Lev Nikolaevich 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, Lev Nikolaevich condemned armed conflicts. He argued with those who found "the beauty of horror" in hostilities. The author appears 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 portraying figures of history. Far from everything, the heroes coincide with real prototypes. Lev Nikolaevich did not seek to draw documented portraits of these figures, creating the novel War and Peace. Napoleon, Kutuzov and other heroes act primarily as carriers of ideas. Many well-known facts are omitted in the work. Exaggerated some of the qualities of both the commander (for example, Kutuzov’s passivity and decrepitude, Napoleon’s posturing and narcissism). Assessing the French and Russian commander in chief, as well as other 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 a positive hero 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 actions. Portrait of Napoleon ironic. He has a “short”, “thickened” figure, “fat thighs”, a fussy, impetuous gait, “white chubby neck”, “round belly”, “thick shoulders”. Such 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 reinforces the revealing character of the portrait characteristic given initially in the work. The emperor has a "well-groomed body", "overgrown fat chest", "yellow" and "swollen" face. These details show that Napoleon Bonaparte (War and Peace) was a man who was far from working life and alien to folk roots. The leader of the French is shown by 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 a description of his appearance. Narcissism and narrow-mindedness also show through his manner of speaking and behavior. He is convinced of his own genius and greatness. Good is what came to his mind, and not what is really 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 this person showed that he was only interested in what was happening in his soul.
In War and Peace, Napoleon’s characterization is also noted in the following details. With a subtle irony that sometimes turns into sarcasm, the writer exposes claims to Bonaparte's world domination, as well as his acting, constant posing for history. All the time 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 on the Borodino field . In it, the image of Napoleon in the novel "War and Peace" acquires some very important details. We will briefly describe this scene.
Episode with a portrait of Napoleon's son
Napoleon went to the picture, feeling that what he would do and say now was "history." The portrait depicted the son of the emperor, who played 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 acting. Napoleon did not express any sincere feelings here, he only acted, posed for history. This scene shows the arrogance of this man who believed that all of Russia would be conquered with the conquest of Moscow and thus realized his plans for domination of the whole world.
Napoleon - actor and player
And in a series of further episodes, Napoleon's description (War and Peace) indicates that he is an actor and a player. He says on the eve of the Battle of Borodino that chess has already been set, the game will begin tomorrow. On the day of the battle, Lev Nikolaevich notices after the cannon shots: "The game has begun." Further, the writer shows that it cost tens of thousands of people a life. Prince Andrei thinks that war is not a game, but a cruel necessity. A fundamentally different approach to it consisted in this thought of one of the main characters of the work "War and Peace." The image of Napoleon is shaded by this remark. Prince Andrei expressed the opinion of a peaceful people who, under exceptional circumstances, had 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 that which was outside of himself, since it seemed to him that everything in the world depended only on his will. This remark is made by Tolstoy in an 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 emperor’s insignificance and his high self-esteem. The comic conflict that arises in this case is the best proof of the emptiness and powerlessness of this historical figure who pretends to be majestic and strong.
Spiritual World of Napoleon
In Tolstoy's understanding, the spiritual world of 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 a living proof of one old truth that “the king is a slave of history” (Volume Three, Part One, Chapter 1). Considering that he was doing his own will, this historical figure merely played the "heavy", "sad" and "cruel" "inhuman role" that was intended for him. He could hardly bear it if this person had not darkened his conscience and mind (volume three, part two, chapter 38). The writer sees the clouding of the mind of this commander-in-chief in that he consciously instilled 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 the squadron of Polish lancers crossed the river Neman and the adjutant in his eyes allowed himself to draw the emperor’s devotion to the Poles, Napoleon called Berthier to himself and started walking along the shore with him, giving orders to him and occasionally looking at the drowned lancers that 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 can understand neither beauty, nor kindness, nor truth, nor the meaning of his own actions, which, as Leo Tolstoy observes, were “opposite to good and truth,” “far from all human.” Napoleon simply could not understand the meaning of his actions (Volume Three, Part Two, Chapter 38). To come to the truth and goodness, according to the writer, one can only by abandoning the imaginary greatness of his personality. However, Napoleon is not at all capable of such a "heroic" act.
Responsibility of Napoleon for his deeds
Despite the fact that he is doomed to play a negative role in history, Tolstoy does not detract from the moral responsibility of this man for everything he has done. He writes that Napoleon, destined for the "unfree", "sad" role of the executioner of many peoples, nevertheless assured himself that their benefit was the purpose of his actions and that he could control and manage the fate of many people, to do their power to do good. Napoleon imagined that the war with Russia took place of his own accord, 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, Leo Nikolayevich connects the Napoleonic qualities with the lack of moral feeling in the characters (for example, Helen) or with their tragic fallacies. 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 become thereby the "deliverer of mankind." In the early stages of spiritual life, Andrei Bolkonsky dreamed of rising above other people, even if it was necessary to sacrifice relatives and family for this. In the image of Lev Nikolaevich, Napoleonism is a dangerous disease that divides people. She makes them wander blindly on spiritual "impassability."
The image of Napoleon and Kutuzov among historians
Tolstoy notes that historians extol Napoleon, thinking that he was a great commander, and Kutuzov is accused of excessive passivity and military failure. In fact, the French emperor developed vigorous activity in 1812. He fussed, gave orders that seemed to him and those around him brilliant. In a word, this person behaved as follows the "great commander." The image of Kutuzov by Lev Nikolaevich does not correspond to the ideas about genius accepted at that time. The writer deliberately exaggerates his decrepitude. So, Kutuzov falls asleep during a military council 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 what he considers reasonable, and rejects all that is unreasonable. Mikhail Illarionovich does not seek battles, does not undertake anything. It was Kutuzov at the council at Fili, while maintaining external calmness, who decided to leave Moscow, which cost him great mental anguish.
What determines the true scale of the personality, according to Tolstoy?
Napoleon defeated almost all the battles, while Kutuzov lost almost everything. Failures suffered the Russian army near Berezina and Red. However, it was she who ultimately defeated the army in the war under the command of a "brilliant commander." Tolstoy emphasizes that historians devoted to Napoleon believe that this was just a great man, a hero. In their opinion, for a person of this magnitude there can be no evil and good. The image of Napoleon in the literature is often presented from this angle. Outside of moral criteria, according to various authors, 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 assessed as a magnificent 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 is the greatness of such a person as Napoleon (War and Peace). Quotations from the work given by us prove this. Tolstoy found true greatness in Kutuzov Mikhail Illarionovich, a modest worker of history.