The image of Napoleon in the novel "War and Peace" by Tolstoy

Leo Nikolayevich Tolstoy finished in 1867 work on his novel "War and Peace." 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, Leo Nikolayevich condemned armed conflicts. He argued with those who found in warfare "the beauty of horror." The author speaks in describing the events of 1805 as a writer-pacifist. However, talking about the war of 1812, Leo Nikolayevich 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 the figures of history. Not all heroes coincide with real prototypes. Lev Nikolaevich did not aspire to portray credible portraits of these figures, creating the novel "War and Peace." Napoleon, Kutuzov and other heroes appear primarily as bearers of ideas. Many known facts are omitted in the work. Exaggerated some of the qualities of the one and the other commander (for example, passivity and decrepitude Kutuzov, posturing and narcissism of Napoleon). Evaluating the French and Russian commander-in-chief, as well as other historical figures, Lev Nikolaevich applies to them rigid moral criteria. The image of Napoleon in the novel "War and Peace" - the topic of this article.

The French emperor is the antithesis of Kutuzov. If Mikhail Illarionovich can be considered a positive hero of that time, then in Tolstoy's image Napoleon is the main anti-hero in the work "War and Peace".

Portrait of Napoleon

Lev Nikolaevich emphasizes the limitations and self-confidence of this commander, which manifests itself in all his words, gestures and deeds. Napoleon's portrait is ironic. He has a "short", "fat" figure, "fat thighs," bustling, impetuous gait, "white plump neck," "round stomach," "thick shoulders." This is the image of Napoleon in the novel "War and Peace". Describing the morning toilet of the French emperor in front of the battle of Borodino, Lev Nikolaevich, the revealing character of the portrait characteristic, originally given in the work, reinforces. The emperor has a "well-groomed body", "overgrown with fat breasts", "yellow" and "swollen" face. These details show that Napoleon Bonaparte ("War and Peace") was a man far from working life and alien to people's roots. The leader of the French is shown by a narcissistic egoist who thinks that the whole universe obeys his will. For him, people have no interest.

The behavior of Napoleon, his manner of speaking

Napoleon's image in the novel "War and Peace" is revealed not only through a description of his appearance. In his manner of speaking and behavior, narcissism and narrow-mindedness also flow. He is convinced of his own genius and greatness. Well - what came to him, and not what is really good, as Tolstoy points out. In the novel, every appearance of this character is accompanied by an authoritative ruthless commentary. So, for example, in the third volume (the first part, the sixth chapter), Leo Nikolayevich writes that it was evident from this man that only what was happening in his soul was of interest to him.

In the work "War and Peace" the characterization of Napoleon is also noted in the following details. With a subtle irony that sometimes turns into sarcasm, the writer exposes the claims to the world domination of Bonaparte, as well as his acting, incessant posing for history. All the while the French emperor played, in his words and behavior there was nothing natural and simple. This is shown very expressively by Lev Nikolayevich in the scene, when he admired the portrait of his son in the Borodino field . In it the image of Napoleon in the novel "War and Peace" acquires some very important details. Let's describe this scene in brief.

Episode with the portrait of Napoleon's son

Napoleon went to the picture, feeling that what he would do and say now, "there is a story." The portrait depicted the son of the emperor, who played with the globe in bilbok. This expressed the greatness of the leader of the French, but Napoleon wanted to show "fatherly tenderness." Of course, it was pure water acting. Napoleon expressed no sincere feelings here, he only acted, posed for history. This scene shows the presumptuousness of this man, who believed that all of Russia would be subdued with the conquest of Moscow and thus realize his plans for domination over the whole world.

Napoleon is an actor and a player

And in a number of subsequent episodes, Napoleon's description (War and Peace) indicates that it is an actor and a player. He pronounces on the eve of the battle of Borodino, that chess is already set, tomorrow the game will begin. On the day of the battle, Lev Nikolaevich notices after the cannon shots: "The game has begun." Further, the writer shows that she has cost tens of thousands of lives. Prince Andrew thinks that war is not a game, but only a cruel necessity. A fundamentally different approach to it was in this thought one of the main characters of the work "War and Peace". The image of Napoleon is shaded due to this observation. Prince Andrew expressed the opinion of the peaceful people, who had to take up arms in exceptional circumstances, since the threat of enslavement hung over the homeland.

The comic effect produced by the French emperor

It did not matter to Napoleon what was outside of him, since it seemed to him that everything in the world depended only on his will. Such a remark Tolstoy gives in an episode of the meeting with Balashev ("War and Peace"). The image of Napoleon is supplemented with new details. Leo Nikolayevich emphasizes the contrast between the emperor's nonentity and his overestimated self-esteem. The comic conflict arising in this case is the best proof of the emptiness and impotence of this historical figure, who pretends to be majestic and powerful.

The Spiritual World of Napoleon

In the understanding of Tolstoy, the spiritual world of the leader of the French is an "artificial world" populated by "the ghosts of some greatness" (volume three, part two, chapter 38). In fact, Napoleon is a living proof of one old truth that "the king is the slave of history" (volume three, part one, chapter 1). Considering that he is fulfilling his own will, this historical figure merely played the "heavy," "sad" and "cruel" "inhuman role" that was intended for him. Hardly could he endure it if this man had not had his conscience and mind dull (volume three, part two, chapter 38). The writer sees the darkening of the mind of this commander-in-chief in that he consciously cultivated the spiritual callousness that 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 treat the wounded and the dead, thereby experiencing his mental strength (as Napoleon himself believed). In the episode when the river Neman crossed the squadron of Polish lancers and the adjutant before his eyes allowed himself to draw the Emperor's attention to the loyalty of the Poles, Napoleon called Berthier to him and began to walk with him along the shore, giving orders to him and occasionally glancing at the drowned lancers who were entertaining His attention. For him, death is a boring and habitual sight. Napoleon takes for granted the selfless devotion of his own soldiers.

Napoleon is a deeply unhappy man

Tolstoy emphasizes that this man was deeply unhappy, but did not notice it only because of the absence of any kind of moral feeling. "Great" Napoleon, the "European hero" is morally blind. He can not understand the beauty, the good, the truth, or the significance of his own actions, which, as Leo Tolstoy observes, were "contrary to good and truth," "far from all human". Napoleon simply could not understand the significance of his deeds (volume three, part two, chapter 38). To come to the truth and good, according to the writer, you can only abandon the imaginary greatness of your personality. However, Napoleon is not capable of such a "heroic" act.

The responsibility of Napoleon for his deed

Despite the fact that he is doomed to play a negative role in history, Tolstoy does not detract from the moral responsibility of this person for everything he has done. He writes that Napoleon, destined for the "unfree," "sad" role of the executioner of many nations, nevertheless assured himself that their good was the purpose of his actions and that he could dispose of and guide the destinies of many people, to do so Their power of good deeds. Napoleon imagined that the war with Russia occurred at his will, his soul was not struck by the horror of what was accomplished (that third, part two, chapter 38).

Napoleonic qualities of the heroes of the work

In other heroes, Napoleonic qualities are related by Lev Nikolaevich to the lack of moral feelings among the characters (for example, Helen) or to their tragic delusions. So, in his youth, fond of the ideas of the French emperor Pierre Bezukhov remained in Moscow in order to kill him and become the "rescuer of mankind". In the early stages of spiritual life, Andrei Bolkonsky dreamed of rising above other people, even if it is required for this to sacrifice relatives and family. In the depiction of Lev Nikolaevich, Napoleonism is a dangerous disease that separates people. It forces them to wander blindly over spiritual "impassability".

The image of Napoleon and Kutuzov from historians

Tolstoy notes that historians extol Napoleon, thinking that he was a great commander, and Kutuzov was accused of excessive passivity and military failures. In fact, the French emperor developed in 1812 a stormy activity. He fussed, gave orders, which seemed to him and others genius. In a word, this man behaved the way he should "the great commander." The image of Kutuzov in Leo Nikolayevich does not correspond to the ideas about the genius adopted at that time. The writer is deliberately exaggerating his decrepitude. Thus, during the military council, Kutuzov falls asleep not to show "contempt for disposition," but simply because he wanted to sleep (volume one, part three, chapter 12). This commander-in-chief does not give orders. He only approves of what he considers reasonable, and all unreasonable rejects. Mikhail Illarionovich does not seek battles, he does nothing. It was Kutuzov at the council in Fili, who retained an external calm, decides to leave Moscow, which cost him great mental anguish.

What determines the true scale of the individual, in Tolstoy's opinion?

Almost in all battles, Napoleon won, Kutuzov also lost almost everything. Failures suffered the Russian army under Berezina and Red. However, it was she who in the end won the army in the war under the command of the "genial commander." Tolstoy emphasizes that historians loyal to Napoleon believe that it was just a great man, a hero. In their opinion, for a person of this scale there can be no bad and good. The image of Napoleon in the literature is often represented by this angle. Outside of moral criteria, different authors believe, the actions of a great man turn out to be. By these historians and writers, even the shameful flight of the French emperor from the army is valued as a majestic act. According to Lev Nikolayevich, the true scale of the individual is not measured by the "false formulas" of various historians. A great historical lie is the greatness of such a man as Napoleon ("War and Peace"). Quotations from the work, quoted by us, prove this. Tolstoy found true greatness in Kutuzov, Mikhail Illarionovich, a modest toiler of history.