The use of antithesis in L. Tolstoy's novel "War and Peace

Antithesis is the main ideological and compositional principle of the novels of L. N. Tolstoy "War and Peace" and F. M., Dostoevsky "Crime and Punishment", already incorporated in their titles. It manifests itself at all levels of artistic embodiment: from the problematic to the construction of a system of characters and methods of psychological representation. However, in the very use of Tolstoy's antithesis and often demonstrate different methods. The origins of this difference are in their views on man. The works of Tolstoy and Dostoevsky have one common feature: their names are ambiguous, polysemantic. The word "war" means in "War and Peace" not only military operations, not only events taking place on the battlefield; war can take place in people's daily lives (recall such a war over the inheritance of Count Bezukhov) and even in their souls. Even more rich in meaning is the word "peace": peace as the antithesis of war and "peace" as a community of people.

The title of the final edition of Leo Tolstoy's novel was War and Peace, that is, peace as the antithesis of war. But in Tolstoy's numerous drafts and sketches there are different spellings of this word. The very combination of "war and peace" we can find in A. S. Pushkin in "Boris Godunov"; Describe, without further ado, Everything that you will witness in life: War and peace, the rule of sovereigns, Holy miracles, In Pushkin's context, the combination of "war and peace" becomes the key to the historical process as a whole. Thus, the world is a universal category, it is life, it is the universe.

On the other hand, it is quite clear that the concepts of "crime" and "punishment" are of interest to Dostoevsky not in their narrow legal sense. "Crime and Punishment" is a work that poses deep philosophical and moral problems.

The artistic space of Tolstoy's novel is, as it were, limited by two poles: on one pole - goodness and peace, uniting people, on the other - evil and enmity, leading to their separation. Tolstoy tests his heroes from the point of view of the law of "continuous movement of personality in time". Heroes capable of spiritual movement, of internal changes, according to the author, carry the principles of "living life" and the world. Heroes, motionless, incapable of feeling and understanding the inner laws of life, are evaluated by Tolstoy as carriers of the beginning of war, discord. In his novel, Tolstoy sharply contrasts these characters. So, the writer compares the salon of Anna Pavlovna Scherer with a spinning workshop, with a soulless machine for a reason. The antithesis "correctness - incorrectness", "external beauty - living charm" runs through the whole novel. For Tolstoy, the irregular and even ugly features of Natasha's face are much more attractive than Helen's antique beauty, Natasha's cheerful (albeit out of place) laugh is a thousand times sweeter than Helen's "unchanging" smile. In the behavior of the characters, the author also opposes the elemental to the rational, the natural, the theatrical. For Tolstoy, Natasha's "mistakes" are much more natural and natural than Sonya's rational behavior. “Family Thought” opposes the Rostov family to the “clan” of the Kuragins,

The finished embodiment of the war in the novel was Napoleon. He not only constantly plays for the audience, but also remains an actor alone with himself. He thinks of himself as a great commander, focusing on some antique samples. The complete antipode of Napoleon in the novel is Kutuzov, the true spokesman for the spirit of the nation.

The antithesis "false - true" is also used by Tolstoy when depicting the spiritual movements of characters. So, Pierre, sensing all the stupidity and falsity of the situation, does nothing to successfully resolve it, but demands “to start sooner” and heavily loads his pistol.

Unlike Tolstoy, Dostoevsky never depicts his characters unequivocally: his person is always contradictory, unknowable to the end. His characters combine two abysses at once: the abyss of goodness, compassion, sacrifice and the abyss of evil, selfishness, individualism, vice. In each of them there are two ideals: the ideal of the Madonna and the ideal of Sodom. The main core of "Crime and Punishment" is the trial of Raskolnikov, the internal court, the court of conscience. The techniques that Dostoevsky uses in creating the figurative system of his work differ from those of Tolstoy. Dostoevsky resorts to the technique of double portraiture. Moreover, the first portrait, more generalized, usually argues with the second. So, before committing a crime, the author talks about the beauty of Raskolnikov, about his beautiful eyes. But the crime not only stained his soul, but left a tragic imprint on his face. This time we have a portrait of the killer. In Dostoevsky's novel, it is not the characters who argue, but their ideas.

Antithesis (opposition) is one of the most commonly used techniques used to reveal images in a work of art. The essence of antithesis as a trope is the juxtaposition of opposites, antagonistic concepts or images. One of the most striking works built on the reception of opposition is the novel by L. N. Tolstoy "War and Peace". In it, the antithesis is the main technique, laid in the foundation for constructing a system of images.

All the characters of the epic novel can be quite unambiguously divided into two camps, or two worlds - "alive" and "dead". The action in the novel unfolds in two parallel planes - the plane of "peace" and the plane of "war". For each of the planes, the author chooses certain differentiations of heroes, the belonging to the “dead” or “living” principle is determined.

When describing the world, the dominant criterion on the basis of which the characters are contrasted is the attitude towards the family, towards children. In a "dead" world, where everything is subordinated to the only goal, which is to increase one's own fortune by any means, marriage is only one of the possible means. For no one belonging to this camp is it difficult to step over the family, as well as over other moral foundations. In this regard, the image of Helen is the most striking. The only purpose for which she married Pierre Bezukhov, the heir to the entire fortune of Count Bezukhov, was to receive part of the inheritance. Breaking up with her husband and getting more than half of his wealth is the logical conclusion of the intrigue she built.

As an example of the absolute insignificance of moral principles for representatives of the “dead” world, one can cite the scene of the “fight” for the mosaic briefcase of the dying Count Bezukhov. Drubetskaya, equally striving to win the "fight" by any means.

A completely opposite attitude to moral values ​​reigns in the "living" world. For its representatives, the family, children are the highest ideal, become the true goal of human life. The Rostov family is most indicative in this respect, the atmosphere in which - love and complete mutual understanding - is directly opposite to the intrigues, envy and anger in the Kuragin family. The Rostov House is open to everyone, and anyone who comes to them will be received with due kindness and cordiality. It is no coincidence that after returning from the front, Nikolai Rostov goes to his parents' house. The difference between the attitude towards children in the families of the Kuragins and the Rostovs is also characteristic. The only desire of Prince Vasily is to quickly get rid of the "calm fool" Hippolyte and the "restless fool" Anatole, while also increasing his fortune. On the contrary, for the Rostovs, children are of great value and no child can be unloved.

But in addition to the plane of the world in the novel, there is a plane of war, where the characters appear in a completely different hypostasis. The main criterion in this plane, according to which people are divided into "camps", Tolstoy chooses the attitude towards the Motherland, the manifestation of patriotism.

The “living” world is the world of true patriots, whose feelings towards the Motherland are completely sincere and genuine. Andrei Bolkonsky is not guided by any other considerations than thoughts about defending the Fatherland when he tries to resist the general panic and retreat at Austerlitz. Prince Andrei does not think about promotion or awards, he obeys only his own sense of duty. The complete opposite of Andrei Bolkonsky is Boris Drubetskoy. He sees his main task not as the defense of the Fatherland, but as a promotion, and not by merits on the battlefield, but by flattery, hypocrisy, and sycophancy towards the authorities. For him, the fate of people means nothing, he is ready to sacrifice them for the sake of his own promotion and presentation for a reward.

The Rostovs show patriotism in a slightly different form. Nicholas cannot kill a man, no matter which side he is on, but when retreating from Moscow, the Rostovs sacrifice their own property to save the wounded. Berg behaves in a completely different way. Taking advantage of the general disaster and confusion, he manages to acquire a "chiffonier" for a negligible price, and this "deal" becomes the subject of his pride.

True patriotism is also shown by heroes who do not belong to any of the worlds and act only in the plane of war, but also opposed to the "dead" camp. The most indicative in this respect is the feat of Captain Tushin, and especially his perception of his heroism. Tushin did not even think about the heroic essence of his act - on the contrary, he is trying to justify himself and asks for help from Andrei Bolkonsky. According to Tolstoy, a true patriot does not even notice the fact that he accomplishes a feat - for him it is only a duty to the Motherland, devoid of any heroic flair. Under this definition, the feat of both the Tushin battery and the Raevsky battery, accomplished by the most ordinary, unremarkable people, fits.

Thus, the reception of antithesis is basic for building a system of images of the novel and characterizing the main characters.

In fact, antithesis, the opposition of two worlds - "dead" and "alive" - ​​forms the basis of the work, determines its structure. And, building the novel on the principle of antithesis, L. N. Tolstoy debunks the "dead" world, shows its inconsistency and affirms the human and Christian ideals that guide the "living" world.

L.N. Tolstoy is a classic of world literature, the greatest master of psychologism, the creator of the genre of the epic novel, who skillfully used the means of artistic depiction. One of Tolstoy's main ideological and compositional devices is the antithesis. The functions of the antithesis in the novel "War and Peace" are very diverse. This stylistic device underlies the principle of composition, it is used to build a system of characters, with its help, artistic images are created and the inner world of the characters is revealed.

The reception of antithesis underlies the construction of a system of characters. The characters are contrasted on the basis of "naturalness" or "falsity" of their natures.

The heroes of Tolstoy, embodying naturalness, the truth of life, have no doubts. Angular, impulsive, with irregular features, Natasha Rostova is the embodiment of the beauty of life. Despite the lordly upbringing, she personifies folk traditions. Natasha, a gifted nature, is loved by everyone, direct in feelings, simple, feminine, truthful. Her caring soul completely dissolved in the anxieties of 1812, in the general misfortune of the people and their feat. Natasha's spiritual qualities were especially revealed in courting the dying Prince Andrei. The Rostovs were late in leaving Moscow, and Natasha insisted that the wing and half of the house be provided for the wounded soldiers. Natasha devoted herself to this cause, nowhere, in no way emphasizing her merits, without saying phrases about patriotism and duty. It is simple and natural, just as Russian soldiers are simple and natural, performing feats without a single thought of glory. They, like Platon Karataev and Field Marshal Kutuzov, are endowed by nature with an intuitive knowledge of the truth. Kutuzov appears in the novel as the embodiment of the author's philosophy of history. Tolstoy creates a lively, full of charm image of the commander. The main advantages of Kutuzov are naturalness and simplicity. He does not play a role, but lives. He can cry from both frustration and joy. It is Kutuzov's simplicity that allows him to feel like a part of "paradise" and not interfere with the movement of history.

These heroes are opposed by the skillful "poseur" Napoleon in the novel - the embodiment of extreme individualism. He seeks to impose his will on the world. The image of Napoleon in Tolstoy is not devoid of grotesque and satirical overtones. He is characterized by theatrical behavior, narcissism, vanity (depicts a tenderly loving father, although he has never seen his son). Many people from secular society are spiritually like Napoleon, especially the Kuragin family. All members of this family aggressively interfere in the lives of other people, try to impose their desires on them, use the rest to satisfy their own needs (“mean, heartless breed,” Pierre called this family). Also close to Napoleon are the Russian emperor Alexander, who does not understand the mood prevailing in the Russian army, the dignitary Speransky, the maid of honor playing patriotism Anna Pavlovna Sherer, the careerist Boris Drubetskoy, the prudent Julie Karagina and many others. All of them are internally empty, insensitive, crave fame, care about a career, like to talk a lot and beautifully.

Seeking heroes of Tolstoy, Pierre Bezukhov and Andrei Bolkonsky, go through a difficult spiritual path in search of truth. They are carried away by false ideas, they are mistaken, they change internally, and in the end they approach the ideal of simplicity.

Both Pierre and Andrei Bolkonsky are freed from petty egoistic feelings and come to an understanding of the true values ​​of life. And ordinary Russian people help them in this. To Prince Andrei - Captain Tushin and artillery soldiers subordinate to him, whom the prince met in the battle of Shengraben. Pierre - the soldiers whom he sees on the Borodino field and then in captivity, especially Platon Karataev. Watching Karataev, who accepts life as it is, Pierre begins to understand that the meaning of life lies in herself, in her natural joys, in the humble acceptance of the misfortunes that fall to a person.

Prince Andrei, mortally wounded at Borodino, acquires infinite love for all people, and then, on the eve of death, complete detachment from earthly worries and unrest, supreme peace.

The images of nature in "War and Peace" are symbols of higher harmony, revelations about the truth of the world. They are opposed to vanity, selfishness, the immutability of people's lives, alien spiritual aspirations. Captured by the French, having experienced the horror of execution, Pierre Bezukhov understands that the main value that no one can control is his immortal soul. This liberating feeling comes to him when he contemplates the night starry sky. Devastated, having lost the meaning of existence, Andrei Bolkonsky meets an old oak tree on the road. The same oak, which has started young shoots, symbolizes the revival of Bolkonsky after meeting with Natasha Rostova in the Otradnoye estate, where he accidentally overheard Natasha, excited by the beauty of the summer night, talking with Sonya.

The "historical" chapters in the novel are contrasted with the chapters describing the "living life" carried out despite the invasion of Napoleon (it is noteworthy that Tolstoy equally describes the Battle of Austerlitz, the Battle of Borodino and Natasha's first ball, the hunt of the old Count Rostov, giving these events the same place in stories). This antithesis manifests itself at the compositional level. Tolstoy needs to be shown the contrast between false life and true life, and he combines various episodes in the novel in such a way that this contrast becomes especially obvious. So, after depicting an unnatural meeting of the heads of two states (Napoleon and Alexander I), the writer abruptly proceeds to describe the meeting between Natasha and Andrei Bolkonsky.

But in addition to the composition and system of characters, the antithesis technique is also used to characterize the images of the characters themselves, to highlight their most striking individual features. In "War and Peace" this is most clearly manifested when comparing the images of Napoleon and Kutuzov (which are symbols that determine the direction of movement of all other heroes). In every feature of the portrait, behavior, manner of speaking and holding on, a huge difference is felt between these heroes. Napoleon is unpleasantly fat (fat thighs, belly, full white neck), strong. And if Napoleon emphasizes sleekness, constant care for the body, then in Kutuzov - old man's fullness, flabbiness, physical weakness, which is quite natural for a person of his age. Napoleon's gait is self-satisfied, assertive, he calls the painful trembling of his left calf a great sign. Kutuzov walks awkwardly, badly, clumsily sits in the saddle. During the battle of Borodino, when Napoleon, fussing and worrying, gives a lot of senseless and contradictory orders, Kutuzov gives almost no orders, leaving the course of the battle to God's will. In Kutuzov, the contradiction between the ordinary, unremarkable appearance and the heroic essence is emphasized. In Napoleon, on the contrary, there is a contradiction between the claim to a great role in history and an empty, inanimate essence.

Thus, the reception of antithesis plays an important role in the novel "War and Peace". At the ideological and compositional level, it helps to distinguish between good and evil, to show the danger of egoistic separation of people, to outline the ways of moral improvement of the individual, i.e. serves as a means of expressing the author's position in the novel.

Antithesis is the main ideological and compositional principle of "War and Peace" and "Crime and Punishment", already laid down in their titles. It manifests itself at all levels of a literary text: from the problematic to the construction of a system of characters and methods of psychological depiction. However, in the very use of the antithesis, Tolstoy and Dostoevsky often demonstrate a different method. The origin of this difference lies in their
views of the person.
The works of Tolstoy and Dostoyevsky themselves contain a problem: the titles are ambiguous, polysemantic. The word "war" in "War and Peace" means not only military operations, not only events taking place on the battlefield; war can take place in the daily life of people (recall such a war because of the inheritance of Count Bezukhov) and even in their souls. Even more rich in meaning is the word "peace": peace as the antithesis of war and "kpr" as a community of people, the title of the final edition of the novel by JI. N. Tolstoy became "War and Peace", that is, peace as the antithesis of war. But in numerous drafts and sketches, Tolstoy varies the spelling of this word, as if hesitating. The very combination of "war and peace" can be found in Pushkin's "Boris Godunov":
Describe, without further ado,
All that you will witness in life:
War and peace, government of sovereigns,
Saints holy miracles.
Already in Pushkin's context, the combination of "war and peace" becomes the key to the historical process as a whole. Thus, the world is a universal category, it is life, it is the universe.
On the other hand, it is quite clear that the concepts of crime and punishment are of interest to Dostoevsky not in their narrow legal sense. "Crime and Punishment" is a work that poses deep philosophical and moral problems.
The artistic space of Tolstoy's novel is, as it were, limited by two poles: on one pole - goodness and peace, uniting people, on the other - evil and enmity, dividing people. Tolstoy tests his heroes from the point of view of the law of "continuous movement of personality in time". Heroes capable of spiritual movement, of internal changes, according to the author, carry the principles of "living life" and the world. Heroes, motionless, incapable of feeling and understanding the inner laws of life, are evaluated by Tolstoy as carriers of the beginning of war, discord. In his novel, Tolstoy sharply contrasts these characters. So, the salon of Anna Pavlovna Sherer Tolstoy knowingly compares with a spinning workshop, with a soulless machine.
The antithesis "correctness - incorrectness", "external beauty - living charm" runs through the whole novel. For Tolstoy, the irregular and even ugly features of Natasha's face are much more attractive than Helen's antique beauty, Natasha's cheerful (albeit out of place) laugh is a thousand times sweeter than Helen's "unchanging" smile. In the behavior of the characters, the author also contrasts the elemental with the rational, the natural with the theatrical. For Tolstoy, Natasha's "mistakes" are much more natural and natural than Sonya's rational behavior.
The finished embodiment of the beginning of the war in the novel was Napoleon. He not only constantly plays for the audience, but also remains an actor alone with himself. He thinks of himself as a great commander, focusing on some antique samples. The complete antipode of Napoleon is in the novel Kutuzov. He is the true spokesman for the spirit of the nation.
"Family Thought" opposes the Rostov family to the "clan" of the Kuragins.
The antithesis "false - true" is also used by Tolstoy when depicting the spiritual movements of his characters. So, Pierre in a duel, feeling all the stupidity and falsity of the situation, does nothing to successfully resolve it, but demands “to start soon” and intensively loads his pistol.
Unlike Tolstoy's heroes, Dostoevsky's heroes are never portrayed unambiguously: Dostoevsky's man is always contradictory, unknowable to the end. His heroes combine two abysses at once: the abyss of goodness, compassion, sacrifice and the abyss of evil, selfishness, individualism, vice. In each of the heroes there are two ideals: the ideal of the Madonna and the ideal of Sodom. The content of "Crime and Punishment" is the trial of Raskolnikov, the internal court, the court of conscience.
The techniques that Dostoevsky uses in creating the figurative system of his work differ from those of Tolstoy. Dostoevsky resorts to the technique of double portraiture. Moreover, the first portrait, more generalized, usually argues with the second. So, before committing a crime, the author talks about the beauty of Raskolnikov, about his beautiful eyes. But the crime not only stained his soul, but also left a tragic imprint on his face. This time we have a portrait of the killer. In Dostoevsky's novel, it is not the characters who argue, but their ideas.
Thus, we see that the antithesis as an artistic device turned out to be very productive for the two largest realist artists, for Tolstoy and Dostoevsky.

L.N. Tolstoy is a classic of world literature, the greatest master of psychologism, the creator of the genre of the epic novel, who skillfully used the means of artistic depiction. One of Tolstoy's main ideological and compositional devices is the antithesis. The functions of the antithesis in the novel "War and Peace" are very diverse. This stylistic device underlies the principle of composition, it is used to build a system of characters, with its help, artistic images are created and the inner world of the characters is revealed.

Reception of the antithesis lies

At the heart of building the character system. The characters are contrasted on the basis of the "naturalness" or "falsity" of their natures.

The heroes of Tolstoy, embodying naturalness, the truth of life, have no doubts. Angular, impulsive, with irregular features, Natasha Rostova is the embodiment of the beauty of life. Despite the lordly upbringing, she personifies folk traditions. Natasha, a gifted nature, is loved by everyone, direct in feelings, simple, feminine, truthful. Her caring soul completely dissolved in the anxieties of 1812, in the general misfortune of the people and their feat. Especially revealed sincere

Natasha's qualities in caring for the dying Prince Andrei. The Rostovs were late in leaving Moscow, and Natasha insisted that the wing and half of the house be provided for the wounded soldiers. Natasha devoted herself to this cause, nowhere, in no way emphasizing her merits, without saying phrases about patriotism and duty. It is simple and natural, just as Russian soldiers are simple and natural, performing feats without a single thought of glory. They, like Platon Karataev and Field Marshal Kutuzov, are endowed by nature with an intuitive knowledge of the truth. Kutuzov appears in the novel as the embodiment of the author's philosophy of history. Tolstoy creates a lively, full of charm image of the commander. The main advantages of Kutuzov are naturalness and simplicity. He does not play a role, but lives. He can cry from both frustration and joy. It is Kutuzov's simplicity that allows him to feel like a part of "paradise" and not interfere with the movement of history.

These heroes are opposed by the skillful "poser" Napoleon in the novel - the embodiment of extreme individualism. He seeks to impose his will on the world. The image of Napoleon in Tolstoy is not devoid of grotesque and satirical overtones. He is characterized by theatrical behavior, narcissism, vanity (depicts a tenderly loving father, although he has never seen his son). Many people from secular society are spiritually like Napoleon, especially the Kuragin family. All members of this family aggressively interfere in the lives of other people, try to impose their desires on them, use the rest to satisfy their own needs ("mean, heartless breed" called this family Pierre). Also close to Napoleon are the Russian emperor Alexander, who does not understand the mood prevailing in the Russian army, the dignitary Speransky, the maid of honor playing patriotism Anna Pavlovna Sherer, the careerist Boris Drubetskoy, the prudent Julie Karagina and many others. All of them are internally empty, insensitive, crave fame, care about a career, like to talk a lot and beautifully.

Seeking heroes of Tolstoy, Pierre Bezukhov and Andrei Bolkonsky, go through a difficult spiritual path in search of truth. They are carried away by false ideas, they are mistaken, they change internally, and in the end they approach the ideal of simplicity.

Both Pierre and Andrei Bolkonsky are freed from petty egoistic feelings and come to an understanding of the true values ​​of life. And ordinary Russian people help them in this. To Prince Andrei - Captain Tushin and artillery soldiers subordinate to him, whom the prince met in the battle of Shengraben. Pierre - the soldiers whom he sees on the Borodino field and then in captivity, especially Platon Karataev. Watching Karataev, who accepts life as it is, Pierre begins to understand that the meaning of life lies in herself, in her natural joys, in the humble acceptance of the misfortunes that fall to a person.

Prince Andrei, mortally wounded at Borodino, acquires infinite love for all people, and then, on the eve of death, complete detachment from earthly worries and unrest, supreme peace.

The images of nature in "War and Peace" are symbols of higher harmony, revelations about the truth of the world. They are opposed to vanity, selfishness, the immutability of people's lives, alien spiritual aspirations. Captured by the French, having experienced the horror of execution, Pierre Bezukhov understands that the main value that no one can control is his immortal soul. This liberating feeling comes to him when he contemplates the night starry sky. Devastated, having lost the meaning of existence, Andrei Bolkonsky meets an old oak tree on the road. The same oak, which has started young shoots, symbolizes the revival of Bolkonsky after meeting with Natasha Rostova in the Otradnoye estate, where he accidentally overheard Natasha, excited by the beauty of the summer night, talking with Sonya.

The "historical" chapters in the novel are contrasted with the chapters describing the "living life" carried on despite Napoleon's invasion (it is noteworthy that Tolstoy describes in equal detail the battle of Austerlitz, the Battle of Borodino and Natasha's first ball, the hunt of the old Count Rostov, giving these events the same place in stories). This antithesis manifests itself at the compositional level. Tolstoy needs to be shown the contrast between false life and true life, and he combines various episodes in the novel in such a way that this contrast becomes especially obvious. So, after depicting an unnatural meeting of the heads of two states (Napoleon and Alexander I), the writer abruptly proceeds to describe the meeting between Natasha and Andrei Bolkonsky.

But in addition to the composition and system of characters, the antithesis technique is also used to characterize the images of the characters themselves, to highlight their most striking individual features. In "War and Peace" this is most clearly manifested when comparing the images of Napoleon and Kutuzov (which are symbols that determine the direction of movement of all other heroes). In every feature of the portrait, behavior, manner of speaking and holding on, a huge difference is felt between these heroes. Napoleon is unpleasantly fat (fat thighs, belly, full white neck), strong. And if Napoleon emphasizes sleekness, constant care for the body, then in Kutuzov - old man's fullness, flabbiness, physical weakness, which is quite natural for a person of his age. Napoleon's gait is self-satisfied, assertive, he calls the painful trembling of his left calf a great sign. Kutuzov walks awkwardly, badly, clumsily sits in the saddle. During the battle of Borodino, when Napoleon, fussing and worrying, gives a lot of senseless and contradictory orders, Kutuzov gives almost no orders, leaving the course of the battle to God's will. In Kutuzov, the contradiction between the ordinary, unremarkable appearance and the heroic essence is emphasized. In Napoleon, on the contrary, there is a contradiction between the claim to a great role in history and an empty, inanimate essence.

Thus, the reception of antithesis plays an important role in the novel "War and Peace". At the ideological and compositional level, it helps to distinguish between good and evil, to show the danger of egoistic separation of people, to outline the ways of moral improvement of the individual, i.e. serves as a means of expressing the author's position in the novel.