Image of napoleon war and peace quote. Comparison with a historical figure

Images of Kutuzov and Napoleon in L.N. Tolstoy "War and Peace"

An important style feature fiction L.N. Tolstoy is the technique of contrasting juxtapositions. The writer's lie is opposed to the truth, the beautiful is opposed to the ugly. The principle of antithesis underlies the composition of the epic novel "War and Peace". Tolstoy here contrasts war and peace, false and true life values, Kutuzov and Napoleon, two heroes representing the two polar points of the novel.

While working on the novel, the writer was amazed that Napoleon aroused the constant interest and even admiration of some Russian historians, while Kutuzov was considered by them as an ordinary, unremarkable person. “Meanwhile, it is difficult to imagine a historical person whose activity would be so invariably and constantly directed towards the same goal. It is difficult to imagine a goal more worthy and more in line with the will of the whole people,” the writer notes. Tolstoy, with his inherent great insight of the artist, correctly guessed and perfectly captured some of the character traits of the great commander: his deep patriotic feelings, love for the Russian people and hatred for the enemy, sensitive attitude towards the soldier. Contrary to the opinion of official historiography, the writer shows Kutuzov at the head of a fair people's war.

Kutuzov is depicted by Tolstoy as an experienced commander, a wise, straightforward and courageous person who sincerely cares for the fate of the Fatherland. At the same time, his appearance is ordinary, in a certain sense “mundane”. The writer emphasizes characteristic details in the portrait: “fat neck”, “chubby old hands”, “stooped back”, “leaky white eye”. However, this character is very attractive to readers. His appearance is opposed to the spiritual strength and mind of the commander. “The source of this extraordinary power of insight in the sense of occurring phenomena lay in that popular feeling, which he carried in himself in all its purity and strength. Only the recognition of this feeling in him made the people so in strange ways him, in disfavor of the old man, to choose against the will of the tsar as representatives of the people's war, ”notes L.N. Tolstoy.

In the novel, Kutuzov first appears before us as the commander of one of the armies in the military campaign of 1805-1807. And already here the writer outlines the character of the hero. Kutuzov loves Russia, takes care of the soldiers, is easy to deal with them. He seeks to save the army, opposes senseless military operations.

This is a sincere, straightforward, courageous person. Before the battle of Austerlitz, having heard from the sovereign the demand for an immediate performance, Kutuzov was not afraid to hint at the tsar's love for ostentatious reviews and parades. “After all, we are not in the Tsaritsyn Meadow,” Mikhail Illarionovich noted. He understood the doom of the battle of Austerlitz. And the scene at the military council while reading the disposition of Weyrother (Kutuzov dozed off at this military council) also has its own explanation. Kutuzov did not agree with this plan, but he understood that the plan had already been approved by the sovereign and the battle could not be avoided.

In the difficult time of the attack on Russia by the Napoleonic army, the people choose the commander "against the will of the tsar as representatives of the people's war." And the writer explains what is happening in this way: “While Russia was healthy, a stranger could serve it, and there was a wonderful minister; but as soon as she is in danger, you need your own, native person". And Kutuzov becomes such a person. In this war, the best qualities of an outstanding commander are revealed: patriotism, wisdom, patience, insight and insight, closeness to the people.

On the Borodino field, the hero is depicted in the concentration of all moral and physical strength, as a person who cares, first of all, about maintaining the morale of the troops. Upon learning of the capture of the French marshal, Kutuzov conveys this message to the troops. And vice versa, he tries to prevent unfavorable news from leaking into the mass of soldiers. The hero closely follows everything that happens, being in firm confidence in victory over the enemy. “With a long military experience, he knew and understood with an senile mind that it was impossible for one person to lead hundreds of thousands of people fighting death, and he knew that the fate of the battle was decided not by the orders of the commander in chief, not by the place on which the troops stood, not by the number of guns and killed people , and that elusive force called the spirit of the army, and he followed this force and led it, as far as it was in his power, ”writes Tolstoy. Kutuzov attaches great importance to the Battle of Borodino, since it is this battle that becomes the moral victory of the Russian troops. Assessing the commander, Andrei Bolkonsky thinks about him: “He will not have anything of his own. He will not invent anything, will not undertake anything, but he will listen to everything, remember everything and will not allow anything harmful. He understands that there is something stronger and more significant than his will - this is the inevitable course of events, and he knows how to see them, knows how to understand their significance and, in view of this significance, knows how to renounce participation in these events, from his personal will aimed at another."

The image of Napoleon and Kutuzov in Tolstoy is contrasting. Napoleon always counts on the audience, he is effective in his speeches and actions, he strives to appear before others in the form of a great conqueror. Kutuzov, on the contrary, is far from our traditional ideas about the great commander. He is easy to communicate, his behavior is natural. And the writer emphasizes this idea, depicting him at the military council in Fili, before the surrender of Moscow. Russian generals, together with the commander-in-chief, gather in a simple peasant hut, and the peasant girl Malasha sees them. Kutuzov here decides to leave Moscow without a fight. He surrenders Moscow to Napoleon in order to save Russia. When he then learns that Napoleon left Moscow, he cannot restrain his feelings and cries for joy, realizing that Russia has been saved.

It is worth noting that the novel reveals the views of L.N. Tolstoy on history, on military art. The writer claims that "the course of world events is predetermined from above, depends on the coincidence of all the arbitrariness of the people participating in these events, and that the influence of Napoleons on the course of these events is only external and fictitious." Thus, Tolstoy denies the role of the personality of the commander in this war, his military genius. Kutuzov in the novel also underestimates the role of military science, attaching importance only to the "spirit of the army."

Commander Kutuzov is opposed in the novel by Napoleon Bonaparte. From the very beginning, the writer debunks Napoleon, highlighting everything petty and insignificant in his appearance: he is a “little man”, “with small hands” and an “unpleasantly sugary smile” on his “swollen and yellow face”. The author stubbornly emphasizes the "corporeality" of Napoleon: "fat shoulders", "thick back", "overgrown with fat chest". This "corporality" is especially emphasized in the scene of the morning toilet. Undressing his hero, the writer, as it were, removes Napoleon from his pedestal, grounds him, emphasizes his lack of spirituality.

Napoleon Tolstoy is a gambler, a narcissistic, despotic man, thirsting for fame and power. “If Kutuzov is characterized by simplicity and modesty, then Napoleon is like an actor playing the role of the ruler of the world. Theatrically false is his behavior in Tilsit during the awarding of the Russian soldier Lazarev with the French Order of the Legion of Honor. Napoleon behaves no less unnaturally before the Battle of Borodino, when ... the courtiers present him with a portrait of his son and he plays a loving father out of himself.

On the eve of the battle of Borodino, the emperor says: "Chess is set, the game will begin tomorrow." However, the "game" here turns into defeat, blood, suffering of people. On the day of the Battle of Borodino, "the terrible view of the battlefield defeated that mental strength in which he believed his merit and greatness. “Yellow, swollen, heavy, with cloudy eyes, a red nose and a hoarse voice, he sat on a folding chair, involuntarily listening to the sounds of firing and not raising his eyes ... He endured the suffering and death that he saw on the battlefield. The heaviness of his head and chest reminded him of the possibility of suffering and death for him too. At that moment, he did not want for himself either Moscow, or victory, or glory. “And never, however,” writes Tolstoy, “until the end of his life, he could understand neither goodness, nor beauty, nor truth, nor the meaning of his actions, which were too opposite to goodness and truth, too far from everything human ... ".

Tolstoy definitively debunks Napoleon in a scene on Poklonnaya Hill before entering Moscow. “While waiting for a deputation from Moscow, Napoleon thinks about how he should appear before the Russians at such a magnificent moment for him. As an experienced actor, he mentally played out the whole scene of the meeting with the "boyars" and composed his generosity speech to them. Using artistic technique"internal" monologue of the hero, Tolstoy exposes in the French emperor the petty vanity of the player, his insignificance, his posturing. “Here it is, this capital; she lies at my feet, waiting for her fate ... And this moment is strange and majestic! “... One of my words, one movement of my hand, and this ancient capital... Here she lies at my feet, playing and trembling with golden domes and crosses in the rays of the sun. The second part of this monologue contrasts sharply with the first. “When it was announced to Napoleon with due caution that Moscow was empty, he looked angrily at the one who informed about this and, turning away, continued to walk silently ... “Moscow is empty. What an incredible event!” he said to himself. He did not go to the city, but stopped at an inn in the Dorogomilovsky suburb. And here Tolstoy notices that the denouement theatrical performance failed - "the power that decides the fate of peoples does not lie in the conquerors." Thus, Tolstoy denounces Bonapartism as a great social evil, "contrary to human reason and all human nature."

Leo Nikolayevich Tolstoy completed work on his novel War and Peace in 1867. The events of 1805 and 1812, as well as military figures 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 military operations. The author speaks in describing the events of 1805 as a pacifist writer. However, talking about the war of 1812, Lev Nikolaevich is already moving 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. Far from everything the 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. Omitted in the work are many known facts. Some qualities of both commanders are exaggerated (for example, the passivity and decrepitude of Kutuzov, the posturing and narcissism of Napoleon). Assessing the French and Russian commander in chief, as well as the rest historical persons, 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 goodie of that time, then in the image of Tolstoy, Napoleon is the main anti-hero in the work "War and Peace".

Portrait of Napoleon

Lev Nikolaevich emphasizes the limitedness and self-confidence of this commander, which is manifested in all his words, gestures and deeds. The portrait of Napoleon is ironic. He has a "short", "fat" figure, "fat thighs", a fussy, impetuous gait, "a plump white 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 a revealing character portrait characteristics, given originally 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 folk roots. The leader of the French is shown as a narcissistic egoist who thinks that the whole universe obeys his will. For him, people are of no interest.

Napoleon's behavior, his manner of speaking

The image of Napoleon in the novel "War and Peace" is revealed not only through the description of his appearance. In his manner of speaking and behavior, narcissism and narrow-mindedness also show through. He is convinced of his own genius and greatness. Good is what came to his mind, not what is actually good, as Tolstoy notes. In the novel, each 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 person that only what was happening in his soul was of interest to him.

In the work "War and Peace" Napoleon's characterization 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, incessant posing for history. All the time the French emperor was playing, there was nothing natural and simple in his words and behavior. This is shown very expressively by Lev Nikolaevich in the scene when he was admiring 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 painting, feeling that what he would do and say now "is history." The portrait depicted the emperor's son, who played the globe in bilbock. This expressed the greatness of the leader of the French, but Napoleon wanted to show "fatherly tenderness." Of course, it was pure acting. Napoleon did not express any sincere feelings here, he only acted, posed for history. Given scene shows a man who believed that all of Russia would be subdued with the conquest of Moscow and thus his plans for dominating the whole 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 a player. On the eve of the Battle of Borodino, he says that the chess has already been set, tomorrow the game will begin. On the day of the battle, Lev Nikolaevich remarks after 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 in this thought of one of the main characters of the work "War and Peace". The image of Napoleon is set off by this remark. Prince Andrei expressed the opinion of the peaceful people, who were forced under exceptional circumstances to take up arms, since the threat of enslavement hung over their homeland.

Comic effect produced by the French emperor

It did not matter to Napoleon what was outside of himself, since it seemed to him that everything in the world depended only on his will. Tolstoy gives 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 Nikolayevich 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 impotence of this one who pretends to be majestic and strong.

Spiritual world of Napoleon

According to Tolstoy spiritual world the leader of the French is an "artificial world" inhabited by "ghosts of some greatness" (volume three, part two, chapter 38). In fact, Napoleon is living proof one old truth that "the king is the slave of history" (volume three, part one, chapter 1). Considering that he performs own will, this historical figure just played the "heavy", "sad" and "cruel" "inhuman role" that was intended for him. He would hardly have been able to endure it if this person had not had a darkened conscience and mind (volume three, part two, chapter 38). The writer sees the obscuration of the mind of this commander-in-chief in the fact that he consciously cultivated in himself spiritual callousness, which he took for true greatness and courage.

So, for example, in the third volume (part two, chapter 38) it is said that he liked to examine the wounded and killed, thereby testing his spiritual strength (as Napoleon himself believed). In the episode when a squadron of Polish lancers swam across and the adjutant allowed himself to draw the attention of the emperor to the devotion of the Poles before his eyes, Napoleon called Bertier to him and began to walk along the shore with him, giving him orders and occasionally looking with displeasure at the drowned lancers who entertained 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 person

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 either beauty, or goodness, or truth, or the meaning of his own actions, which, as Leo Tolstoy notes, were "opposite to goodness and truth," "far from everything human." Napoleon simply could not understand the meaning of his deeds (volume three, part two, chapter 38). To come to truth and goodness, according to the writer, is possible only by abandoning 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 a negative role in history, Tolstoy by no means diminishes the moral responsibility of this man for everything he has done. He writes that Napoleon, destined for the "not free", "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 direct the destinies of many people, to do by his power of beneficence. Napoleon imagined that the war with Russia took place at 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 connects the Napoleonic qualities with the lack of a moral feeling in the characters (for example, Helen) or with their tragic delusions. So, in his youth, Pierre Bezukhov, who was fond of the ideas of the French emperor, remained in Moscow in order to kill him and thereby become the "deliverer of mankind." On early stages 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 - dangerous disease that separates people. She makes them wander blindly on the spiritual "off-road".

Image of Napoleon and Kutuzov by historians

Tolstoy notes that historians extol Napoleon, thinking that he was a great commander, and Kutuzov is accused of excessive passivity and military failures. In fact, the French emperor developed a stormy 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. The image of Kutuzov by Lev Nikolayevich does not correspond to the ideas of a genius accepted at that time. Consciously the writer exaggerates his decrepitude. So, during the military council, Kutuzov falls asleep not in order 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 what he considers reasonable, and rejects everything unreasonable. Mikhail Illarionovich does not seek battles, does not undertake anything. It was Kutuzov who, while maintaining outward calm, made the decision to leave Moscow, which cost him great mental anguish.

What determines the true scale of personality, according to Tolstoy?

Napoleon won almost all the battles, while Kutuzov lost almost everything. The Russian army suffered setbacks near the Berezina and Krasnoe. However, it was she who eventually defeated the army under the command of the "brilliant commander" in the war. Tolstoy emphasizes that historians devoted to Napoleon believe that it was precisely great person, hero. In their opinion, for a person of this magnitude there can be no bad and good. The image of Napoleon in literature is often presented from this angle. Outside of moral criteria, according to various authors, are the actions of a great man. 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 true scale of a person is not measured by the "false formulas" of various historians. The great historical lie turns out to be the greatness of such a person as Napoleon ("War and Peace"). The quotes from the work that we have cited prove this. Tolstoy found true greatness in Kutuzov Mikhail Illarionovich, a modest worker of history.

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Often, readers of Tolstoy's novel "War and Peace" perceive the historical figures depicted in the novel as a documentary image, while forgetting that Tolstoy's work is primarily a literary hoax, which means that the image of any characters, including historical ones, is not without author's, artistic fiction or subjective opinion.

Sometimes the authors deliberately idealize or depict a character from the negative side in order to recreate a certain mood of a fragment of a text or a whole work. The image of Napoleon in Tolstoy's novel also has its own characteristics.

Appearance

Napoleon has an unattractive appearance - his body looks too fat and ugly. In the novel, Tolstoy emphasizes that in 1805 the emperor of France did not look so disgusting - he was quite slender, and his face was completely thin, but in 1812 Napoleon's physique does not look the most in the best way- he had a belly that strongly bulged forward, the author in the novel sarcastically calls him "forty-year-old belly."

His hands were small, white and plump. His face was also plump, although it still looked youthful. His face was marked by large expressive eyes and broad forehead. His shoulders became too full, as were his legs - with his short stature, such changes seemed terrifying. Without hiding his disgust at the appearance of the emperor, Tolstoy calls him "fat".

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Napoleon's clothes are always different appearance- on the one hand, it is quite typical for the people of that time, but not without chic: usually Napoleon is dressed in a blue overcoat, white camisole or blue uniform, white waistcoat, white leggings, over the knee boots.

Another attribute of luxury is a horse - a thoroughbred Arabian horse.

Russian attitude towards Napoleon

In Tolstoy's novel, one can trace the impression Napoleon made on the Russian aristocracy before and after the outbreak of hostilities. In the beginning, most representatives high society treat Napoleon with obvious respect and admiration - they are flattered by his assertive character and talent in the military sphere. Another factor that makes many respect the emperor is his desire to intellectual development- Napoleon does not look like an outspoken martinet who sees nothing beyond his uniform, he is a comprehensively developed personality.

After the intensification of hostilities on the part of Napoleon in relation to Russian Empire, the enthusiasm of the Russian aristocracy in relation to the emperor of France is replaced by irritation and hatred. Such a transition from admiration to hatred is shown especially clearly by the example of the image of Pierre Bezukhov - when Pierre just returned from abroad, he was simply overwhelmed with admiration for Napoleon, but later the name of the Emperor of France only causes bitterness and anger in Bezukhov. Pierre even decides to kill his " former idol", which by that time he already considers an outright murderer and almost a cannibal. A similar path of development was followed by many aristocrats - who once admired Napoleon as strong personality they experienced the destructive effect of its destructive power, and came to the conclusion that a person who bears so much suffering and death cannot, a priori, be an example to follow.

Personality characteristic

The main feature of Napoleon is narcissism. He considers himself an order of magnitude higher than other people. Tolstoy does not deny that Napoleon is a talented commander, but at the same time his path to the emperorship looks like a pure accident.

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Based on the fact that Napoleon considers himself better than other people, his attitude towards other people follows. In the bulk, it is dismissive - as a person who has made his way from the masses to the top of the aristocracy, in particular the state apparatus, he considers people who have not committed such a thing not worthy of his attention. Accompanying qualities to this set are selfishness and egocentrism.

Tolstoy portrays Napoleon as a spoiled man who loves comfort and pampered by comfort, but at the same time draws the attention of readers to the fact that Napoleon was on the battlefield more than once, and not always in the role of a revered commander.

At the beginning of its political and military career Napoleon often had to be content with little, so the troubles of soldiers are familiar to him. However, over time, Napoleon moved away from his soldiers and wallowed in luxury and comfort.

The key to the concept of Napoleon's personality, according to Tolstoy, is also the desire of the emperor to be more significant than everyone else - Napoleon does not accept any other opinion than his own. The Emperor of France thinks that he has reached considerable heights in the military field, and he has no equal here. In the concept of Napoleon, war is his native element, but at the same time the emperor does not consider himself guilty for the destruction caused by his war. According to Napoleon, the heads of other states themselves are to blame for the outbreak of hostilities - they provoked the emperor of France to start a war.

Attitude towards soldiers

In Tolstoy's novel, Napoleon is shown as a person devoid of emotionality and empathy. First of all, this concerns the attitude towards the soldiers of his army. The Emperor of France takes an active part in the life of the army outside of hostilities, he is interested in the affairs of the soldiers and their problems, but he does this out of boredom, and not because he really worries about his soldiers.

In a conversation with them, Napoleon always behaves a little arrogantly, according to Tolstoy, Napoleon's insincerity and his ostentatious care lie on the surface, and therefore are easily read by soldiers.

Author's position

In Tolstoy's novel, one can trace not only the attitude of other characters to Napoleon, but also the attitude of the author himself to the personality of Napoleon. In general, the author's attitude to the personality of the Emperor of France is negative. Tolstoy is of the opinion that the high rank of Napoleon is an accident. The peculiarities of Napoleon's character and intellect did not contribute to his becoming the face of the nation with the help of painstaking work. In the concept of Tolstoy, Napoleon is an upstart, a big deceiver who, for some unknown reason, ended up at the head of the French army and state.

Napoleon is driven by the desire to assert himself. He is ready to act in the most dishonest ways, just to achieve his goal. And the very genius of the great political and military leader is a lie and fiction.

In the activities of Napoleon, one can easily find many illogical acts, and some of his victories look like a frank coincidence.

Comparison with a historical figure

The image in the novel by Tolstoy of Napoleon is built in such a way that it is opposed to Kutuzov, and therefore in most cases Napoleon is presented as an absolutely negative character: he is a person who is no different good qualities character, treats his soldiers badly, does not keep himself in shape. Its only indisputable advantage is military experience and knowledge of military affairs, and even then it does not always help to win the war.

The historical Napoleon is in many ways similar to the image that Tolstoy described - by 1812, the French army had been at war for more than one year and was exhausted by such a long military way of life. More and more, they begin to perceive the war as a formality - apathy and a sense of the senselessness of the war are spreading among the French army, which could not but affect either the attitude of the emperor to the soldiers, or the attitude of the soldiers to their idol.

The real Napoleon was very an educated person He is even credited with creating a mathematical theorem. In the novel, Napoleon is shown as an upstart, because he happened to be on the spot. significant person, faces of the whole nation.

In most cases, Napoleon is spoken of as a talented political and military figure, his physical and mental abilities are often cited as an example. However, when analyzing the image of Napoleon in the novel, a clear parallel should be drawn between historical figure And literary character.

Assessing a person real life, we are aware that it is impossible to have exclusively positive or exclusively negative qualities character.

literary world allows you to create a character that would not adhere to such a criterion. Naturally, as a historical figure, Napoleon was able to achieve significant success for his country in the political and military field, even despite his inability to stop in time, but it is impossible to designate his activities with a connotation in one pole (“good” or “bad”). The same thing happens with his character traits and actions in the field of "Napoleon as a man" - his actions and deeds were not always ideal, but they do not go beyond the universal. In other words, his actions are quite typical for a person in certain situations, however, when we are talking about "great people" who are the hero of a particular nation, whose personality has become overgrown with legends and deliberate idealization, such manifestations of typicality are disappointing.

In the novel, Tolstoy depicts Napoleon as a sharply negative character - this corresponds to his intention in the novel - according to the author's idea, the image of Napoleon should be opposed to the image of Kutuzov and partially the image of Alexander I.

Why Napoleon lost the war

In War and Peace, one way or another, you can find the answer to the question “why Napoleon, having won most of the battles, lost the war. Of course, in the case of Tolstoy, this is a very subjective opinion, but it also has the right to exist, as it is based on philosophical concepts, in particular, such an element as the “Russian soul”. According to Tolstoy, Kutuzov won the war because more sincerity can be traced in his actions, while Napoleon is guided exclusively by the charter.
At the same time, Tolstoy does not consider knowledge of tactics and battle strategy important - without knowing anything about this, one can be a successful commander.4.7 (93.85%) 13 votes

The epic novel "War and Peace" is replete with characters - both fictional and real historical figures. important place among them is the figure of Napoleon - it is no coincidence that his image is present from the first pages of the work to the epilogue.

Why did Tolstoy pay so much attention to Bonaparte? With this figure, he connects the most important philosophical and moral issues, first of all, understanding the role prominent personalities in history.

The writer builds the image of the French emperor in two projections: Napoleon - the commander and Napoleon - the man.

Describing battle of austerlitz and the Battle of Borodino, Tolstoy notes the unconditional experience, talent and military erudition of Napoleon the commander. But at the same time, he focuses much more attention on the socio-psychological portrait of the emperor.

In the first two volumes, Napoleon is shown through the eyes of heroes - Pierre Bezukhov, Prince Andrei Bolkonsky. The romantic halo of the hero excited the minds of his contemporaries. This is evidenced by the delight of the French troops, who saw their idol, and Pierre's passionate speech in the salon of Anna Scherer in defense of Napoleon, "a great man who managed to rise above the revolution".

Even when describing the appearance of a “great man”, the writer repeats definitions many times "small", "fat thighs", landing the image of the emperor and emphasizing its commonness.

Tolstoy specifically shows the cynicism of the image of Napoleon and negative features. Moreover, this is not so much the personal qualities of this person as the manner of behavior - "position obliges".

Bonaparte himself practically believed that he was a "superman" who decided the fate of other people. Everything he does "there is a story", even the trembling of the left calf. Hence the pomposity of manners and speech, self-confident cold expression, constant posturing. Napoleon is always preoccupied with how he looks in the eyes of others, whether he corresponds to the image of a hero. Even his gestures are designed to attract attention - he signals the start of the Battle of Austerlitz with a wave of his removed glove. All these character traits of an egocentric personality - vanity, narcissism, arrogance, acting - are in no way combined with greatness.

In fact, Tolstoy shows Napoleon as a deeply flawed person, because he is morally poor, he does not know the joys of life, he does not have "love, poetry, tenderness." Even human feelings the French emperor imitates. Having received a portrait of his son from his wife, he "made an appearance of thoughtful tenderness." Tolstoy gives a derogatory characterization of Bonaparte, writing: “... never, until the end of his life, he could understand neither goodness, nor beauty, nor truth, nor the meaning of his actions, which were too opposite to goodness and truth ...”.

Napoleon is deeply indifferent to the fate of other people: they are only pawns in big game called "power and might", and the war is like the movement of chess pieces on the board. In life he "looks past people"- and bypassing after the battle the Austerlitz field strewn with corpses, and indifferently turning away from the Polish uhlans when crossing the river Viliya. Bolkonsky says about Napoleon that he was "happy from the misfortune of others". Even seeing the terrible picture of the Borodino field after the battle, the Emperor of France "find reasons to rejoice". Lost lives are the basis of Napoleon's happiness.

trampling on everything moral laws, professing the principle "Winners are not judged", Napoleon literally walks over corpses to power, glory and power.

By the will of Napoleon "terrible thing"- war. That is why Tolstoy denies greatness to Napoleon, following Pushkin, believing that "genius and villainy are incompatible."

• The image of Marya Bolkonskaya in the novel "War and Peace", composition
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• Comparative characteristics of the Rostovs and Bolkonskys - composition

Many writers turn to historical figures in their work. The 19th century was full of various events in which prominent people participated. One of the leading leitmotifs for creating literary works was the image of Napoleon and Napoleonism. Some writers romanticized this person, endowing her with power, greatness and love of freedom. Others saw in this figure selfishness, individualism, the desire to dominate people.

The key was the image of Napoleon in the novel "War and Peace" by Leo Tolstoy. The writer in this epic dispelled the myth of the greatness of Bonaparte. Tolstoy denies the concept of a "great man" because it is associated with violence, evil, meanness, cowardice, lies and betrayal. Lev Nikolaevich believes that only a person who has found peace in his soul, who has found the path to peace, can know the true life.

Bonaparte through the eyes of the heroes of the novel

The role of Napoleon in the novel "War and Peace" can be judged from the very first pages of the work. The heroes call him Buonaparte. For the first time, they begin to talk about him in the living room of Anna Scherer. Many ladies-in-waiting and close associates of the empress are actively discussing political events in Europe. From the lips of the mistress of the salon come the words that Bonaparte was declared invincible in Prussia, and Europe can do nothing to oppose him.

All representatives of high society, invited to the evening, have different attitudes towards Napoleon. Some support him, others admire him, others do not understand him. The image of Napoleon in the novel "War and Peace" Tolstoy showed from different points of view. The writer portrayed how he was a commander, emperor and man. Throughout the work, the characters express their opinion about Bonaparte. So, Nikolai Rostov called him a criminal. The naive young man hated the emperor and condemned all his actions. The young officer Boris Drubetskoy respects Napoleon and would like to see him. One of the representatives secular society, Count Rostopchin, compared Napoleon's actions in Europe with pirates.

Vision of the great commander Andrei Bolkonsky

Andrei Bolkonsky's opinion about Bonaparte changed. At first he saw him as a great commander, "a great genius." The prince believed that such a person is only capable of majestic deeds. Bolkonsky justifies many actions of the French emperor, and does not understand some. What finally dispelled the prince's opinion about the greatness of Bonaparte? Battle of Austerlitz. Prince Bolkonsky is mortally wounded. He lay on the field, looking into blue sky and thought about the meaning of life. At this time, his hero (Napoleon) rode up to him on a horse and uttered the words: "Here beautiful death". Bolkonsky recognized Bonaparte in him, but it was the most ordinary, small and insignificant person. Later, when they examined the prisoners, Andrei realized how insignificant greatness was. He was completely disillusioned with his former hero.

Views of Pierre Bezukhov

Being young and naive, Pierre Bezukhov defended Napoleon's views with zeal. He saw in him a person who stood above the revolution. It seemed to Pierre that Napoleon gave the citizens equality, freedom of speech and the press. At first, Bezukhov saw in the French emperor great soul. Pierre took into account the murders of Bonaparte, but admitted that this was permissible for the good of the empire. The revolutionary actions of the French emperor seemed to him the feat of a great man. But Patriotic War 1812 showed Pierre true face his idol. He saw in him an insignificant, cruel, disenfranchised emperor. Now he dreamed of killing Bonaparte, but he believed that he did not deserve such a heroic fate.

Napoleon before the Battle of Austerlitz and Borodino

At the beginning of hostilities, Tolstoy shows the French emperor, endowed with human features. His face is filled with self-confidence and complacency. Napoleon is happy and looks like a "loving and successful boy". His portrait radiated "thoughtful tenderness".

With age, his face fills with coldness, but still expresses well-deserved happiness. And how do readers see him after the invasion of Russia? Before the Battle of Borodino, he changed a lot. It was impossible to recognize the appearance of the emperor: his face turned yellow, swollen, his eyes clouded, his nose turned red.

Description of the appearance of the emperor

Lev Nikolaevich, drawing the image of Napoleon in the novel "War and Peace", very often resorts to his description. First, he shows him among the marshals on a gray mare and in a gray overcoat. Then not a single muscle moved on his face, nothing betrayed his nervousness and worries. At first, Bonaparte was thin, but by 1812 he was very stout. Tolstoy describes his round big belly, white leggings on fat short thighs, high over the knee boots. He is a pompous man with a white plump neck, who smelled of cologne. Fat, small, broad-shouldered, clumsy readers see Napoleon in the future. Several times Tolstoy focuses on the short stature of the emperor. He also describes the small plump hands of the ruler. Napoleon's voice was sharp and clear. He spoke every letter. The emperor walked resolutely and firmly, taking quick steps.

Quotes from Napoleon in War and Peace

Bonaparte spoke very eloquently, solemnly, and did not restrain his irritability. He was sure that everyone admired him. Comparing himself and Alexander I, he said: "War is my trade, and his business is to reign, not to command troops..." compares with ordinary cases that need to be completed: "... the wine is uncorked, you have to drink it ..." Speaking about reality, the ruler said: "Our body is a machine for life." Often the commander thought about the art of war. He considered the most important thing to be stronger than the enemy at a certain moment. He also owns the words: "It is easy to make a mistake in the heat of fire."

Napoleon's goals in War and Peace

The French emperor was a very purposeful person. Bonaparte moved step by step towards his goal. At first, everyone was delighted that this man from an ordinary lieutenant became a great ruler. What was it that guided them? Napoleon had an ambitious desire to conquer the whole world. Being a power-hungry and grandiose nature, he was endowed with selfishness and vanity. The inner world of this person is frightening and ugly. Wanting to dominate the world, he dissolves in vanity and loses himself. The emperor has to live for show. Ambitious goals turned Bonaparte into a tyrant and conqueror.

The indifference of Bonaparte, depicted by Tolstoy

The personality of Napoleon in the novel "War and Peace" is gradually degrading. His actions are contrary to goodness and truth. The fate of other people does not interest him at all. Readers are struck by Napoleon's indifference in War and Peace. People turn out to be pawns in his game of power and authority. In reality, Bonaparte does not notice people. His face did not express a single emotion as he circled the field of Austerlitz after the battle, all littered with corpses. Andrei Bolkonsky noticed that the misfortunes of others gave the emperor pleasure. scary picture The battle of Borodino causes him a slight joy. Taking for himself the slogan "Winners are not judged", Napoleon steps on the corpses to power and glory. This is shown very well in the novel.

Other features of Napoleon

The French emperor considers war to be his craft. He loves to fight. His attitude towards the soldiers is feigned and pompous. Tolstoy shows how important luxury is to this person. magnificent palace Bonaparte was simply amazing. The writer portrays him as a pampered and spoiled ghoul. He loves to be admired.

The real appearance of Bonaparte becomes apparent after comparing it with Kutuzov. Both of them are the spokesmen of the historical trends of the time. The wise Kutuzov was able to lead the people's liberation movement. Napoleon was at the head of the war of conquest. The Napoleonic army was destroyed. He himself became a nonentity in the eyes of many, losing the respect even of those who once admired him.

The role of personality in the historical movement on the image of Bonaparte

The characterization of Napoleon in the novel "War and Peace" is needed in order to show real meaning events. Unfortunately, populace sometimes become a tool in the hands of great personalities. Tolstoy in his epic tried to show his vision of who leads historical process: accidents, leaders, people, higher mind? The writer does not consider Napoleon great, because there is no simplicity, truth and goodness in him.

Tolstoy's attitude to the French emperor

Napoleon in War and Peace is depicted by Tolstoy as follows:

1. Limited person. He is overconfident in his military glory.
2. Human attributed genius. In battles, he did not spare his army.
3. A sharpie whose actions cannot be called great.
4. Upstart and personality without conviction.
5. Stupid behavior of Bonaparte after the capture of Moscow.
6. Sneaky man.

What concept of Napoleon's life did Lev Nikolaevich show? The French emperor denied the expediency of historical will. He takes individual interests as the basis of history, so he sees it as a random clash of someone's desires. Napoleon overcomes the cult of personality, he does not believe in the inner wisdom of being. To achieve his own goals, he uses intrigue and adventure. His military campaign in Russia is the approval of adventure as a world law. In an attempt to impose his will on the world, he is powerless, therefore he is defeated.

Leo Tolstoy is amazed at the self-satisfaction, false chivalry, arrogance, false gallantry, irritability, imperiousness, acting, megalomania of the French ruler who threatens to erase Prussia from the European map. Tolstoy really wanted to prove that all great rulers are an evil plaything in the hands of history. After all, Napoleon is a very good commander, why did he lose? The writer believes that he did not see the pain of other people, was not interested in inner world others, had no mercy. The image of Napoleon in the novel "War and Peace" Tolstoy showed a morally mediocre person.

Lev Nikolaevich does not see a genius in Bonaparte, because there is more villainous in him. Depicting the personality of Napoleon in the novel "War and Peace", Tolstoy applied the humanistic moral principle. Power endowed the emperor with egocentrism, which developed in him to extreme limits. Napoleon's victories relied on tactics and strategy, but he did not take into account the spirit Russian troops. According to Tolstoy, the people decide the course of history.