a person who is ready to hot day throw yourself into the water and take your final run. There were no sleep-deprived dull eyes, no feignedly thoughtful look: round, hard, hawk eyes looked forward enthusiastically and somewhat contemptuously, obviously not stopping at anything, although the same slowness and regularity remained in his movements. The regimental commander turned to Prince Bagration, asking him to move back, since it was too dangerous here. "Have mercy, your Excellency, for God's sake!" he said, looking for confirmation at the retinue officer, who was turning away from him. “Here, if you please see!” He let them notice the bullets that were constantly screeching, singing and whistling around them. He spoke in the same tone of request and reproach with which a carpenter says to a gentleman who has taken up an ax: “Our business is familiar, but you will callus your hands.” He spoke as if these bullets could not kill him, and his half-closed eyes gave his words an even more convincing expression. The staff officer joined in the admonitions of the regimental commander; but Prince Bagration did not answer them and only ordered to stop shooting and line up in such a way as to make room for the two approaching battalions. While he was talking like

Unwarming sun, incessant rain, unfrozen river, unpainted benches, unsown fields, unresolved problems, an uncovered head, an unslept child, an unawakened city.

Valley not illuminated by the rays of the sun; ground not covered with snow; crickets that don't stop until night; part not completed by a worker; undisturbed silence; a gaze that does not miss anything; a predator that does not allow one to approach; a field not yet sown; a wound that does not heal for a long time; grass that has not had time to dry.

Not explored, but wild taiga; not frozen, but still flowing river; not a beaten path, but a barely noticeable path.

Not illuminated, not burned, not crossed, not armed, not cut, not abandoned.

I. 1. We walked quietly along an unbeaten field path through trampled, downed stubble, and only our steps and voices were heard. (L.T.) 2. In the classroom there was a thick, drawn-out, incessant hum, reminiscent of the buzzing of a swarm of bees. (Kupr.) 3. Above, Stozhary smoldered like an unextinguished fire. (Sh.) 4. Telegin folded the unread letter. (A.N.T.) 5. The fragile ice lies on the cold river, like melting sugar. (N.) 6. The firm, unblinking gaze confused Pavka. (N.O.) 7. The uncooled evening shadows stretched obliquely. (Seraph.) 8. The cool autumn sun was shining above us. (Closed)

II. 1. The boy looked at us with perplexed eyes. 2. An indignant exclamation escaped from one of the arguers. 3. The friend took the unfinished book and went out into the garden. 4. There was an unfinished letter on the table 5. The street ended with an unfinished building.

III. 1. The body continued to hurt, but it also hurt quietly - not grindingly, acute pain, like a lacerated wound, but quiet, aching. (Sim.) 2. Memories are not dried flowers and relics, but a living, trembling world full of poetry. (Paust.) 3. An afternoon nap in a stuffy, drying atmosphere does not have a strengthening, but a relaxing effect. (Ch.) 4. It was not a caressing gentle breeze, but a dry, hot wind. 5. Behind the forest, not sown, but only plowed fields began.

IV. 1. Nature reserves are needed for scientific research as standards of nature, not mastered by man. This is especially important now, when there are almost no corners left on the entire planet untouched economic activity. (E. Syroechkovsky.) 2. It’s good to carry happiness through life, unaffected by a bullet, fidelity, not forgotten along the way. (Other) 3. The silence, undisturbed by either movement or sound, is especially striking. (L.T.) 4. Almost every evening after work, one of Pavel’s comrades sat with him, and they read, copied something from books, preoccupied, not having time to wash themselves. (M.G.) 5. People who did not dare to mock Gerasim were afraid of him. (T.) 6. A warm wind is already blowing across the steppe, which has not had time to cool down overnight. (Cor.) 7. The iron roof, which had not been painted for a long time, was red with rust. (L.T.) 8. Mumu, who had never been in such magnificent chambers in her life, was very frightened. (T.) 9. To the right and left, tall reeds rustled with dark, not yet feathered tassels. (Pol.) 10. And the child [Oblomov] watched everything and observed everything with his childish mind, not missing anything. (Gonch.) 11. The house stood in the middle of the steppe, unfenced. (Ch.)

V. 1. Muromsky’s horse, which had never been hunting, got scared and bolted. (P.) 2. The sun was rising. Not yet visible to the eye, it spread a transparent fan of pink rays across the sky. (M.G.)

VI. 1. The joy of work is incomparable to any other joys. (Sukhoml.) 2. The house is not finished yet, a dozen carpenters are busy around it. (M.G.) 3. We wander along those paths where the grass is not cut. (Isa.) 4. Only one strip is not compressed. (N.) 5. The field is not measured, the sheep are not counted, the shepherd is horned. (Riddle.)

Mixed examples

1. The estate was small, the house was old and simple, the farming was simple and did not require much maintenance. (Boon.) 2. In the distance, vague gray masses of unfinished buildings could be seen. (Hyde.) 3. In a dark small gorge we begin our long journey, the great water northern river Pechory. (Zhiten.) 4. Unmown meadows are so fragrant that, out of habit, your head becomes foggy and heavy. (Paust.) 5. No matter what life teaches us, the heart believes in miracles: there is unfailing strength, there is also imperishable beauty. (Tutch.) 6. I don’t quite dare to unravel your unspoken reproach. (P.) 7. In an extraordinary, never-heard-of silence, dawn arises. (Paust.) 8. Only you, my dear bird, are barely visible in the warm nest. Svetlogruda, light, small, is not intimidated by the storm alone. (A. Fet.) 9. Alexey gathered around several unopened raw fir cones and laid them by the fire. (Floor.)

Among the heroes of the epic novel L.N. Tolstoy can be distinguished real characters, which emphasize the reality of the events taking place. One of these heroes is Bagration - a famous Russian military leader, prince, hero Patriotic War 1812. Introducing external characteristics hero, Tolstoy describes Bagration as “short, with oriental type a firm and motionless face, a dry, not yet old man.” In the novel, he leads the Battle of Shengraben; it was Bagration who was blessed by Kutuzov to save the army. The task of the military commander’s detachment was to delay the French to connect the Russian troops. Kutuzov says to Bagration: “I bless you for a great feat.” And the hero fulfills his duty. Before the Battle of Shengraben, the commander is depicted as mortally tired, “with half-closed, dull, as if sleep-deprived eyes,” “a motionless face,” who is completely indifferent to what is happening around him.

However, as soon as the battle began, his appearance changed sharply: “There were neither sleep-deprived, dull eyes, nor a feignedly thoughtful look: round, hard, hawk eyes looked forward enthusiastically and somewhat contemptuously, apparently not stopping at anything, although his movements remained the same slow and measured." The hero is not afraid of danger, he stands in line with the officers and ordinary soldiers. Bagration’s mere presence on the battlefield helps the fighters. The hero is loved and respected for his courage and determination. At the moment of the most decisive stage of the battle, Bagration does not give any visible orders, but he himself dismounts and goes into battle, being the leader of the entire army. With his personal example, he inspires the soldiers near Shengraben and leads them into the attack. The author wants to emphasize the talent of Bagration the commander, who always knows what he wants, and also knows by what means to achieve the goal. Despite all the apparent inactivity in the battle of Shengraben, the behavior of the military leader is only a subtle strategic move: he tries not to interfere with the natural flow of events.

The character of the military leader is firm and decisive, he is honest and uncompromising. Even before the Battle of Austerlitz, we see Bagration as a principled warrior who does not want to participate in the military council, because he considers it pointless.

Tolstoy, who was in the war and experienced its hardships, treated it as a crime that was “contrary to human reason and all human nature.” The author believes that real heroism is modest and unnoticed, it is not flaunted, on the contrary, true heroes in the novel they have emphasized clumsy features and lack of a commanding voice. They behave like ordinary soldiers. This is how Bagration is portrayed. However, thanks to the artistic details The reader understands the role played by the military leader, feels his heroism and fearlessness, his desire to win victory at any cost. Thus, we see the manifestation of Bagration’s heroism during the Battle of Austerlitz, during the battle with an enemy clearly twice as powerful Russian army. He, while conducting a retreat, was able to withdraw his entire column from the battlefield undisturbed. During a dinner in honor of Bagration, according to the author, “honor was given to a fighting, simple, without connections and intrigues, Russian soldier...” But, brave and decisive in battle, the hero is shy and timid in secular society. At a dinner in his honor, the commander feels embarrassed: “He walked, not knowing where to put his hands, shyly and awkwardly, along the parquet floor of the reception room: it was more familiar and easier for him to walk under bullets across a plowed field, as he walked in front of the Kursk regiment in Shengraben.”

Bagration, according to Tolstoy, is the ideal of a “people’s” commander. He knows how to influence soldiers and officers. His very presence at military positions helps to raise their morale. When Bagration has to act, everything personal disappears for him. When characterizing this hero, it is even difficult to use words such as restraint, courage, calmness, which characterize heroic behavior. Bagration – a common person, with their human weaknesses, he is not brave, he is not calm, not restrained, but not tense either. He is simply natural, he does his job, guided only by a sense of duty and honor. Bagration is not afraid to look death in the face, he does not even have fear in his thoughts, and therefore there is no hesitation in actions, because he does everything he can, under the influence of the course of events and his own human feelings.