Princess Mary after her father's death. Characteristics of the hero Marya Bolkonskaya, War and Peace, Tolstoy

Parameter name	Meaning
Article subject:	PRINCESS MARIA BOLKONSKAYA
Rubric (thematic category)	Warfare

The war did not allow the old prince Nikolai Andreevich Bolkonsky to die in peace. That night, when he forced himself to read his son's letter and understand that the French were four steps from his house, that night was not in vain. The old general ʼʼ as if suddenly came to his senses from a dreamʼʼ and plunged into. feverish sleepless activity: he gathered militias, armed them, wrote to military leaders ... His strength ended suddenly: the prince was about to go to the commander-in-chief; he ʼʼin a uniform and all orders, left the house ...ʼʼ So they brought him - almost brought him - back to the house a few minutes later, ʼʼa little old man in a uniform and ordersʼʼ, and Princess Mary saw with fear that ʼʼthe former strict and the determined expression of his face was replaced by an expression of timidity and resignationʼʼ.

Prince Andrew did not know what had happened. He thought that his father and sister were in Moscow, but in fact they had gone to Bogucharovo, which lay on the road along which the French were approaching. Prince Andrei received the news that his father was ill, but did not understand how ill he was. He did not see and did not hear what Alpatych and the courtyards saw and heard. He could not imagine the expression of timidity and submissiveness on his father's imperious face.

This expression is a sign of approaching death; it is unbearable for loved ones. When the old prince lay unconscious for long days, ʼʼlike a mutilated corpseʼʼ, this was only a continuation of the timidity and humility that so frightened Princess Marya on the first day.

The old man could no longer guide his daughter. A few days ago, Princess Marya, trembling with fear, decided to violate his will and did not leave for Moscow with Nikolenka and Desalle. She was afraid to leave her father alone - and then she realized that he was pleased with her decision, although he shouted at her and did not order her to show herself to him.

He, too, was afraid to be left alone, and therefore he shouted and was angry with his daughter: he could not confess to her his weakness ... And it turned out that his daughter's fears were not in vain, his secret fear was justified: paralyzed, helpless, he was brought into the house , they put him on the same sofa, ʼʼwhich he had been so afraid of latelyʼʼ.

Now Princess Mary should answer for him as firmly as he had answered for her all his life. The daughter decided to take her father to Bogucharovo, and the days dragged on when the old prince lay unconscious, and the French walked and walked across Russia, but Princess Mary did not know about this, because day and night she thought about her father, only about her father.

Tolstoy is always merciless to those of his heroes whom he loves, and he is merciless of all to Princess Marya. But the more you read about the shameful thoughts that possessed Princess Mary, the more you love her.

ʼʼWouldn't the end be better, the end at all!ʼʼ - Princess Mary sometimes thought. She watched him day and night, almost without sleep, and, frightening to say, she often watched him, not with the hope of finding signs of relief, but watched, often wanting find signs of approaching the end ofʼʼ. (Tolstoy's italics.)

One could deceive oneself, say to oneself that these thoughts are born of pity for the suffering of the patient. But Princess Marya does not deceive herself: “what was even more terrible for Princess Marya was that since her father’s illness ... all the forgotten personal desires and hopes that had fallen asleep in her woke up in her ... No matter how she removed from herself, questions constantly came to her mind about how she was now, after Togo, arrange his life. (Tolstoy's italics.)

Princess Mary is horrified by what is happening in her soul, and is tormented, and ashamed, and cannot overcome herself. What, she doesn't love her father? She loves - more than ever, and this is the most painful: ʼʼ she has never been so sorry, it was not so terrible to lose himʼʼ.

On the eve of his death, the old prince felt better. This is the last consolation that death bestows on the dying and his loved ones: Princess Mary succumbed to consolation. ʼʼThe soul hurtsʼʼ, - her father said indistinctly. ʼʼAll thoughts! about you... thoughts... I called you all night...ʼʼ

Involuntarily obeying her father, she now, in the same way as he spoke, tried to speak more in signs and, as it were, also twisting her tongue with difficulty.

Darling ... - or - my friend ... - Princess Mary could not make out; but probably, from the expression of his look, a tender, caressing word was said, which he never said. - Why didn't you come?

ʼʼAnd I wished, wished for his death!ʼʼ - thought Princess Mary. He paused.

Thank you ... daughter, friend ... for everything, for everything ... sorry ... thanks ... sorry ... thank you! .. - And tears flowed from his eyes .- Call Andryusha , - he suddenly said, and something childishly timid and distrustful was expressed in his face at this demand.

Only before his death did he allow himself to be gentle. ʼʼDaughter, my friend...ʼʼ And he called his son Andryusha... But there is no son - he is at war, and for the last time the truth enters his father's mind.

"Yes," he said clearly and quietly. - Russia is dead! Ruined!ʼʼ

How terrible it is to think that the boys who were killed near Leningrad, near Moscow, on the Dnieper, on the Volga, never found out about the red flag over the Reichstag. How bitter it is to think that General-in-Chief Bolkonsky never found out: Russia did not perish ...

Princess Mary - in her grief, in the torments of her conscience, in fear for her father. ʼʼShe could not understand anything, think about anything, and feel nothing, except for her passionate love for her father, a love that, it seemed to her, she did not know until this momentʼʼ. And the father is dying. But he remains to live in his daughter - of course, she cannot understand this now, think about it.

“Princess, the will of God is being done, you must be ready for anything,” the leader said, meeting her at the front door.

Leave me; it's not true, - she angrily shouted at himʼʼ.

That's when the temper of the father woke up in the meek Princess Mary. Several hours have passed - and just as her father had to overcome his old age, his impotence, so Princess Marya will have to overcome her grief, which filled her whole life after her father's death.

ʼʼ- Ah, if anyone knew how it doesn’t matter to me now, ʼʼ, she answered when Mademoiselle Bourienne started a conversation with her that it would be better not to leave Bogucharov, but to stay in the hope of patronage French. But then she took out of her purse an announcement of the French General Rameau.

ʼʼPrincess Marya read the paper, and dry sobs twitched her face...ʼʼSo that Prince Andrei knows that she is in the power of the French! So that she, the daughter of Prince Nikolai Andreevich Bolkonsky, asked Mr. General Rameau to protect her and use his good deeds! ʼʼ - This thought horrified her, made her shudder, blush and feel fits of anger and pride that she has not yet experienced...ʼʼ(Italics mine. - N.D.)

So her father’s temper awakened in her, and it is not surprising that Princess Mary now thought “not with her own thoughts, but feeling obliged to think for herself with the thoughts of her father and brother ... The demands of life, which she considered destroyed with the death of her father, suddenly with a new one, still unknown force appeared before Princess Mary and seized her ʼʼ.

The death of her father really freed Princess Mary - no matter how bitter, but true. At the moment when Mademoiselle Bourienne stands before her with the appeal of the French general, Princess Mary, of course, does not think about her freedom - she is completely in the power of indignation; she is offended - and these feelings, as it was with her father, result in quick, decisive activity. To go, to go immediately - if only not to stay with the French!

But you can’t go - the “wild” Bogucharov men do not give a cart. An attempt by Princess Marya to negotiate with them leads to the opposite results: now the peasants not only do not give carts, but they do not want to let the princess out of Bogucharov either.

This is where Nikolai Rostov appears - a romantic hero, as Princess Mary sees him, but not at all romantic in the eyes of Tolstoy. He ended up in Bogucharovo in search of hay for horses, and explained himself to the rebellious peasants in the most prosaic way: with the help of his fists.

In the conflict between Rostov and the peasants, Tolstoy is most likely on the side of Rostov: firstly, he pities Princess Marya, whom the peasants do not let out of Bogucharov; secondly, he condemns the peasants who decided to remain under the rule of the French in order not to lose their property.

We also condemn the peasants for succumbing to the persuasion of the enemy. But at the same time, we are offended to read how Rostov, with the help of his lackey Lavrushka, overcame a peasant revolt. It is a shame to understand how dark the consciousness of the peasants is, how wild their ideas of good and evil, truth and falsehood, how timid their attempts to decide their own fate on their own, without instructions from the landowners.

And it is all the more distressing to read those pages where Princess Mary from the bottom of her heart wants to help the peasants, to give them her bread - she feels that her father and brother would do the same - but the peasants do not understand her, they see cunning in her sincere desire to do good.

Tolstoy conceived his novel as a book about a Decembrist who returned from exile in the sixties of the 19th century. Then he decided to turn to more early times- to the very uprising of the Decembrists. Further - he returned to the war of 1812 and even earlier - to the war of 1805-1807. ʼʼWar and Peaceʼʼ has become a book showing the formation of Decembrism - the action of the novel ends five years before the events on Senate Square. We have already seen how poorly Pierre's attempts to alleviate the plight of his peasants succeeded. Now before us is a wall of mutual misunderstanding, separating the serfs from their landowner, Princess Marya. For the Bogucharov peasants, she is a stranger; but after all, Prince Andrei lived among them for several years, trying as much as possible to alleviate their situation. It turns out that this did not help - the peasants still do not believe in the good intentions of the masters. The famous words of V. I. Lenin: ʼʼ The circle of these revolutionaries is narrow. They are terribly far from the peopleʼʼ, - they were said about the Decembrists two years after Tolstoy's death, in 1912. But Tolstoy's book helps us to understand more deeply the tragic justice of these words.

Let's return to Princess Marya. Rostov appeared as a savior in a difficult hour of her life, accomplished a feat (otherwise Princess Marya cannot and does not want to name his deed) and entered her fate forever.

None of this would have happened had the old prince been alive and well. The peasants would never dare to argue with him, there would be neither rebellion nor salvation. Rostov would have bought hay from Alpatych and left without even seeing Princess Marya, and in addition, the old prince, most likely, would have met Nikolai arrogantly and contemptuously, as the brother of the one who insulted Prince Andrei.

Now everything happened differently - and it turns out that the death of the old prince actually freed Princess Mary. This is the complexity of our relationship with our parents, that they really, albeit unwittingly, with their care prevent us from being independent. And the closer we are to our parents, the more we love and respect them, the stronger their spiritual power over us, the more they make life difficult for us, without even wanting to.

Who is to blame for this? Yes, there are no guilty here; Should love be guilt? And there is no way out of this situation, because youth, naturally, strives for independence, for full responsibility for their own destiny, while old people just as naturally hold on to their place in life and do not want to give it to the young. There is no way out, and all that remains is to still love, still feel sorry for your old people, because it gets worse when they leave forever and there is no one to interfere with us and rule over us.

6. BATTLE LAVRUSHKA AND OTHERS ...

Let's go back a month - to the day when Napoleon had already crossed the Neman and was moving through the Polish provinces, and Prince Andrei arrived at the "headquarters of the army" to Barclay de Tolly.

What he saw and heard there struck him not with its exclusivity, but, on the contrary, with its commonness. ʼʼEveryone was dissatisfied with the general course of military affairs in the Russian army; but no one thought about the danger of an invasion of the Russian provinces, no one imagined that the war could be moved further than the western Polish provincesʼʼ.

What were the people who took responsibility for leading the army doing? What happened in this vast, restless, brilliant and proud world?

There were nine different groups - Tolstoy describes them with irony: ʼʼwar theoristsʼʼ, discussing endless campaign plans; supporters of peace, who feared Napoleon since the time of Austerlitz; ʼʼdealersʼʼ between different directions; adherents of Barclay and adherents of Benigsen, admirers of Emperor Alexander - the irony of Tolstoy is understandable, if you remember that "no one thought about the danger of an invasion of the Russian provinces", - at the headquarters they are busy with disputes, conversations, and not at all what the country needs now .

But one group - the most numerous - Tolstoy describes not only with irony; in his every word - hatred; ʼʼthe largest group ... consisted of people ... wanting only one thing, and the most essential: the greatest benefits and pleasures for yourself ...

All the people of this party caught rubles, crosses, ranks and in this fishing, they only followed the direction of the weather vane of royal mercy ... Whatever the question was raised, let alone a swarm of these drones, without having blown off the old topic, he flew over to the new one and buzzing muffled and obscured sincere, arguing voicesʼʼ. (Italics mine. - N.D.)

That's who made Berg ʼʼassistant chief of staff of the left flankʼʼ; that's who Bagration in his letter to Arakcheev called bastards; finally, people opposed who argued that "everything bad comes mainly from the presence of the sovereign with a military court at the army ... ʼʼ

In the end, the king was persuaded to leave for St. Petersburg, along with the ʼʼdronesʼʼ. Before leaving, he graciously received Prince Bolkonsky, and "Prince Andrei forever lost himself in the court world, not asking to stay with the person of the sovereign, but asking for permission to remain in the army."

Prince Andrei ʼʼlost himselfʼʼ in the court world, but this world is alive, and he lives according to the old laws - the whole country is reared up, swept up, the life of all people has changed, except for those who surround the king.

ʼʼThis life is unchangeable... - says Tolstoy, - ... Anna Pavlovna's salon and Helen's salon were exactly the same as they were one seven years ago, the other five years agoʼʼ.

Everything has changed; even the Bald Mountains, which seemed like an enchanted sleeping castle, were abandoned by their owners, devastated, the war passed through them. But in St. Petersburg they still live a fantastic, fictional life, and today Prince Vasily scolds Kutuzov with his last words, and tomorrow he admires him, because the tsar is forced, under the onslaught of public opinion, to appoint Kutuzov commander in chief.

We remember how Tolstoy described Napoleon, mercilessly emphasizing the thickness, short legs, plump neck ... He also does not spare Kutuzov: the old commander-in-chief "still got fat, flabby and swollen with fat"; there was an “expression of fatigue” in his face and figure ... But if Napoleon cares in every possible way about the impression he makes on others, then Kutuzov is, above all, natural in his every movement; this is what Tolstoy loves in him.

Kutuzov is tired of a long and difficult life, it is hard for him to wear his blurry body - he does not think to hide all this. Like all old people, he is afraid of death - he, who knows how to be calm under bullets, looked at Prince Andrei with open eyes, having heard about the death of his friend, the old prince Bolkonsky. He is natural here too, he always remains himself.

Everything that Kutuzov says and does, he says and does not like Napoleon and Alexander I

Tolstoy's entire novel is built on the principle of contrast - sharp opposition. The contrast is in the very title of the book: ʼʼWar and Peaceʼʼ. Wars are contrasting: the unfair, unnecessary people war of 1805-1807 and the Patriotic, people's war of 1812 ... Entire circles of society are contrasting: the nobles and the people are opposed to each other, but also in the noble environment - the contrast between honest people - Bolkonsky, Rostov, Pierre Bezukhov - and ʼʼdronesʼʼ - Kuragin, Drubetsky, Zherkov, Berg.

Each camp has its own contrasts: the Bolkonskys are opposed to the Rostovs; the patriarchal Rostov family - to the homeless, despite their wealth, Pierre. Contrasting women: Helen and Natasha, Natasha and Sonya, Princess Marya and Sonya, Natasha and Princess Marya...

Historical figures are sharply contrasted: Barclay and Kutuzov, Napoleon and Alexander I, Kutuzov and Napoleon. And, perhaps, the sharpest contrast is in the way Tolstoy draws Kutuzov and Alexander I. Tolstoy does not allow any direct mockery of the Tsar. On the contrary, his king is handsome, charming. But already in the first war, he becomes pathetic next to the flabby and powerless, but majestic and recalcitrant Kutuzov. And in the Patriotic War, Kutuzov overshadows the tsar precisely with his naturalness - quality, ĸᴏᴛᴏᴩᴏᴇ appreciates Tolstoy most of all in people.

Yes, he is old and weak, he listened to the reports of the generals ʼʼonly because he had ears, which, despite the fact that one of them had a sea rope, could not help but hear ...ʼʼ But he defeats the king ʼʼwith his life experienceʼʼ - and it is no accident that Tolstoy, in the chapters preceding the battle of Borodino, forces Kutuzov to solve the same questions that the tsar had already decided before our eyes.

We remember Denisov's tragedy and Rostov's attempt to save his friend, and the tsar's answer: ʼʼ...because I can't because the law is stronger than me...ʼʼ Denisov was accused of looting on the grounds that he had taken provisions for his soldiers by force.

Now Kutuzov is presented with a paper demanding the punishment of army commanders for the fact that the soldiers mowed green oats to feed the horses.

Kutuzov smacked his lips and shook his head after hearing this matter.

Into the oven... into the fire! And once and for all I tell you, my dear, - he said, - all these things are on fire. Let them mow bread and burn firewood for health. I do not order this and do not allow it, but I cannot exact it either. You can't do without it...ʼʼ

A few days later, the red-nosed captain Timokhin will tell Pierre: “After all, we were retreating from Sventsyan, don’t you dare touch the twigs, or the senets there, or something ... In our regiment, two officers were put on trial for such things. Well, as the brightest did, it just became so about this. They saw the light ...ʼʼ

Both Barclay, who prosecuted the officers ʼʼfor such deedsʼʼ, and the tsar, who refused to pardon Denisov, are objectively right: hay, oats and firewood belong to the landowners, they cannot be taken without permission. The provisions that Denisov recaptured were intended for someone - how could he take it? But after all, Berg is essentially right when he shouts that it is impossible to burn down houses - indeed, it is impossible - in peacetime. But in war there are other laws, and Kutuzov knows this. His ʼʼ into the stove ... into the fire ʼʼ is fair, and royal loyalty to the law turns into injustice and cruelty.

A few weeks ago, "Prince Andrei lost himself forever in the court world, not asking to stay with the person of the sovereign, but asking for permission to serve in the army." Now Kutuzov invites him to stay at the headquarters, and Prince Andrei again refuses.

ʼʼA smart, kind and at the same time subtly mocking expression shone on Kutuzov's plump face. He interrupted Bolkonsky:

I'm sorry, I would need you; but you're right, you're right. We don't need people here. There are always many advisers, but no people. The regiments would not be like that if all the advisers served there in the regiments, like you ... ʼʼ

For the tsar, as well as for Napoleon, the main thing is himself, his unique personality. Refusal to serve in his presence is more important than serving his imperial majesty! For Kutuzov, the main thing is the war, and no matter how upset his refusal of Prince Andrei, he recognizes the correctness of Bolkonsky.

The ability to recognize the correctness of another is what the tsar is deprived of and what Kutuzov is endowed with.

But that's not all - Kutuzov knows how to feel for other people, to understand them. For this reason, he is so affectionate with Denisov, although he does not really listen to his plan for guerrilla warfare. For this reason, he calls Denisov, his adjutant, and Prince Andrei darlings (just like the little captain Tushin), in this regard, he is so sorry for Prince Andrei, who lost his father, and finds the only words that can now console Bolkonsky: ʼʼI I remember you from Austerlitz... I remember, I remember, I remember with the banner...ʼʼ

This ability to understand other people is completely lacking in Tolstoy's Napoleon, preoccupied with himself, always overflowing with himself. For this reason, he is defeated, meeting with the crafty batman of Rostov (and earlier - Denisov) Lavrushka.

The cunning, always half-drunk Lavrushka knows how to find a way out of any situation. Later, having got to Bogucharovo with Rostov and seeing the rebellious men, he instantly understands the situation:

ʼʼ- Talk?.. Riot!.. Robbers! Traitors! - Rostov yelled senselessly, not in his own voice, grabbing Karp by the collar. - Knit him, knit him! he shouted, although there was no one to knit him, except for Lavrushka and Alpatych.

Lavrushka, however, ran up to Karp and grabbed him by the arms from behind.

- Will you order ours from under the mountain to click? he shouted.

There were no ʼʼʼʼʼ under the mountain, and Lavrushka knew this very well, as well as Rostov. But the rebellion was crushed instantly, and the headman himself took off his sash, "as if helping" himself to be tied.

Outwitting dark men is not such a difficult thing. But a few days earlier, Lavrushka had fooled the sovereign of all Europe around his finger.

Having been captured by the French, Lavrushka was brought to the emperor. Napoleon believes that Lavrushka does not know who he is talking to. Lavrushka, meanwhile, “knew very well that it was Napoleon himself, and the presence of Napoleon could not confuse a suspicious person: should there be more of a matter for him than the presence of Rostov or the sergeant with rods, because there was nothing with him that would not could deprive him of neither the sergeant major nor Napoleonʼʼ.

Lavrushka is cunning, chatting everything that comes to mind, and, finally, to amuse Napoleon, she declares:

ʼʼ- We know that you have Bonaparte, he beat everyone in the world, well, another article about us ...

The translator gave these words to Napoleon without ending, and Bonaparte smiledʼʼ.

Napoleon's interpreter does exactly what Prince Vasily would have done in his place: protecting his master, he translates only the part of Lavrushka's remark that is flattering to him. And Napoleon remains convinced that even the wild Cossack, ʼʼchild of the Donʼʼ, admires his victories.

But the ʼʼchild of the Donʼʼ behaves like an experienced courtier. Hearing the message that Napoleon himself was in front of him, Lavrushka ʼʼ immediately pretended to be amazed, stunned, bulged his eyes and made the same face, ĸᴏᴛᴏᴩᴏᴇ he was accustomed to when they led him to flogʼʼ.

This maneuver was a complete success: satisfied Napoleon let him go free, and Lavrushka ʼʼ by the evening found his master Nikolai Rostovʼʼ. So he outwitted Napoleon, because Napoleon could not even imagine that a simple Cossack could be smarter than him.

And all this happened because the great commander Napoleon ceased to understand other people; Lavrushka understood him, but he did not understand Lavrushka.

This funny story has more serious meaning than it might seem. Napoleon does not understand the people with whom he is at war - this must be what will determine his future defeat. Kutuzov knows how to understand Lavrushka, and Nikolai Rostov, and Prince Bolkonsky, and every soldier - this is what distinguishes him from Napoleon, from Alexander I; this will determine his understanding of the people's war, which he led.

PRINCESS MARYA BOLKONSKAYA - concept and types. Classification and features of the category "PRINCESS MARIA BOLKONSKAYA" 2017, 2018.

What is the reason for the difficult relationship between the old prince Bolkonsky and his daughter, Princess Marya? Most people will answer, probably, in the same way as N. H. Strakhov answered in his Literary Criticism of the Works of Count L. N. Tolstoy. Quote:

"... Of all the faces drawn by the artist, not one, apparently, deserves more indignation. Meanwhile, what does it turn out to be? With amazing skill, the author depicted for us one of the most terrible human weaknesses - not overcome by the mind , nor will, - and most of all capable of arousing sincere regret. In essence, the old man infinitely loves his daughter - in the literal sense he could not live without her; but this love in him was perverted into a desire to hurt himself and his beloved creature. He as if incessantly tugging at that inextricable bond that connects him with his daughter, and finds painful pleasure in such a feeling of this connection. All shades of these strange relations are captured by Count L. N. Tolstoy with inimitable fidelity, and the denouement is when the old man, broken by illness and close to death, he finally expresses all his tenderness for his daughter - he makes a stunning impression.
And the strongest, purest feelings can be perverted to such an extent! So much torment people can inflict on themselves through their own fault! It is impossible to imagine a picture that more clearly proves how little a person can sometimes control himself. The relationship of the stately old man Bolkonsky to his daughter and son, based on a jealous and perverted feeling of love, is an example of the evil that often nests in families, and proves to us that the most holy and natural feelings can take on a crazy and wild character.
These feelings, however, are at the root of the matter, and their perversion must not obscure their pure source from us. In moments of great upheaval, their true, deep nature often fully comes out; so, love for his daughter takes possession of the whole being of the dying Bolkonsky. To see what is hidden in the human soul under the play of passions, under all forms of self-love, self-interest, animal desires - that's what the great master Count L. N. Tolstoy ... "

Well, that is, the vast majority of people perceive the old prince not only as a weirdo, but also as a victim of their own vicious passions. But is it? People can be understood. They use a familiar set of sadomasochistic templates. The trick is that in this case this set is not suitable. If you take a closer look, the old Bolkonsky has never (not once in the novel) been a slave to his feelings. All his actions are reasonable, rational, meaningful. In other words, the writer creates an image and puts something inside it. Lays as a rebus, a riddle, a puzzle, a charade. And, like, no one notices point-blank. Even literary critics did not guess to look inside the image. Not in a psychoanalytic sense, but in a simpler, everyday one. To do this, you just need to put yourself in the place of the old prince. Let's try to do it.
Indeed, there is a daughter, a very kind and very intelligent girl, deprived in terms of external data, who lost her mother early. Her father had to pour out a double portion of his love on her. Her older brother, Prince Andrei, was less fortunate in this sense. Childhood is the best time of life. In Russia, this is known as in no other country, so parents often take on all the difficulties of life in order to extend this period for children as much as possible.

From maternal abundance, female love, children often experience spoiledness, whims, imbalance, partial or complete lack of character. In the case of fatherly love, nothing of the kind is observed, but another misfortune often happens. Namely, the reciprocal love of a daughter in relation to her father, to her brother, and in general to everyone around, indiscriminately. This is the whole trick - there are no people on earth who are not worthy of Christian love. Love, which often finds its most frenzied expression in religious feeling. In addition to feelings - the idea of ​​"forgiveness", "the camel and the eye of the needle", "the hair on the head that will not fall without His will", "hit on one cheek, turn the other", etc. Add to this stupid, stupid, teenage complexes on the basis of their unsightly appearance and the psychological picture will be complete.
And everything would be fine, but a harsh, cruel reality invades this serene, calm, happy, chaste life in the Bald Mountains. Prince Vasily arrives, a distant acquaintance of Prince Bolkonsky. He comes not alone, but together with his pupil. And he proposes this pupil to the princess, that is, he makes an offer of the hand and heart of his son. And now the first curious detail embedded inside the image, we will not pass by - the old prince, contrary to the customs of that time, contrary to his own family "despotism, tyranny, tyranny, arbitrariness" provides complete freedom daughter's choice. And this groom, who put everything on everyone, instead of suffering a little, on the contrary, decides not to waste time, and while the princess is considering his proposal, arranges for herself an amorous, so to speak, adventure with Buryenka, her close friend and companion - a rootless orphan, taken by the old prince out of pity and raised by him with his daughter.
Princess Mary quite by accident takes her friend and groom by surprise during their love meeting in the winter garden. And after everything that happened, this young cretin still appears the next day in the living room to find out about the decision of the princess regarding her proposal. Add here Buryenka, who, not in a day, but in half an hour, comes running all in tears to ask for forgiveness and, of course, receives it. And Princess Mary is already considering how to arrange her fate with this same Prince Anatole. Who, frankly, does not care deeply about the rootless orphan. Imagine the main thing - that through the courtyard people all this ordinary, one might say, everyday surrealism becomes known to her father, Nikolai Andreevich Bolkonsky. And in all its vulgar everyday details. Well, what about him? - put yourself in his place! Better yet, imagine that the princess didn’t go out to get some fresh air in the winter garden, didn’t run into Buryenka and Anatole there, didn’t refuse the latter’s proposal and married him.
In general, from the point of view of the old prince, the picture is extremely clear. There is a daughter, a very smart and very kind girl. Moreover, there is so much kindness in it that it is already to the detriment of the mind, so to speak. He, the father, is not eternal, sooner or later he will die, but what will happen to her? And this is what will most likely happen to her: mentally ill-developed, but at the same time not at all notorious burenki, Anatoli, God's people of all stripes will lead her by the nose and around. And she will end her days deceived and devastated in some monastery. Well, what is such a prospect for you, if we assume that this is not some kind of extraneous girl, but your own daughter?
In a word, something urgently needs to be done, but what? And here the thoughts of the old prince come across religion. In it, he sees the root of evil, in this "cheek, which must be turned after the other has already been hit." He is well aware that religious feelings and pride are incompatible. A servant, even God's, cannot be possessed by pride. Therefore, if you awaken a person's self-esteem by inflicting an insult, an undeserved insult, etc., then a crushing blow will also be dealt to this very Christian forgiveness. It is not for nothing that they say that in some cases it is necessary to give a good kick or a slap on the back of the head so that wings grow behind a person’s back. And since the kicks and cuffs of Anatole and Burenka do not work, it means that he, the most dear, closest person, should do the same. That is, in essence, to sacrifice the daughter's love for herself, the father. Because his own love for his daughter is dearer to him. And not even love - the daughter herself is more precious, her future.
In addition, while he, the father, is alive, it would be nice to place the princess in a real, that is, aggressive environment. Without this, a person simply will not develop the ability to solve everyday problems on his own. Here, in fact, begins what not very choosy, superficial, stupid critics like N. Strakhov casually call Dostoevshchina.
All the vicissitudes of their further relationship could be omitted. The deliberate despotism of the old prince in relation to his daughter is just his desperate attempts to re-educate her. Correcting mistakes is always painful, both for the pupil and for the educator. But Prince Bolkonsky simply needed to have time, at least somehow adapt the princess to the harsh, merciless, not Christian, but truly Darwinian, all-devouring reality. Perhaps only the prince's flirting with Buryenka deserves special mention. It was probably easier for the old man to first squeeze poison out of a real swamp viper, and then hang it around his neck and carry it around the house and on the street, than to bring this bastard closer, to flirt with her in front of his own daughter. Well, how else to make her daughter hate her? Considerable merit in the performance of this not quite ordinary pedagogical rhapsody (to match one piano, four hands) belongs to the princess herself, her downright religious-heroic stubbornness in the sense of Christian forgiveness. The same case when the scythe of the educator found the pupil on the pebble.
A few words about despotism, tyranny, tyranny, as well as the extreme incontinence of the old prince Bolkonsky. All this, of course, was not feigned, but acquired over the years. public service and management of their own estates. As they say, live with wolves, howl like wolves. In Russia, the absence of rebellion among the peasants is like a state of unstable equilibrium in mechanics. The landowner or manager had to balance pretty well to keep him, he had to learn all his life to inspire fear in his subordinates, so as not to be really cruel towards them.
So, we questioned the generally accepted version, which implies a sadomasochistic psychological background and, as a result, uncontrolled or very poorly controlled actions of the old prince Bolkonsky. On the contrary, we assumed exceptional reasonableness, rationality, meaningfulness in all his actions, as well as constant and complete control over his feelings, moods, and emotions. For evidence of our bold assumption, let's go straight to the finale, that is, to that moment in the story when the old prince, being crushed not only by paralysis, but also by life itself, gave up. And here we will not rush, let's turn to the text of the novel and read everything very carefully:

"He's feeling better today," said the doctor.
Princess Mary's heart beat so violently at this news that she turned pale and leaned against the door so as not to fall. To see him, to talk to him, to fall under his gaze now, when Princess Mary's whole soul was filled with these terrible criminal temptations, was painfully joyful and terrible.
“Come on,” said the doctor.
Princess Marya went in to her father and went up to the bed. He lay high on his back, with his small, bony hands covered with lilac knotted veins, on the blanket, with his left eye fixed straight and his right eye squinting, with motionless eyebrows and lips. He was all so thin, small and miserable. His face seemed to have shriveled or melted, shrunken features. Princess Mary came up and kissed his hand. His left hand squeezed her hand so that it was clear that he had been waiting for her for a long time. He tugged at her hand, and his eyebrows and lips moved angrily.
She looked at him fearfully, trying to guess what he wanted from her. When she shifted her position and shifted so that her left eye could see her face, he calmed down, not taking his eyes off her for a few seconds. Then his lips and tongue moved, sounds were heard, and he began to speak, timidly and imploringly looking at her, apparently afraid that she would not understand him.
Princess Mary, straining all her powers of attention, looked at him. The comic labor with which he rolled his tongue forced Princess Marya to lower her eyes and with difficulty suppress the sobs rising in her throat. He said something, repeating his words several times. Princess Mary could not understand them; but she tried to guess what he was saying, and repeated inquiringly the words he had said.
"Gaga - fights... fights..." he repeated several times. It was impossible to understand these words. The doctor thought that he had guessed right, and, repeating his words, asked: is the princess afraid? He shook his head negatively and repeated the same thing again...
“My soul, my soul hurts,” Princess Mary guessed and said. He moaned affirmatively, took her hand and began to press it to various places on his chest, as if looking for a real place for her.
- All thoughts! about you ... thoughts, - then he spoke much better and more clearly than before, now that he was sure that he was understood. Princess Mary pressed her head against his hand, trying to hide her sobs and tears.
He ran his hand through her hair.
"I've been calling you all night..." he said.
“If only I knew…” she said through her tears. - I was afraid to enter.
He shook her hand.
- Didn't you sleep?
“No, I didn’t sleep,” said Princess Mary, shaking her head negatively. Involuntarily obeying her father, she now, just as he spoke, tried to speak more in signs and, as it were, also with difficulty rolling her tongue.
- Darling ... - or - my friend ... - Princess Mary could not make out; but, probably, from the expression of his look, a tender, caressing word was said, which he never said. - Why didn't you come?
“And I wished, wished for his death!” thought Princess Mary. He paused.
- Thank you ... daughter, friend ... ea everything, for everything ... sorry ... thank you ... sorry ... thank you! .. - And tears flowed from his eyes. "Call Andryusha," he suddenly said, and something childishly timid and distrustful was expressed in his face at this request. It was as if he himself knew that his demand was meaningless. So, at least, it seemed to Princess Mary.
“I received a letter from him,” answered Princess Mary.
He looked at her with surprise and timidity.
-- Where is he?
“He is in the army, mon pere, in Smolensk.
He was silent for a long time, closing his eyes; then in the affirmative, as if in answer to his doubts and in confirmation that he now understood and remembered everything, nodded his head and opened his eyes.
“Yes,” he said clearly and quietly. - Russia is dead! Ruined! And he sobbed again, and tears flowed from his eyes. Princess Mary could no longer restrain herself and wept too, looking at his face.
He closed his eyes again. His sobs stopped. He made a sign with his hand to his eyes; and Tikhon, understanding him, wiped away his tears.
Then he opened his eyes and said something that no one could understand for a long time and, finally, he understood and transmitted only Tikhon. Princess Mary was looking for the meaning of his words in the mood in which he spoke a minute before. Now she thought that he was talking about Russia, then about Prince Andrei, then about her, about her grandson, then about his death. And because of this, she could not guess his words.
“Put on your white dress, I love it,” he said.
Understanding these words, Princess Marya sobbed even louder, and the doctor, taking her by the arm, led her out of the room to the terrace, persuading her to calm down and make preparations for her departure. After Princess Mary left the prince, he again spoke about his son, about the war, about the sovereign, twitched his eyebrows angrily, began to raise a hoarse voice, and with him came the second and last blow ... "

Well, and the most surprising thing is that the old prince got his way. After all, after his death, it didn’t matter to Princess Mary whether to stay in Bogucharovo or flee from the French to Moscow and beyond. What, it would seem, did all this have to do with her immortal soul? But no, there was not even a question, to run or stay. And later, hardly anyone could manage their fate better. Although here a considerable merit can already be attributed to the nephew Nikolushka, who managed to remain an orphan and care for which not only the princess, but whoever you want will save from inner foolishness in the form of excessive religiosity, inferiority complexes, and so on.
Truth be told, life real life, not a novel. And not everything in it converges one to one. Another princess from longing could easily have poisoned herself with arsenic or some other misfortune. But that's the beauty of old novels, they do not obey the primitive, worldly, Darwinian logic. They give the reader the opportunity to think about life in its more complex and subtle manifestations, getting rid of the chaotic variety and stupid, meaningless fuss.

Another female image that attracted my attention in the novel by L.N. Tolstoy's "War and Peace" is Princess Marya. This heroine is so beautiful internally that her appearance does not matter. Her eyes radiate such a light that her face loses its ugliness.

Marya sincerely believes in God, she believes that only He has the right to forgive and have mercy. She scolds herself for unkind thoughts, for disobedience to her father, and tries to see only the good in others. She is proud and grateful, like her brother, but her pride does not offend, because kindness, an integral part of her nature, softens this sometimes unpleasant feeling to others.

In my opinion, the image of Marya Bolkonskaya is the image of a guardian angel. She protects everyone for whom she feels even the slightest responsibility. Tolstoy believes that such a person as Princess Mary deserves much more than an alliance with Anatole Kuragin, who did not understand what treasure he had lost; however, he had very different moral values.

She lives in the naive worldview of the church legend, which causes the critical attitude of Prince Andrei and does not coincide with the views of Pierre Bezukhy and Tolstoy himself. At the time of the best state of his health and spirit, that is, before the crisis near death, Prince Andrei did not take Mary's religious teachings seriously. Only out of condescension to his sister does he consider her religiosity. Accepting the cross from her on the day of departure for the army, Andrei jokingly remarks: “If he doesn’t pull his neck down by two pounds, then I’ll make you happy.” In his heavy thoughts on the Borodino field, Andrei doubts the dogmas of the church professed by Princess Mary, feeling their unconvincing. “Father also built in the Bald Mountains and thought that this was his place, his land, his air, his men, and Napoleon came and, not knowing about his existence, like a puppy out of the way, pushed him and his Bald Mountains fell apart, and all his life. And Princess Marya says that this is a test sent from above. What is the test for, when it is not and will not be? Never again! He is not! So who are these tests? As for the attitude towards the heroine of Tolstoy himself, here the very mood of the image of Mary should be taken into account, which puts her mysticism in connection with the difficult circumstances of her personal life, which in turn gives a special psychological depth to the typification of this character. The novel hints at the reasons for Marya's religiosity. The heroine could become so because of the heavy mental anguish that fell to her lot and inspired her with the idea of ​​​​suffering and self-sacrifice. Marya was ugly, experienced it and suffered. Because of her appearance, she had to endure humiliation, the most terrible and insulting of them was the one that she experienced during the courtship of Anatole Kuragin to her, when the groom arranged a meeting with her companion Bourien at night.

It is no coincidence that it was after this scene that Princess Marya consciously seeks spiritual healing in religious feelings. “My vocation is different,” Princess Marya thought to herself, “my vocation is to be happy with another happiness, the happiness of love and self-sacrifice.”

Another reason for Marya's inner suffering, which nourished her mystical moods, was her father's despotism, which cost her tears and moral self-flagellation. She often endured the insults of this capricious, wayward and evil-minded person. As a result, a person with the ideal of Christian morality, love and self-sacrifice was formed in her. Moreover, unlike Pierre, who saw active virtue in the healing of mankind from vice, Marya consciously limits herself to personal self-improvement alone, through love for people. So you can understand the words of the author: “What did she care about the justice or injustice of other people. She had to suffer and love herself, and she did it.

In the work "War and Peace", the author, admiring the courage and resilience of the Russian people, extols Russian women. Princess Mary, who feels offended at the mere thought that the French will be on her estate. Natasha, who is ready to leave home in what she was, but to give all the wagons under the wounded. But the author does not only admire the woman. Tolstoy's attitude towards women is not unambiguous. In the novel, he emphasizes that external beauty is not the main thing in a person. The spiritual world, inner beauty mean much more.

Princess Mary, like Natasha, condemns the war in a feminine way, without thinking about the nature of this war. In general, Tolstoy always spoke of the great significance of a woman who brings love to people. Tolstoy considered the female view of life to be more true than the male one, in the sense of understanding the ultimate goal of mankind - the creation of a kingdom of universal brotherly love. As the French invasion advanced deep into Russia, patriotism spontaneously arises among the people. Using the example of the inhabitants of Smolensk, Tolstoy shows how reluctantly and at the same time, naturally, without reasoning about patriotism, people part with their usual living conditions, destroy this established life. So, the merchant Ferapontov, when he saw that the soldiers were robbing his house, first wanted to stop them (the inertia of the former life is acting), but then “grabbing his hair, he burst out laughing with sobbing laughter - drag everything, guys! Don't get the devils! he shouted, grabbing the bags himself and throwing them out into the street. The development of Ferapontov's mood is shown by Tolstoy with an amazing sense of truth. The transformation of the owner, the accumulator into a patriot occurs organically, in connection with external events. Ferapontov's patriotism itself is depicted as a spontaneous feeling that has broken through the wall of merchant greed. This feeling attaches a rude peasant kulak to Prince Andrei. The fire of Smolensk and its abandonment were an epoch for Prince Andrei. A new feeling of bitterness against the enemy made him forget his grief. For Ferapontov, the fire of Smolensk was also an era, and the feeling of anger against the enemy also made him forget his grief (ruin). Ferapontov is a “passing” person in the novel, but, according to Tolstoy, it should show the independence of the feeling of patriotism from a person’s social affiliation, from his cultural and moral level. As in an anthill, despite the difference in the functions performed, all insects equally feel their attachment to it, so people of the same nationality, regardless of their role in society, experience this swarm feeling.

Now Prince Andrei takes care of his people and officers, he is affectionate and kind to them. But he did not like the people of his former world. He joined the new world, the world of soldiers. And this world accepted Prince Andrei. In the regiment they called him our prince, they were proud of him and loved him. The soldiers love Prince Andrei, and in high society they call him proud. However, in high society, the feeling of hatred for the enemy did not take possession of anyone. In the novel, there is not a single positive hero from court circles at all. Tolstoy's distaste for the upper class shows itself quite clearly in the novel. The exploitation of war is another feature that makes Tolstoy disgusted with court circles.

It can be said that the attitude of different strata of society towards the war is built in the novel like a pyramid: at the top are those who are trying to somehow influence the course of the war in order to gain something for themselves, the lower, the simpler, more artless the expression of patriotism and the fewer attempts to consciously influence events. The number of conversations about the homeland, about the king is inversely proportional to the benefits brought by people. The less a person thinks about the general course of things, the less he talks about exploits, about heroes, about wise commanders, the more, according to Tolstoy, he brings benefits. People, in whose spiritual life the content prevails over the form, are more ready to join in the sufferings of the “world” than people for whom the main thing is to seem, not to be. And since the content is “more meaningful” than the form, people with a rich inner life are an object of more interest to the artist-psychologist than people in whose life the form prevails over the content. So, the inner motives of the actions of Prince Vasily Tolstoy do not reveal, they are too clear. He draws only external circumstances that affect this or that action of Prince Vasily. The artistic method changes as the object of the image changes. For Princess Marya, for example, what matters is not what someone else thinks of her, but what she thinks of herself. It is important for her to be, not to seem.

When the old Prince Bolkonsky fell ill, Princess Mary woke up her former hopes for a free life "without the fear of her father." These thoughts frighten her, she sees in them "the temptation of the devil." But the suffering of her dying father returns her love. For the first time in their entire life together, their souls are open to each other. Princess Marya understands that her father loved her all her life and now she herself feels nothing but her passionate love for her father. The approaching death, having destroyed the body of the old man Bolkonsky, revealed the tenderness of his soul. His last thoughts are of his daughter. His soul hurts from the unspoken daughter of love. After the death of her father, Princess Marya decided to leave Bogucharovo from the approaching French. She felt her involvement not directly with Russia, but with big world nation, but to the small world of the Bolkonskys, and only through it to the national world. When she thought of how insulting the patronage of the French, she did not think in her own thoughts, but felt obliged to think for herself in the thoughts of her father and brother. Ordering to leave, Princess Mary joins the flow of people leaving the enemy and thereby contributes, according to Tolstoy, to the death of the Napoleonic army. Not all Bogucharov peasants wanted to leave with Princess Mary. Among this part of the peasants, the striving for social emancipation turned out to be stronger than the national feeling.

The suppression of the Bogucharov rebellion - milestone in the development of Rostov. He does not have the thought to ask the reasons for the discontent of the peasants. For him, these are not people, but "rude, rebellious men." And the story of Princess Marya about her plight causes tears in Rostov. And the ability to sympathize with someone else's grief is not given to any heroes of Tolstoy, but only to the best of them. For this, Princess Marya fell in love with Rostov. “His kind and honest eyes, with tears streaming into them, while she herself, crying, spoke to him about her loss, did not go out of her imagination.”

Love awakens in Princess Mary and Nikolai. Tolstoy shows that the spiritual life of people, their personal joys and sorrows continue to excite them, even in the most difficult historical moments. Absorbed by their love, Nikolai and Princess Marya do not utter pathetic phrases about the fatherland. But it was precisely such princesses Mary, who did not succumb to the persuasion of the French and did not give them the pleasure of becoming French subjects, such Nikolai Rostovs, who without reasoning carried out daily front-line affairs, became, like a particle of swarm life, an instrument of the fate of the Napoleonic army. They, of course, did not realize this, but despite this, or rather because of this, they are close to the Kutuzov beginning, which determines the main historical and philosophical idea of ​​the novel.

Kutuzov had a life experience that taught him to believe only in "patience and time." The belief in the inevitability of fate, the solution of which must be patiently awaited, determines all of Kutuzov's behavior. He calmly contemplates the course of events and, by his very appearance, instills calmness in people, confidence that "everything will be as it should be." Kutuzov firmly believed in the victory of Russia. Tolstoy argues that a military or political leader can be useful if, having felt how events are developing, he tries to inspire his faith in their favorable outcome to the masses. This power of Kutuzov's faith and insight is connected with his national spirit. He is related to all the people and it is no coincidence that the word “father” is often repeated when applied to Kutuzov.

These are the romantic and impulsive Natasha Rostova, the secular and vicious Helen, and, of course, Marya Bolkonskaya, whose characteristics will be presented in more detail.

Heroine's family

The characterization of Marya Bolkonskaya should begin with a description of her inner circle, which influenced the formation of the character of the heroine. The princess lived without a break in the Bolkonsky estate, which was located in the Bald Mountains. The girl was raised by her father, Prince Nikolai.

He was a nobleman of Yekaterin, exiled by Paul the First, and since then he has not traveled anywhere. He was a stern man, despotic, pedant. The prince often insulted his daughter, calling her a fool, or somehow pointed out her ugly appearance. In the upbringing of the princess, great emphasis was placed on the exact sciences.

Despite excessive severity and contempt, he could not imagine his life without Princess Marya. The girl never thought that her father treated her unfairly. She admired everything he did and found everything he did right. Such devoted love and worship were incomprehensible to her brother, Prince Andrei.

Unlike their father, the prince was soft on his sister and pitied her. He knew about the despotic character of their father and could not understand how she lives in such a wilderness and everything suits her. Andrei Nikolaevich admired the selflessness of his sister, the way she cared for the prince.

Princess Mary loved her brother as much as her father. The only thing that upset her was that Prince Andrei was not as religious as she would have liked. The girl loved all the people around her: both the "little princess" Elizaveta Bolkonskaya and her French companion. And she not only loved all the close people, she was always ready to protect them.

Marya Bolkonskaya possessed, like her father and brother, prudence and fortitude. But unlike them, she was more open and sincere to others, in her communication there was always more cordiality and warmth.

Appearance of the princess

In the characterization of Marya Bolkonskaya, a description of her appearance must also be given. The princess was not a beauty, she had a thin, weak body. Her gait was always heavy, because she had a habit of stepping on her heels first. Even her father believed that his daughter could marry only because she was rich and noble.

When Anatole Kuragin came to the Bolkonskys to woo, the wife of Andrei Bolkonsky, together with the Frenchwoman, tried to dress the princess in the latest fashion. But it turned out not at all the way they expected: the dress looked ridiculous and did not at all paint the girl. And this was not due to the fact that the outfit was of the wrong style or color, the princess simply had an ugly figure.

Marya Bolkonskaya never harbored illusions in terms of her appearance. And in other people, how they looked didn't matter to her. Much more she appreciated the spiritual qualities of a person, the purity and nobility of his heart. That is why she liked Pierre Bezukhov.

In the characterization of Marya Bolkonskaya, it should be noted that the most remarkable thing about her appearance was her eyes. They were extraordinarily beautiful, they seemed to glow from within. And it was precisely the spiritual beauty that the princess possessed that illuminated them. And sometimes those radiant eyes aroused more admiration than beauty.

The inner world of the heroine

AT brief description Marya Bolkonskaya must be emphasized that she was very selfless, kind and merciful to people. And this distinguishes her from the rest of the characters in the novel. Social entertainment was alien to her, she did not know how to flirt and valued people not for beauty or their position in society.

Most of all she loved her nephew and religion. The princess often invited strangers, pilgrims, and holy fools to the house. Sometimes the girl thought that her destiny was to one day leave their estate and go wandering and praying. But the earthly one prevented this dream from coming true: about family happiness and love.

Princess Marya was so insecure that she considered herself unworthy of love. After an unsuccessful acquaintance with Anatole, the girl decided to devote her life entirely to her father. But she could not completely abandon thoughts of the family. And this struggle - sublime and earthly feelings - is the basis of the character of the heroine. Princess Marya was the purest, most exalted creature in the novel.

Comparative characteristics of Natasha Rostova and Marya Bolkonskaya

It seems difficult to find more opposite characters in this novel than Marya Bolkonskaya and Natasha Rostova. However, let's try to compare them.

Marya Bolkonskaya	Natasha Rostova
She was brought up by her father, who often reproached her and was strict with her. She did not attend any balls, she lived according to the schedule drawn up by her father.	She was the favorite of the family, everyone admired and spoiled her. She had a cheerful and lively character, loved to dance and be the center of attention.
She was described as an ugly girl who had a thin and weak body. But she had beautiful eyes that radiated a special light and made her image even more sublime.	At the beginning of the novel, she was 13 years old and she was not very beautiful. But no one noticed this, because she was a frisky child. Because Natasha became a graceful pretty girl, different from the St. Petersburg beauties freshness and unique charm.
Princess Marya was religious, kind, and patient. All her actions were distinguished by prudence.	Natasha was very emotional, she always showed her feelings, she was a little spoiled. But at the same time, she had sensitivity and the ability to empathize.
I always dreamed of family happiness, but considered myself unworthy of it. Does not agree to marry Anatole. Finds happiness with Nikolai Rostov.	In childhood, she was in love with Boris Drubetskoy. Then she met Prince Andrei, whose love she lost, carried away by Anatole Kuragin. She later became disillusioned with him. She became the wife of Pierre Bezukhov.
The family tries to always reign harmony. For Marya, in the first place is the spiritual education of her husband and children.	For Natasha, Pierre is in the first place. Everything in the house is done the way he wants. Natasha is very jealous and adores her husband.

Relationship with Anatole Kuragin

In characterizing the hero of Marya Bolkonskaya, it should be noted that it was Anatole's betrayal that revealed the selflessness of her nature. Of course, the princess liked this secular young man - after all, she never met anyone and never traveled. But Marya did not overestimate herself, she understood that she was unlikely to be able to interest such a person.

But even after his flirting with the Frenchwoman, the princess acted very nobly: she forgave them and even dreamed of arranging family happiness for them! Acquaintance with Kuragin showed the reader all the inner spiritual wealth that Princess Marya possessed.

Family life with Nikolai Rostov

In the characterization of Princess Marya Bolkonskaya, it is necessary to tell about how her future life with Rostov developed. For her, he became the embodiment of a dream of love and marriage. Having shown himself to be a real knight during their first meeting, he could not help but impress the princess.

Marya Bolkonskaya and Nikolai Rostov are getting married. Rostov loves his wife, although he does not show much tenderness. He admires her spirituality and sublimity, realizing that in this respect she surpasses him. Marya takes care of her beloved husband, trying to make her more exalted. In the same way, she brings up their children, developing in them religiosity and kindness.

Princess Marya Bolkonskaya is a pure kind character from the novel "War and Peace". Despite the fact that not everyone around could see her beautiful and sublime nature, she managed to start a family and become happy.