Antonova Irina Vladimirovna,
teacher of Russian language and literature

A teacher's happiness is the success of his students.

M. Aurelius

Today in education great importance is given to the use of modern educational technologies, among which active learning technology occupies a special place, since it allows students to be involved in the process of deep thoughtful comprehension of educational material, to consolidate and generalize historical, literary and theoretical knowledge.

We have to admit that our students read less and less, preferring to learn about the world from the Internet. Works of classical literature are either not read or are comprehended in a brief summary, and it is very difficult to interest students in attentive and observant reading (for working with the work in class) of the book. What should a teacher do in this situation? What can be done to ensure that students open the book and read it, if not with great pleasure, then at least for educational reasons.

The new Federal State Educational Standards provide an opportunity for teachers to solve such problems from an expanded perspective, since educational institutions must first of all produce a developed, mobile, competitive personality. Everyone knows the phrase: “Everything new is well forgotten old.” And experienced teachers, when mastering new educational technologies, do not forget the old methods of work: combining all pedagogical methods, they masterfully apply them in their practice. What can you offer to interest students in reading the work for the lesson?

So, starting to work with 5th grade children, the teacher himself, without hesitation, is obliged to demonstrate reading, which must be expressive and demonstrative, so that the students, listening, want to read, imitating their mentor. This option is, of course, suitable for short stories or poems. As for a larger work such as “Mumu” ​​by I.S. Turgenev, or in the 6th grade of the novel “Dubrovsky” by A.S. Pushkin, then you can read an interesting fragment, which has a further continuation. The guys will ask questions; “What next?”, “What happened to the hero?”, “How did the story end?” And here the teacher, of course, will offer to independently learn about further development events yourself by reading the book.

Another interesting approach to teaching is drawings by students from previous years, paintings famous artists, figures of characters (you can prepare information in the presentation) that the children should recognize or remember what heroes of fairy tales and stories they are like. Also show unknown characters, have a conversation about what role these heroes can play. Students will name different options, suggesting the possible role of these individuals, and here the teacher can again tell them what they can learn about these characters in the new work they are studying. The interest of our students can be won by showing a fragment of a cartoon (you can use the work being studied, or you can use another story from the author being studied). For example, in the 6th grade, before reading Seton-Thompson's story "Snap", you can invite students to watch a cartoon (approximately 8-9 minutes in class) based on Seton-Thompson's story "Chink", then have a conversation and tell them that now they will have to meet the new hero of the Canadian writer - Snap. I think that stories about animals will not leave any sixth grader indifferent.

The non-standard form of the lesson creates a situation of psychological relaxation in the lesson, liberates consciousness, and prevents the threat of possible rejection by readers of the classic text. There is a natural, without coercion, introduction of schoolchildren to the world of moral and aesthetic values ​​of literary classics. The teacher gets the opportunity to reveal knowledge of the text and literary material. This form of the lesson is playful. Questions addressed to participants in such competitions often concern small details and specific facts. Such lessons help students develop an attentive attitude to artistic detail; students pay attention to the historical significance of information in a work, show the connection between generations and the ability to evaluate events identical to modern ones. It will be especially interesting to draw a parallel with today's Orthodox holidays with Old Church Slavonic when studying the topic in 5th grade “Folklore”, and then, upon completion of studying the topic, organize a competitive lesson-game “Ritual folklore”. A remarkable development of this material is offered by the authors: V.A. Malyugina, O.G. Chernykh in the book " Game lessons on literature". You can also use the development of quizzes, travel game lessons, literary rings, etc.

If students in grades 5-6 still enjoy reading, drawing, asking for additional assignments, and going to the board to answer orally, then with students in grades 7-8 it is already more difficult to do these types of work. Firstly, they become more shy due to age characteristics, secondly, you are lazy to waste time on “reading”. How to influence the reading interest of children, especially since works of Russian literature are becoming more difficult to perceive? Today, new editions of literature textbooks come with music discs. And when studying this or that educational material, you can use a musical composition. Ask questions about the mood that arises when listening of this fragment? Can you imagine that Feature Film Would it be interesting without music? How does music influence literary work? Is music needed “inside” the work?.. You can demonstrate musical compositions when studying the story of I.S. Turgenev “Asya”, L.N. Tolstoy “After the Ball”, A.S. Pushkin " Captain's daughter" or folk songs about E. Pugachev and others. Serious fragments will be interesting for analysis modern production from the feature film “Taras Bulba” based on the story by N.V. Gogol "Taras Bulba". Or when studying the biography of M.V. Lomonosov, an excerpt (excerpts) from the film “Mikhailo Lomonosov” will be more revealing and fruitful than simply reading in class about the life of the great scientist. In order to present to seventh graders the significance of a particular story, novel, story, it will be convenient for presenting new information historical reference. Of course, this extraordinary approach depends on the lesson schedule, and on a specific date (it can relate to the birthday or death of a writer, poet, physicist, etc., a specific historical event, both global and Russian), and on the subject being studied works. Here it is necessary to track the historical calendar in order to connect this information in the lesson with the work being studied. The use of this technique helps children remember both historical facts and the significance of literature in general.

When working with students in grades 9-11, all methods seem to come together and create meaningful work in the lesson. One of my favorite methods is the preparatory reading of diary entries or memories of a particular writer, a fragment of a story or a description of an architectural structure. Brief, clear and relevant this moment The “reference” can be found in the collection of texts by L.M. Rybchenkova (to conduct a written exam in the Russian language for the 9th grade basic school course), now consigned to “history.” The collection deserves attention in that the material presented is simple, accessible for analysis, and the information not only prepares students to accept serious work, but and makes you think about the personality of the writer or poet from immediate memory.

An original approach to work in the lesson would be the teacher bringing dried roses to class while studying the lyrics of I. Severyanin and reading the poem “ Classic roses"; or reading a “letter to Raskolnikov” written by a student from previous years, which will be a unique approach to studying the work.

For example,

Letter through the ages

Dear Rodion! You are amazing when you defend your theory, point of view. But at the same time, the detachment from moral values ​​is sad. After everything that happened to you, I only have a feeling of human pity and compassion. Undoubtedly, you have a fairly high opinion of yourself. This distinguishes you from other people, but brings you closer to characters not very pleasant for the reader. Moreover, today, in our 21st century, self-confidence is the key to success, the motto of all young and creative people. But how can you justify your contradictory, non-standard individuality? An ignorant person may think that you are just a cocky “tramp” who has not achieved anything in life. But you have a strong character, because not everyone can raise a hand against a defenseless old woman, or in your case an ax. Who did you help with this? Not for yourself, not for people. The work didn’t appeal to you, or maybe you’re a lazy person? Of course, a creative mind is also work, and it is not always appreciated. Nevertheless, I don’t understand you, but I don’t blame you either, because everything is in the hands of the person himself. Bogdanova L. 10th grade.

Good afternoon, Rodion!

Despite the fact that several centuries separate us, I would like to express my indignation at your theory. Making our way through the masses of conclusions and essays by critics, we can say that it is the theory that is the very “fly in the ointment” because of which the irreparable happened. I hope that the awareness of this fact of hard labor has not crippled your sharp mind. I propose to continue along the path of correction. Sincerely, Denis Sinko, 10th grade.

If there are dancing guys in the class, then when studying L.N. Tolstoy’s novel “War and Peace” and the analysis scene “Natasha Rostova’s First Ball”, they can perform a waltz. To test students' knowledge of the text, you can offer to compose tests for each volume, then correct them if necessary, and let other students complete this material. A good test of knowledge of the novel “War and Peace” (or another work) would be the lesson-game “Field of Miracles”, and tasks can be focused on artistic detail, which students often miss, thereby drawing attention to detail when studying other works. For example, what earrings did Marya Dmitrievna give for Natasha Rostova’s name day; what was the briefcase in which Count Bezukhov's will was kept? Here there is a certain competition among students for knowledge of the text, which pushes the children to read more carefully, so that in this form of work (game) they do not look like an ignorant person.

Working on the novel by I.A. Goncharov “Oblomov”, the teacher can use such a digital communication center as an electronic board. Having prepared the pictures (drawings) of I. Oblomov’s dream in advance (the pictures must move), place them on the board in a chaotic order. After analyzing the hero’s dream episode, one of the students must arrange the images on the board according to the text to get a complete picture of what the author is describing. Visual perception of text through big picture helps tenth graders understand the importance of this independent fragment in the novel, which leads to a deeper understanding of the entire work as a whole.

When studying poetry Silver Age you can use audio recordings where the authors read their poems themselves. For example, A. Akhmatova’s poems “You know for yourself that I will not glorify” or “The sounds on the air are decaying”; S. Yesenin “Have you seen how he runs through the steppes...”; V. Mayakovsky “And you could …” or “An extraordinary adventure that happened with Vladimir Mayakovsky in the summer at the dacha.” Pre-prepared students can also expressively read poems to a musical composition. Reading lyrical works in a non-standard form shows respect for classmates and a different perception of poetry.

The new requirements of the Federal State Educational Standard guide teachers and students to work with project activities, which develops both independent search for information and its processing, setting goals and objectives, creating presentations and theoretical material on a specific topic studied. The implementation of the project method leads to a change in the teacher’s position. From a carrier of ready-made knowledge, he turns into an organizer of cognitive, research activities students. You can use an approximate plan within the framework of project technology:

1. The teacher chooses the topic of the project, its type, and determines the number of participants.
2. Then he thinks through problems that are important to study within the framework of the intended topic, and helps students understand and formulate them (leading questions, a situation that helps identify the problem).
3. The teacher encourages students to discuss possible research methods, independently search for information, and create creative solutions.
4. An interim discussion of the obtained data is organized.
5. Defense of projects involves collective discussion, examination, results of external assessment, and conclusions.
6. Project defense can be carried out as a planned event, or as part of student conferences, days Slavic writing, anniversary date of the author.

For example, a research project

Views of L.N. Tolstoy on the meaning of life

1. Task: detailed acquaintance of students with the life and work of the Russian writer L.N. Tolstoy (since in the lesson many life facts may not be mentioned), knowledge of the text “War and Peace”, diary entries of L.N. Tolstoy.
2. Problem: why L.N. Did Tolstoy keep diary entries from his youth? How do the thoughts of young Tolstoy differ from Tolstoy the world-famous writer? How did diary entries influence the creation of the novel War and Peace? What life conclusion does L.N. Tolstoy in his notes? What should the life of a Russian nobleman be like? Refute or confirm the phrase of L.N. himself. Tolstoy: What is needed for happiness? Quiet family life... with the opportunity to do good to people.”
3. Information sources: literary (books, newspaper and magazine publications, etc.), dictionaries, reference books...
4. Data processing: literature analysis, generalization, comparison of diary entries with the novel, known facts, evidence and conclusions.
5. Result: report, abstract.
6. Presentation: performance at the event.

The implementation of project activities creates a situation of searching for knowledge, in which the student not only collects materials and studies information, but also comprehends facts, phenomena, the behavior of characters, their actions, relating them to reality. And based on what has been studied, he draws conclusions, refuting or confirming the hypothesis (phrase).

But what is unchangeable and “eternal” in any literature lesson, of course, will be the “forgotten old” living word of the teacher and student. After all, after preparatory work conducted by the teacher using a variety of modern technologies, I want to see and hear how students not only answer the questions posed, but also argue, discuss, put forward their assumptions, life positions. And the result should be an essay that actively breaks into school life. This type work did not “go away” anywhere, but today the essay is becoming a priority not because it has again become a means of testing students’ knowledge in an exam, but because, first of all, students have the opportunity to reflect and reason about a specific problem “in their own way.” Perhaps the statements and points of view of our students will not always be correct, but the fact that the teacher “hears” him (the student) will already be an achievement for both the teacher and the child. After all, learning to express your thoughts in writing, while analyzing the text and maintaining a certain topic, is a lot of student work, the result of which is the final grade. Which means, as I said French writer: “School is a workshop where the thoughts of the younger generation are formed; you must hold it tightly in your hands if you do not want to let the future slip out of your hands.”

Bibliography

1. Gorbich O.I. Modern technologies for teaching the Russian language at school: Collection of lectures for teachers. Advanced training courses // Pedagogical University “First of September”, 2009, 1-4 lectures.
2. Malyugina V.A., O.G. Chernykh Game lessons on literature. M.: VAKO, 2009, p. 256.
3. Poems by A. Akhmatova [Electronic resource] //Poems by A. Akhmatova. - URL: http://www. anna.ahmatova.com›audio.htm
4. Poems by S. Yesenin. [Electronic resource] // Poems by S. Yesenin. - URL: http://www. liveinternet.ru›
5. Vladimir Mayakovsky. [Electronic resource] // Vladimir. Mayakovsky. - URL: http://www. v-mayakovsky.com›
6. Quote [Electronic resource] // Quote. - URL: http://www. lubap.ucoz.ru›

One of best works Russian classical literature, undoubtedly, is L. Tolstoy’s epic novel “War and Peace,” in which the author, from the first pages, emphasizes the unnaturalness of all conflicts. This is facilitated by scenes describing a peaceful life in the circle of family and friends, always ready to understand and come to the rescue. And an analysis of the episode “Name Day at the Rostovs” will help you understand which people attracted the writer most.

Place of the scene in the epic novel

Almost the entire 1st part of the first volume is devoted to getting to know the characters and the foundations that have developed in their homes and society as a whole.

After describing the nobility gathered in the Scherer salon, L. Tolstoy shows how name days are celebrated in the Rostov house. A very important idea for the writer is connected with this family in the work - family, as he himself designated it. And the acquaintance with the Rostovs and the story about their further fate begins from the scene in which relatives and friends gather together. Throughout the day, a joyful, friendly atmosphere reigns here, emphasizing that the owners are glad to see everyone who crosses their threshold. And although the Countess, tired of the visits, says: “Well, that’s enough,” her words are not perceived as reluctance to see guests. This is, to a greater extent, a manifestation of sincerity and simplicity - the main advantages of all family members with the exception of the eldest daughter Vera. This is the main difference between the Rostovs and other “noble nests” presented in the novel.

Morning reception

The count's house was known throughout Moscow, including its hospitality and cordiality, which will be proven by an analysis of the episode "Name Day at the Rostovs." On this day, from the very morning, guests began to arrive to congratulate the mother and daughter. The Countess, a woman of about forty-five, received everyone in the drawing room. Next to her sat the already matured Vera. Young people, including the birthday girl, thirteen-year-old Natasha, considered this activity rather boring and therefore went about their own, more interesting things.

Everyone who arrived with a friendly smile and kind words- here, by the way, instead of fashionable French they preferred their native Russian - the count himself greeted them. He took them to his wife, and as he saw them off, he invited each guest to attend the festive evening dinner, which was held according to tradition, even despite financial difficulties.

The story with Pierre

An indicative scene can be considered in which one of the guests tells a story that happened the day before with the illegitimate son of Count Bezukhov, who in a drunken revelry tied a policeman to the back of a bear. This caused everyone to laugh and be genuinely happy. The count was especially amused as he picturesquely presented the entire scene described. It is worth noting that at Scherer’s, for example, guests would certainly try to give a moral assessment of Pierre’s stupid behavior and even label him accordingly.

Thus, the Rostovs’ name day - the analysis of the episode emphasizes this - speaks of simplicity, naturalness, the absence of pretense and ostentatious hospitality in this family.

Beginning of the evening

The Count always, even in such a difficult time for them, tried to arrange everything according to the rules - money was never treated here as if it were the most important thing. main value in life. The arriving women gathered in the living room, and the men went to the owner’s office: there they were to admire his wonderful collection of pipes and, naturally, discuss political news, the main one of which was the war. Each of the guests expressed their opinion regarding the current political situation, but this was done somehow unobtrusively and without unnecessary discussions. Particularly notable was the young lieutenant Berg, who, not by chance, came to the name day of Natasha Rostova (daughter) and the countess herself: he was intended to be Vera’s suitor. Often he preferred to remain silent, observing what was happening and assessing the situation. Now Berg captivated the audience with a story about what an advantageous position he occupied in the guard and how quickly he was promoted. At the same time, he did not notice at all that the interest in him was rather caused by the manifestation of boasting and narcissism, which were not very accepted in such a circle and were quite appropriate in Anna Pavlovna. This was emphasized by the final phrase of one of the guests, that with this approach to life, Berg will go anywhere. However, here too everything happened naturally, without claims to superiority on the part of any of the guests or the count himself.

Long-awaited guest

It was time for lunch and the men returned to the living room. The owners kept looking at the door, which eloquently spoke of one thing: not all the guests had arrived yet. Finally, there was a noise and fifty-year-old Marya Dmitrievna, one might say, burst into the living room, due to whose absence they had not yet begun to celebrate the Rostovs’ name day. Analysis of the episode when all the guests, without exception, stood up when the lady appeared, immediately emphasizes her importance in this circle. Somewhat rudely, but exclusively in Russian, she addressed the count who met her and her beloved goddaughter, Natasha the “Cossack,” making a couple of comments along the way to Pierre Bezukhov, who was present here. But it was precisely for this directness and simplicity of communication that she was respected and even somewhat feared in both capitals. Although it must be said that if, as the analysis shows, the Rostovs’ name days did not begin without her, then in a salon like Scherer, the appearance of Akhrosimova would have been impossible in principle - she was very different from the high society nobility with their “high” manners, arrogance and pretense.

Only now, when the yakhont earrings were presented to the goddaughter, and the young Count Bezukhov was reprimanded by the guest for the story with the bear, did everyone go to the table.

Description of dinner

Analysis of the episode “Name Day at the Rostovs” shows that at dinner everything went as expected - i.e. In general, common decency was observed. Women sat at one end of the table, men at the other. An interesting remark by the author is that the owner, glancing at his wife sitting opposite, quietly poured wine for the guests and himself, and the countess, in turn, tried not to take her eyes off her husband and noticed how his face and bald spot were becoming redder. This detail emphasizes how well the spouses have studied each other over the years of their life together.

The revived men soon started talking about the war again. But this question worried them more due to the fact that they had to send their sons to the front. For example, the Rostovs’ son, Nikolai, was soon to leave the house. The guests are quite sincerely surprised: “Why did this Bonaparte decide to fight?” Gradually, young Nikolai, ready to win or die for Russia, and Marya Dmitrievna, who noted that everything is God’s will, intervene in the conversation (she herself had four sons at the front). Thus, the war here was perceived as a terrible event, participation in which was not a way to achieve titles and awards, but the necessity and duty of every patriot.

Daring prank

The episode “Name Day at the Rostovs” emphasizes that the whole family, including its younger members, gathered at the common table. They established their own special relationship, which Vera, who already felt like an adult, looked at with irony. Young people were more concerned about mutual sympathies and hobbies. So the quiet Sonya, a poor relative of the Rostovs, spent the whole evening watching Nikolai, with whom he would soon have to part. The birthday girl Natasha exchanged glances with Boris, who was also preparing to go to the front. Sometimes her attention was attracted by the large and clumsy Pierre with his unusual appearance.

And suddenly, when the argument about the war gradually subsided and the guests on each half of the table started talking about their own things, Natasha’s ringing voice was heard. Her address to her mother at that moment looked impudent and contrary to the norms of etiquette. Having argued with her younger brother, she decided to definitely find out what would be served for dessert. Her question shocked everyone at first, but the incredible courage of the girl, who then dared to enter into dialogue with Marya Dmitrievna herself, greatly amused everyone. And the birthday girl felt like a real heroine, and was in an ecstatic state all evening.

After dinner entertainment

The name day of Natasha Rostova and her mother continues with a description of playing cards, in which the men and Marya Dmitrievna herself participated, singing to the accompaniment and, of course, dancing. Natasha took another liberty here, inviting Pierre, a stranger to her. And then she sat in his company and, fanning herself with a fan, pretended to be small talk, causing admiration from her godmother: “What?” But the real event was the dance performed by the Count and Marya Dmitrievna. There was so much simplicity, naturalness, sincerity in their joy that came from the depths of their souls and, albeit not always dexterous, but natural movements, that it was impossible not to admire them.

So L. Tolstoy emphasizes truly folk character their favorite characters in the epic novel War and Peace.

Rostov's name day: conclusions

As already noted, in the first part of the work the main plot lines are established and the reader gets acquainted with the characters whose fate will subsequently pass before his eyes. In this regard, it is significant that there are descriptions of the reception in the Scherer salon and the Rostov house nearby. Their contrasting image helps to better understand the dignity of Russian people, whose soul has not been spoiled by the light, to see the author and the definition of what the role of the family is, where everything is built on mutual love, cordiality, sincerity,

Analysis of the episode “Name Day at the Rostovs” confirms main idea novel: a person is born to live in harmony with the world and with himself, and any war is destructive in its essence.

L. N. Tolstoy’s novel “War and Peace.” History of creation.

Conclusion:“I tried to write the history of the people.”

1857 - after a meeting with the Decembrists, L.N. Tolstoy conceived a novel about one of them.

1825 - “Involuntarily, I moved from the present to 1825, the era of my hero’s errors and misfortunes.”

1812 - “To understand my hero, I need to travel back to his youth, which coincided with the glorious era of 1812 for Russia.”

1805 - “I was ashamed to write about our triumph without describing our failures and our shame.”

Conclusion: A huge amount of material has accumulated about the historical events of 1805-1856. and the concept of the novel changed. The events of 1812 were at the center, and the Russian people became the hero of the novel.
Appendix 2

Historical commentary to volume I of the novel “War and Peace.”

In the first volume of the epic novel “War and Peace,” the action takes place in 1805.

In 1789, at the time of the French Revolution, Napoleon Bonaparte (in his homeland, the island of Corsica, his surname was pronounced Buanaparte) was 20 years old, and he served as a lieutenant in a French regiment.

In 1793, a counter-revolutionary uprising supported by the English fleet occurred in Toulon, a port city on the Mediterranean Sea. The revolutionary army besieged Toulon from land, but could not take it for a long time, until the unknown captain Bonaparte appeared. He laid out his plan for taking the city and carried it out.

This victory made 24-year-old Bonaparte a general, and hundreds of young men began to dream of their Toulon.

Then there were 2 years of disgrace, until 1795 there was a counter-revolutionary uprising against the Convention. They remembered the young, decisive general, called him, and he, with complete fearlessness, shot a huge crowd in the middle of the city from cannons. The following year, he led the French army operating in Italy, walked along the most dangerous road through the Alps, defeated the Italian army in 6 days, and then the selected Austrian troops.

Returning from Italy to Paris, General Bonaparte was greeted as a national hero.

After Italy there was a trip to Egypt and Syria to fight the British on the territory of their colonies, then a triumphant return to France, the destruction of the gains of the French Revolution and the post of first consul (from 1799).

In 1804 he proclaimed himself emperor. And shortly before the coronation he committed another cruelty: he executed the Duke of Enghien, who belonged to the French royal house of Bourbon.

Promoted by the revolution and having destroyed its conquests, he is preparing a war with the main enemy - England.

In England they also made preparations: they managed to conclude an alliance with Russia and Austria, whose combined troops moved west. Instead of landing in England, Napoleon had to meet them halfway.

Russia's military actions against France were caused primarily by the tsarist government's fear of the “revolutionary infection” spreading throughout Europe.

However, under the Austrian fortress of Braunau, an army of forty thousand under the command of Kutuzov was on the verge of disaster due to the defeat of the Austrian troops. Fighting off the advanced units of the enemy, the Russian army began to retreat in the direction of Vienna to join forces coming from Russia.

But French troops entered Vienna before Kutuzov’s army, which faced the threat of destruction. It was then that, fulfilling Kutuzov’s plan, General Bagration’s four-thousandth detachment accomplished a feat near the village of Shengraben: he stood in the way of the French and made it possible for the main forces of the Russian army to escape from the trap.

The efforts of the Russian commanders and the heroic actions of the soldiers ultimately did not bring victory: on December 2, 1805, in the battle of Austerlitz, the Russian army was defeated.

Lessons 38-39 (106-107). Episode “Evening at the Scherer salon.

Petersburg. July 1805" (vol. I, part 1, chapters 1-6, 12-13, 18-25)

Target: show the tearing off of all kinds of masks from the bike secular society; reveal the conflict between A. Bolkonsky and P. Bezukhov with this society; analyze scenes from the life of Moscow high society (the history of the struggle for the inheritance of Count Bezukhov).

Equipment: printed materials, cards, film “War and Peace” (fragments), can be used before or after analyzing the episodes.
During the classes

I. Verification work according to options involving printed material (for each student).

L. N. Tolstoy devoted seven years (1863-1869) to the novel “War and Peace”, in his own words, “incessant and exceptional work, with best conditions life." Almost all autographs of the novel have survived to this day. They amount to more than five thousand sheets, mostly filled in on both sides.

“I started a novel about 4 months ago, the hero of which should be the returning Decembrist. ... My Decembrist should be an enthusiast, a mystic, a Christian, returning to Russia in 56 with his wife, son and daughter and trying on his strict and somewhat ideal view of the new Russia.”

So, the main creative impulse, the result of which was “War and Peace,” was the artist’s thought about his modernity. But in the novel about the Decembrist, only the first chapters were written. About further development original plan Tolstoy wrote in one of the rough drafts of the preface to the novel War and Peace.

“In 1856 I began to write a story with well-known destination, the hero of which should be a Decembrist returning with his family to Russia. Involuntarily, I moved from the present to 1825, the era of my hero’s errors and misfortunes, and left what I started. But even in 1825, my hero was already a mature family man. To understand him, I needed to be transported to his youth, and his youth coincided with the glorious era of 1812 for Russia. Another time I abandoned what I had started and began to write from the time of 1812, the smell and sound of which are still audible and dear to us, but which now it is so distant from us that we can think about it calmly. But the third time I left what I had started, but not because I needed to describe the first youth of my hero, on the contrary: between those semi-historical, semi-public, semi-fictional great characterful persons great era the personality of my hero receded into the background, and young and old people, both men and women of that time, came to the fore, with equal interest for me. For the third time I returned back with a feeling that may seem strange to most readers, but which, I hope, will be understood by those whose opinions I value; I did this out of a feeling similar to shyness and which I cannot define in one word. I was ashamed to write about our triumph in the fight against Bonaparte’s France without describing our failures and our shame. Who has not experienced that hidden but unpleasant feeling of shyness and distrust when reading patriotic works about the 12th year? If the reason for our triumph was not accidental, but lay in the essence of the character of the Russian people and troops, then this character should have been expressed even more clearly in the era of failures and defeats.

So, having returned from 1856 to 1805, from now on I intend to take not just one, but many of my heroines and heroes through historical events 1805, 1807, 1812, 1825 and 1856."

L. N. Tolstoy. Sketches of the preface to War and Peace, 1867.
“At the time of the birth of the “book about the past,” it was no coincidence that Tolstoy was captivated by Herder’s ideas that the ends and beginnings of human existence extend far beyond the boundaries of his own earthly existence. Tolstoy could not talk about the repetition of certain phenomena in the course of history, but about the living commonality between the entire past and present, about the countless number of their intertwinings and mutual transitions. This is how the relationship between the beginning of the century and the time of the book’s creation developed in “War and Peace.”

J. S. Bilinkis. "War and Peace", 1986.
Exercise.

1. What issues of social life were relevant in the 60s (based on the works of A. N. Ostrovsky, I. S. Turgenev, F. M. Dostoevsky, already known to you from this time)?

2. How did Tolstoy’s plan change? Did the transfer of the novel's action to the era of 1812 mean that the writer had left the times?

3. In the diary of the writer M. Prishvin there is the following entry: “The secret modernity of a story about non-modern things is, perhaps, the touchstone of true creativity.” Did you feel the secret modernity of the novel “War and Peace” while reading it on your own? What is she wearing?

"L. N. Tolstoy began publishing the novel “War and Peace” even before completing work on it. In 1865-1866 a version of the first volume entitled “1805” appeared in the magazine “Russian Messenger”. The title “War and Peace” appears, apparently, only at the end of 1866. The words in the title of the novel are ambiguous, and the title includes the entire set of their meanings.

Thus, the concept of “war” in Tolstoy’s narrative means more than just military clashes between warring armies. War is generally hostility, misunderstanding, selfish calculation, separation.

War does not only exist in war. In the usual Everyday life people separated by social and moral barriers, conflicts and clashes are inevitable. Fighting with Prince Vasily for the inheritance of the dying Count Bezukhov, Anna Mikhailovna Drubetskaya is conducting military operations. Tolstoy deliberately emphasizes this: “She took off her gloves and, in the position she had won, settled down in a chair.” She wins the battle for the mosaic briefcase, which contains the will of the old count. Prince Vasily does not give up and continues the war - this time for Pierre himself, along with all his inheritance. The matter is being carried out by completely peaceful and even attractive means - Pierre's marriage to the beautiful Helen. But the whole picture of the fatal “explanation” is in some way very reminiscent of military difficulties, and it is striking that the author talks about the love explanation in the same words as about the war. Just as in war there is a terrible line that separates life from death, friends from enemies, so Pierre, alone with Helen, feels a certain line that he is afraid to cross, crosses and thereby causes his misfortune. Then straight war follows - a duel with Dolokhov, more terrible than military action, because the murder could have happened in peaceful life.

Just like “war,” the concept of “peace” is revealed in the epic in a wide variety of meanings. Peace is the life of a people not in a state of war. The world is a peasant gathering that started a riot in Bogucharovo. The world is a “pool”, “nonsense and confusion” of everyday interests, which, unlike abusive life, so prevent Nikolai Rostov from being “ wonderful person“and they annoy him so much when he comes on vacation and understands nothing in this “stupid world.” The world is the whole people, without distinction of classes, animated by a single feeling of pain for the desecrated fatherland. The world is the immediate environment that a person always carries with him, no matter where he is, in war or in peaceful life, - like the special “peace” of Tushin, the poetic love world of Natasha or the sadly focused spiritual world Princess Marya. But the world is the whole world, the Universe; Pierre speaks about him, proving to Prince Andrei the existence of the “kingdom of truth.” Peace is a brotherhood of people, regardless of national and class differences. The world is life.

Such simple words - war and peace - in the title indicate the epic breadth and comprehensiveness of the book."

L. D. Opulskaya. L. N. Tolstoy’s epic novel “War and Peace”, 1987.
Exercise.

Show, based on your impressions after reading the novel yourself, that the words “war” and “peace” in the title are not only key in artistic content novel, but also with images rich in many meanings.

“...What is “War and Peace”? This is not a novel, still less a poem, even less a historical chronicle. “War and Peace” is what the author wanted and could express in the form in which it was expressed. Such a statement about the author’s disdain for the conventional forms of a prosaic work of art might seem arrogant if it were intentional and if it had no examples. The history of Russian literature since the time of Pushka not only presents many examples of such a deviation from the European form, but does not even provide a single example of the opposite. Starting from " Dead souls"Gogol and before Dostoevsky's "House of the Dead", in the new period of Russian literature there is not a single artistic prose work, a little out of mediocrity, which would fit well into the form of a novel, poem or story.”

L. N. Tolstoy. A few words about the book “War and Peace”. 1868.
“The work now proposed comes closest to a novel or story, but it is not a novel, because I cannot and do not know how to put known boundaries on the persons I have invented - such as marriage or death, after which the interest of the story would be destroyed. I couldn’t help but imagine that the death of one person only aroused interest in other people, and marriage seemed mostly like the beginning, not the end of interest. I cannot call my work a story because I do not know how and cannot force my persons to act only for the purpose of proving or clarifying any one thought or series of thoughts.”

L. N. Tolstoy. Drafts of the preface to War and Peace. 1867.
“War and Peace” is one of the few books in world literature of the 19th century to which the title of epic novel is rightfully attached. Events of large historical scale. General life (and not private) form the basis of its content; it is revealed historical process, an unusually wide coverage of Russian life in all its layers has been achieved and, as a result, the number characters, in particular characters from the folk environment; it shows Russian national life.”

L. D. Opulskaya. L. N. Tolstoy's epic novel War and Peace. 1987.
Exercise.

1. How is “War and Peace” different from the 19th century novels you know?

2. What are the main features of the epic mentioned in the above materials?
II. Survey and test of knowledge of the text, vol. I, parts 1-3:

Name the main events of volume I, parts 1-3;

What did Marya Dmitrievna give to Natasha Rostova for her birthday? ( yacht earrings with pears);

With whom (adults) did Natasha Rostova dance at her birthday party? ( with Pierre);

From whom did M. Bolkonskaya first learn about Anatoly Kuragin’s upcoming matchmaking with her? ( from Julie's letter).

What caused the dissatisfaction of the regimental commander Bogdanovich Nikolai Rostov?

What wound did N. Rostov receive and in what battle? ( hand, Battle of Shengraben);

Why didn’t Tushin and his battery retreat? ( Didn't receive orders, Zherkov chickened out.)

Did Pierre propose to Helene to marry him? ( Prince Vasily blessed without a proposal);

Why didn’t M. Bolkonskaya accept A. Kuragin’s proposal to marry him? ( I saw A. Kuragin and his companions meeting in the garden).

How the Battle of Austerlitz ended for Prince Andrei ( leads the battalion into battle with a banner, is wounded).
III. Teacher's opening speech.

The general goal in studying the novel is to find out which standards of life Tolstoy affirms and which he denies. We begin our acquaintance with the novel with an episode of the evening in the salon of A.P. Scherer in July 1805. Specific goal- to determine, firstly, the author’s attitude to the norms of life of high society and how he expresses this, secondly, to see whether this society is homogeneous and, thirdly, conversations in the salon of people close to the royal court will allow us to get involved into the political atmosphere of the era: it was in July 1805 that diplomatic relations between Russia and France were broken. Why did this happen?

1. Which characters, and in what order, does Tolstoy introduce the reader to in the first chapters of the novel?

3. P. Bezukhov and A. Bolkonsky as strangers in Scherer’s living room.

4. “Anecdote” of Prince Ippolit at the end of the evening. French and Russian in the description of Anna Pavlovna's salon.

The action begins in July 1805 in the salon of A.P. Scherer. These scenes introduce us to representatives of the court aristocratic environment: maid of honor Sherer, minister Prince Vasily Kuragin, his children - the beautiful Helen, the “restless fool” Anatole and the “calm fool” Hippolyte, Princess Lisa Bolkonskaya, etc.

The negative attitude towards Tolstoy’s heroes was manifested in the fact that the author shows how false everything about them is, it does not come from a pure heart, but from the need to maintain decency. Tolstoy denies the norms of life of high society and, behind its external decency, grace, and secular tact, reveals the emptiness, selfishness, greed and careerism of the “cream” of society.

To expose the falseness and unnaturalness of these people, Tolstoy uses the method of “tearing off all and sundry masks” (“First of all, tell me, how is your health, dear friend? Reassure me,” said Prince Vasily in a tone in which, due to decency and sympathy, indifference shone through and even ridicule").

Looking through Chapter 2, students read facts that speak about the falsehood of this society, evaluative epithets and comparisons in the descriptions of the characters (“flat face”, Anna Pavlovna “treated” her guests to foreigners, “served”... first the viscount, then the abbot... ).

Two people stand out among Anna Pavlovna’s guests. Who are they? Do they belong in a high society living room, judging only by the portraits and demeanor of the characters?

(Smart and timid, observant and natural look of Pierre, a grimace of boredom on the handsome face of Prince Andrei. Already from the portraits it is clear that they are strangers here. From the very moment of their appearance in the salon, the conflict of Pierre and Prince Andrei with the aristocratic environment is felt. Anna Pavlovna greeted Pierre bow, “referring to people of the lowest hierarchy in her salon,” and treated him with fear.)

Compare the portrait of Pierre and Prince Vasily and their behavior.

Name the details that reveal the spiritual closeness of Pierre and A. Bolkonsky.

(Only with Bolkonsky Pierre does not take his “joyful, friendly eyes off”, and Prince Andrei, looking at everyone in the living room with a tired, bored look, smiled only at Pierre with an “unexpectedly kind and pleasant smile”).

Pierre's violation of the etiquette established by Anna Pavlovna and his clumsiness once again confirm that he is a foreign body in the high society drawing room. Prince Vasily says to Anna Pavlovna about him: “Train this bear for me.”

It cannot be said so emphatically about Prince Andrei that he is a stranger in everything. In this society he is not a “bear”, he has equal rights, he is respected and feared, he can allow himself to “squint” at society. He is something for everyone. They are strangers to him.

We draw attention to the features of Tolstoy’s portraits:

a) the naturalness of the first acquaintance with the hero through his appearance, as happens in life;

b) deep psychological content of the portrait, expression through it of changes in feelings and moods;

c) highlighting 1-2 permanent signs (the bright expression of Prince Vasily’s flat face; Anna Pavlovna’s enthusiastic, as if glued-on smile; Pierre’s smart and timid look...)

So, denying the norms of life of high society, Tolstoy begins the path of his positive heroes with their denial of the emptiness and falsehood of secular life. The author shows the heterogeneity of this society, and the people who are disgusted by such a life.

Let us pay attention to political disputes (Chapter 4).

(The story about the anti-Napoleonic conspiracy of the Duke of Enghien turns into a cute social anecdote in the salon, which everyone finds charming. When Pierre tries to enter into a conversation about Napoleon, Anna Pavlovna does not allow this. A. Bolkonsky is well aware of Napoleon, he quotes Napoleonic sayings. In the background general condemnation of Napoleon, Pierre's words suddenly sound in his defense, horrifying everyone, and only A. Bolkonsky supports him. This indicates the progressive attitude of Pierre and the political reactionary nature of the Scherer circle, since the ideas of revolution here are assessed as ideas of robbery, murder and regicide; remember Anna Pavlovna’s words (chapter 1) about the need to crush the hydra of the revolution... in the person of this murderer and villain...")

If Pierre has not yet realized his opposition to secular society, then Prince Andrei deeply despises the world (characteristics of secular society, Chapter 6). This is manifested in his demeanor (in Scherer’s living room he has a “bored” look, his voice sounds “dryly unpleasant”), in open sympathy for Pierre, who preaches freedom-loving views, and in harsh statements about the empty and base interests of the court aristocracy.

What episode ends the evening at A.P. Scherer’s?

(A stupid joke by Hippolytus, which everyone greeted as a social courtesy.)

Let us pay attention to the fact that Ch. 1-4. full of French. For what purpose was it introduced into the novel? French?

(The French language is the norm of a secular society; Tolstoy emphasizes the characters’ ignorance of their native language, their separation from the people, i.e. the French language is a means of characterizing the nobility with its anti-national orientation.)

By simply using either Russian or French, Tolstoy shows his attitude to what is happening. Pierre's words, although he speaks excellent French and is more accustomed to it abroad, are given only in Russian by the author. Replies by A. Bolkonsky (and he, out of habit, often switches to French and speaks it like a Frenchman, even pronouncing the word “Kutuzov” with an emphasis on the last syllable) are also given, mostly in Russian, with the exception of two cases: prince Andrei, entering the salon, answers Anna Pavlovna’s question in French, asked in French, and quotes Napoleon in French.

As a rule, where lies or evil are described, French or, later, German language breaks in.
VI. Standards of life for young representatives of high society.

What is the friendship between Pierre and A. Bolkonsky based on?

(The friendship of the heroes is built on the commonality of their interests, therefore, as a more experienced person, Prince Andrei recommends that Pierre not be friends with Kuragin.)

What are the entertainments of the society of Kuragin and Dolokhov? What role do these scenes play in the novel?

(These scenes reveal new aspects of the life of the aristocracy, introduce new heroes (Dolokhov, A. Kuragin). The scenes in the salon of A.P. Scherer (Pierre’s preaching of freedom-loving views) and the entertainment of secular youth (Pierre’s participation in revelries) represent a psychological connection to the development storyline Pierre.)

From the first pages of the novel we pay attention to the contradictory character of Pierre; what principle will win in it?

Similar in style to the description of Scherer's salon is the scene of the death of Count Bezukhov and the struggle for the mosaic briefcase - the story of the struggle for the inheritance of the dying Count Bezukhov. Here is the same method of tearing off masks in society.

Briefly tell these scenes and prove the method of tearing off the masks.

(Events in the house of the old dying nobleman Count Bezukhov reveal the family and everyday relations of the aristocracy of the 19th century and characterize many of the heroes of the work from a new perspective. The struggle for inheritance is of great importance for understanding the moral decay that covers the highest circles of the court aristocracy. The writer shows the greed and greed of Prince Vasily , seeking an inheritance, claims that he wants to take care first of all of the three princesses living in the house, but in reality, because of the inheritance, he can even commit a crime (an attempt to destroy the will, the scene with the mosaic briefcase).

The struggle for the inheritance reveals the true face of the eldest princess, Prince Vasily's ally. Always well-mannered and reserved, she becomes rude and angry when she finds out that she will not inherit the inheritance. Her role in the fight for the mosaic portfolio is especially unattractive.

This scene characterizes Princess Drubetskaya and her son Boris in a new way; she reveals Anna Mikhailovna’s cleverly disguised selfishness and Boris’s prudence.

This scene is no less important for understanding the character of Pierre, his inexperience, naivety, sincerity and spontaneity, and at the same time it also reveals the servility characteristic of representatives of the aristocracy (the attitude of those around him towards Pierre the heir).

The scene of the struggle for the mosaic briefcase is, by contrast, connected with the episode in which Countess Rostova, despite her upset financial affairs, reports A. M. Drubetskoy a large sum for Boris's uniform.)
VII. Conclusion.

How does Tolstoy relate to the norms of life of high society (senior, younger generation), does he treat everyone equally and why, what artistic method while using.

Lesson 40 (108). Name day at the Rostovs. Bald Mountains

Target: using the example of the Rostovs and Bolkonskys, show other layers of the nobility, with different standards of life; identify comparison and contrast as the main compositional principle of the novel.

Equipment: cards.
During the classes

I. Concisely tell the episode “The Rostov Family. Name day."

With elements of analysis. Answer the question: what is different and common in the behavior of guests and hosts at the Rostovs’ name days compared to the Scherer salon?

Observation plan

1. Connection of the episode “Name Day at the Rostovs” with the previous ones.

2. Reception of guests by the hosts. The nature of their conversation.

3. The arrival of young people. Her interests and behavior.

4. Gift from the Countess Mother to Anna Drubetskaya. Its meaning.

5. Dinner environment. Attitudes towards war between guests and hosts.

6. Entertainment and customs of the Rostovs.

Name day scenes are given interspersed with chapters about the death of Count Bezukhov (chap. 7-11 - name day scenes; ch. 12-13 - scenes of the count's illness; ch. 14-17 - in the Rostovs; ch. 18-21 - Bezukhov's death).

Tolstoy, alternating these chapters, thereby conveys a sense of the complexity and diversity of life, in which fun and sorrow, joy and death occur simultaneously.

The name day episode follows the scenes of the evening in Scherer's salon. Let us note the emphasized similarities: there are guests here and there. The world of the Rostovs is the world whose norms Tolstoy affirms for their simplicity and naturalness, purity and cordiality, arouses the admiration and patriotism of the “Rostov breed.” When retelling, pay attention to the description of the reception of guests at the Rostovs, the purpose of their arrival, the family and joyful nature of the holiday, in contrast to the secular stiffness of the evening at Scherer.

The mistress of the house, Countess Natalya Rostova, is the same age as Anna Pavlovna - a forty-year-old woman. But that one is a “social enthusiast,” an old maid who has not taken any roots in life (this is important for Tolstoy), and this one is the head of the family, wife and mother of 12 children. We celebrate the scene of the reception of guests - “congratulators” - by Count Ilya Rostov, who, without exception, “both those above and below him” said to everyone: “I am very, very grateful to you, for myself and for my dear birthday girls.” This scene already contrasts with the “hierarchy of greetings” that Scherer established. The Count speaks to guests more often in Russian, “sometimes in very bad, but self-confident French.” Conventions of secular tact, secular news - all this is observed in conversations with guests. These details indicate that the Rostovs are people of their time and class and bear its features. And into this secular atmosphere, like a “ray of sunshine”, the younger generation of Rostovs bursts in (appearance, behavior, interests, relationships - an episode in a flower or sofa room - chapters 10, 11). Even the Rostovs’ jokes are pure, touchingly naive. The quarrel and reconciliation of Nikolai with Sonya, the “date” at the tub of flowers of Natasha and Boris, their general conversation with Vera gives an idea of ​​the interests and relationships of young people. The behavior of the young Rostovs is contrasted by Tolstoy in comparison with the St. Petersburg youth (the Dolokhov-Kuragin company), where time is spent in revelry, debauchery, ridiculous and evil jokes (the story with the bear - the wedding with the doll).

Evening name day celebration. The main guest of the Rostovs was Marya Dmitrievna Akhrosimova, without whom they did not start dinner. She is famous for her directness of mind and frank simplicity of communication, “everyone without exception respected and feared her” (chapter 15). In the company of Anna Pavlovna Scherer, the main person is the sophisticated emigrant viscount. The appearance of a figure like Marya Dmitrievna is impossible in Scherer’s salon, just as her conversations are impossible: “... are you an old sinner,... are you missing tea in Moscow? Is there nowhere to run dogs?...”

At the Rostovs’ table, like at Scherer’s, they talk about the war, about politics, but in a different tone. Older generation This question is of concern in connection with the fact that sons are going to war. The Rostov family is characterized by natural behavior (Natasha’s antics at the table, the singing of the young Rostovs, the count father dancing Danila Kupora, the smiling faces of the servants who admire the master).

So, in the Rostov family there is simplicity and cordiality, natural behavior, cordiality, mutual love in the family, nobility and sensitivity, closeness in language and customs to the people and at the same time their observance of a secular way of life and secular conventions, behind which, however, they do not stand calculation and self-interest. Tolstoy seems to emphasize: the Rostovs and Scherer are people of the same class, but of a different “breed.” So in the storyline of the Rostov family, Tolstoy reflects the life and work landed nobility. We were presented with a variety of psychological types: the good-natured, hospitable slacker Count Rostov, the countess who tenderly loves her children, the judicious Vera, the charming Natasha; sincere Nikolai, cautious and prudent Boris Drubetskoy, etc. In contrast to the Scherer salon, in the Rostov house there is an atmosphere of fun, joy, happiness, and sincere concern for the fate of the Motherland.

Evening in A. Scherer's salon. Petersburg. July 1805. Meet the characters of the novel.
The purpose of the lessons: to show the tearing off of all and every mask from high society society; reveal the conflict between Bolkonsky and Bezukhov with this society; analyze scenes from the life of Moscow high society.
During the classes
1. Conversation with students.
- Tell us what you remember about Tolstoy?
- What interesting things did the writer bring out of people’s lives? (Live life, living thought)
- Having already read several chapters of the work, tell me, what questions and topics will we focus on? (The theme of family, the theme of war, human self-improvement)

2.Survey and test of knowledge of the text Vol.1. 1 part.
- Name the main events in this part.

What did Marya Dmitrievna give to Natasha Rostova for her birthday? (Yakhont earrings with pears).

Which adult did Natasha dance with at her birthday party? (With Pierre)

From whom did M. Bolkonskaya first learn about Anatoly Kuragin’s upcoming matchmaking with her? (from a letter from Julie)

3. Watching a fragment of the film. Episode discussion. Evening in the salon of A. Scherer (1 volume, 1 hour, 1-6 chapters)
- Which characters and in what order does Tolstoy introduce the reader in the first chapters of the novel?
- Watch how the author tears off the masks from his heroes.
The action begins in July 1805 in the Scherer salon. These scenes introduce us to representatives of the court aristocratic environment: maid of honor Sherer, minister Prince Vasily Kuragin, his children - the inconsolable beauty Helen, the “restless fool” Anatole and the “calm fool” Ippolit, Princess Lisa Bolkonskaya and others.
The negative attitude towards Tolstoy’s heroes was manifested in the fact that the author shows how false everything about them is, it does not come from a pure heart, but from the need to maintain decency. Tolstoy denies the norms of life of high society; behind grace and secular tact lies emptiness, selfishness, greed, and falsehood. Read from the text.
- Vasily Kuragin’s goal? (Find out about the possible appointment of your son to a profitable position)
- Anna Mikhailovna’s goal? (Is the same)
- The Viscount's goal? (Profitable acquaintances in Russian court circles)
- Ippolit's goal? (Care for Lisa)
- Lisa's goal? (Find out about your husband's progress in his court career)
- Anna Pavlovna’s goal? (Intrigue, demonstration of one’s closeness to the court)
So, the flower of St. Petersburg society represents some kind of springboard for military operations and intrigue. To rise in the court world, you need to drown and overtake others. These are people of war. Their world is not peace, it is war. Against the backdrop of their own intrigues and military actions, Scherer’s guests discuss the wars of states and sovereigns. To add a fashionable gloss to intelligent conversations in the spinning workshop, Abbot Moriot was invited, whose prototype was the famous Italian abbot, the author of the project of eternal peace. This project provides for the “balance” of political forces in Europe. So, at the center of the episode are three key concepts: “peace”, “war”, “balance”.
From Bolkonsky Pierre goes to Kuragin and Dolokhov, the celebrities of St. Petersburg revelers. This is also a world similar to war: duels, cheating, drunkenness, debauchery. The balance that Dolokhov maintains while drinking a bottle of rum, and indeed his entire bet with the Englishman, parodies the political balance proposed by the Abbé Moriot. Dolokhov has no such intentions, but Tolstoy hints to us about this. And Andrei’s first conversation with Pierre already contains the idea of ​​universal peace, based not on a chimerical “political balance”, but on human beliefs. “If everyone fought only according to their convictions, there would be no war,” says Andrei. “That would be great,” Pierre replies.
- Is Pierre right that political balance will not yield anything?
It is necessary to internally convince people that wars are not permissible, that is, following the commandment “Thou shalt not kill.”
- Tolstoy’s work offers a kind of project for universal peace. If you were asked to write a blueprint for global peace, what would you include?
By reading the novel, we not only become familiar with art, but also become familiar with the greatest teaching of how to unite people and get rid of wars and hostility. The first point in this project was love, even love for enemies, which opened a new era in moral development humanity. Tolstoy began to write a novel because he wanted to apply moral principles to an acute crisis situation, and not in the life of one person, but in the life of an entire people.

What does it mean to mention that Lisa interrupts her work, and then breaks the thread, as Ippolit takes the needle from her. What does the comparison with a spinning workshop mean?
This means one thing: that both she and Andrei will soon die. The motif of embroidery, spinning, and knitting is one of the main motifs of the novel; it is associated with both the interruption and continuation of life. So, before the death of Lisa and the birth of Nikolenka, as well as the return of Andrei, the old nanny in Bald Mountains is engaged in knitting. Before his death, Andrei will remember the saving power of knitting and ask Natasha to learn to knit. Natasha will drop the ball. This foreshadows Andrey's death. Trying to pick up the ball, Natasha closes the candle. A dying candle is a broken thread. Like Lisa, who once broke the thread, Natasha lets go of the thread of Prince Andrei’s fate.
So, the idea of ​​the world in Tolstoy’s book is associated with the motif of a thread, a web. The idea of ​​Rock, personifying an inexorable fate, is also connected through the motif of knitting, sewing, and weaving.

4. Pierre Bezukhov and Andrei Bolkonsky (chapters 1-6).
Pierre's smart and timid, observant and natural gaze, a grimace of boredom on the prince's handsome face. Already from the portraits it is clear that they are strangers here. From the very beginning, the conflict between these heroes and the aristocratic environment is felt. Pierre is a stranger to these people. But for Andrey they are strangers.
Pay attention to the portraits:
- the naturalness of the first acquaintance with the hero through his appearance, as happens in life;
- deep psychological content of the portrait, expression through it of changes in feelings and moods;
- highlighting 1-2 permanent signs (the bright expression of Prince Vasily’s flat face; Scherer’s glued smile; Pierre’s smart and timid look).

Work in a notebook.
Drawing up a table " Spiritual path the quest of Andrei and Pierre" (see table)

For what purpose does Tolstoy introduce French into the novel?
This is the norm of a secular society. Tolstoy emphasizes the characters’ ignorance of their native language and their separation from the people. Although he knows French perfectly, the author gives Pierre’s words only in Russian, except in 2 cases. Where foreign language, there's a lie.
5. Standards of life for young representatives of high society.
-What role do these scenes play in the novel?
These scenes reveal new aspects of the life of the aristocracy.
- What other scenes tell us about the life of the aristocracy?
The story of the struggle for inheritance. Vasily's greed and greed. The good manners and restraint of the eldest princess turns into rudeness and anger when she finds out that the inheritance was not hers... Here is the masked self-interest of Anna Mikhailovna and the prudence of Boris.

6. Name day at the Rostovs (1 volume, 1 part 7.. chapter)
- Reception of the hosts. The nature of their conversation.
- Arrival of youth. Her interests and behavior.
- Dinner environment. Attitudes towards war between guests and hosts.
- Entertainment and customs of the Rostovs.
- What is common and different in the behavior of guests and hosts at name days and in the salon?
The world of the Rostovs is a world where simplicity, naturalness, purity, and cordiality are affirmed. Joyful character of the holiday. The Rostovs' jokes are pure, touchingly naive. The quarrel and reconciliation of Nikolai with Sonya, the meeting at the tub of Natasha and Boris, the conversation with Vera gives an idea of ​​​​the interests of young people. Compare the entertainment of Dolokhov's company.
At the Rostovs' table they talk about the same things: about war, about politics, but in a different tone.
The Rostovs are characterized by naturalness: dancing, songs, jokes. Simplicity and cordiality, natural behavior, cordiality, mutual love in the family, nobility and sensitivity. There is an atmosphere of fun, joy, happiness, and sincere concern for the fate of the Motherland. These are people of the same class, but of a different breed.

7.Bolkonsky. Bald Mountains. (22-25)
Common features with the Rostovs: mutual love, deep cordiality, natural behavior, great closeness to the people. It is distinguished by deep thought, high intelligence of all family members, and pride.
Conclusion: The first part plays the role of exposition. Tolstoy introduces us to the main characters and the setting.

Homework.
Reading parts 2-3.
Inspection of the regiment before the campaign (2 hours 1-2 chapters); Nikolai Rostov (2 hours 4, 8.15 chapters); depiction of the heroism of Timokhin and Tushin (chapter 20-21 2 hours); Zherkov’s cowardice and Dolokhov’s ostentatious courage; generals; Battle of Austerlitz (part 3, chapters 12-13).