Introduction

Historical figures have always been of particular interest in Russian literature. Dedicated to some individual works, others are key images in the plots of novels. The image of Napoleon in Tolstoy’s novel “War and Peace” can also be considered as such. With a name French Emperor We meet Napoleon Bonaparte (Tolstoy wrote specifically to Bonaparte, and many heroes called him only Buonoparte) already on the first pages of the novel, and part only in the epilogue.

Heroes of the novel about Napoleon

In the living room of Anna Scherer (maid of honor and close associate of the Empress), the political actions of Europe in relation to Russia are discussed with great interest. The owner of the salon herself says: “Prussia has already declared that Bonaparte is invincible and that all of Europe can do nothing against him...”. Representatives secular society- Prince Vasily Kuragin, the emigrant Viscount Mortemar invited by Anna Scherer, Abbot Moriot, Pierre Bezukhov, Andrei Bolkonsky, Prince Ippolit Kuragin and other members of the evening were not unanimous in their attitude towards Napoleon. Some did not understand him, others admired him. In War and Peace, Tolstoy showed Napoleon from different sides. We see him as a general-strategist, as an emperor, as a person.

Andrey Bolkonsky

In a conversation with his father, the old Prince Bolkonsky, Andrei says: “... but Bonaparte still great commander! He considered him a “genius” and “could not allow shame for his hero.” At an evening with Anna Pavlovna Sherer, Andrei supported Pierre Bezukhov in his judgments about Napoleon, but still retained and own opinion about him: “Napoleon as a person is great on the Arcole Bridge, in the hospital in Jaffa, where he gives his hand to the plague, but... there are other actions that are difficult to justify.” But after a while, lying on the Austerlitz field and looking into the blue sky, Andrei heard Napoleon’s words about him: “This is a beautiful death.” Bolkonsky understood: “...it was Napoleon - his hero, but at that moment Napoleon seemed to him such a small, insignificant person...” While examining the prisoners, Andrei thought “about the insignificance of greatness.” Disappointment in his hero came not only to Bolkonsky, but also to Pierre Bezukhov.

Pierre Bezukhov

Having just appeared in the world, young and naive Pierre zealously defended Napoleon from the attacks of the Viscount: “Napoleon is great because he rose above the revolution, suppressed its abuses, retaining everything good - the equality of citizens, and freedom of speech and the press - and only That’s why he acquired power.” Pierre recognized the “greatness of soul” of the French emperor. He did not defend the murders of the French emperor, but the calculation of his actions for the good of the empire, the willingness to take on such a responsible task - to start a revolution - this seemed to Bezukhov a real feat, the strength of a great man. But when he came face to face with his “idol,” Pierre saw all the insignificance of the emperor, cruelty and lawlessness. He cherished the idea of ​​killing Napoleon, but realized that he was not worth it, since he did not even deserve a heroic death.

Nikolay Rostov

This young man called Napoleon a criminal. He believed that all his actions were unlawful and, out of the naivety of his soul, he hated Bonaparte “as best he could.”

Boris Drubetskoy

A promising young officer, a protégé of Vasily Kuragin, spoke of Napoleon with respect: “I would like to see a great man!”

Count Rastopchin

A representative of secular society, a defender of the Russian army, said about Bonaparte: “Napoleon treats Europe like a pirate on a conquered ship.”

Characteristics of Napoleon

The ambiguous characterization of Napoleon in Tolstoy's novel "War and Peace" is presented to the reader. On the one hand, he is a great commander, a ruler, on the other, an “insignificant Frenchman,” a “servile emperor.” External features bring Napoleon down to earth, he is not as tall, not as handsome, he is fat and unpleasant as we would like to see him. It was “a plump, short figure with broad, thick shoulders and an involuntarily protruding belly and chest.” Description of Napoleon is present in different parts novel. Here he is in front Battle of Austerlitz: “...his thin face did not move a single muscle; his shining eyes were motionlessly fixed on one place... He stood motionless... and on his cold face there was that special shade of self-confident, well-deserved happiness that happens on the face of a loving and happy boy.” By the way, this day was especially solemn for him, since it was the anniversary of his coronation. But we see him at a meeting with General Balashev, who arrived with a letter from Emperor Alexander: “...firm, decisive steps,” “round belly... fat thighs of short legs... White plump neck... On a youthful appearance full face... an expression of gracious and majestic imperial greeting." The scene of Napoleon awarding the bravest Russian soldier with the order is also interesting. What did Napoleon want to show? Your greatness, the humiliation of the Russian army and the emperor himself, or admiration for the courage and steadfastness of the soldiers?

Portrait of Napoleon

Bonaparte valued himself very much: “God gave me the crown. Woe to anyone who touches her." These words were spoken by him during the coronation in Milan. Napoleon in War and Peace is an idol for some and an enemy for others. “There is a trembling in my left calf great sign"- Napoleon said about himself. He was proud of himself, he loved himself, he glorified his greatness over the whole world. Russia stood in his way. Having defeated Russia, it was not difficult for him to crush all of Europe under him. Napoleon behaved arrogantly. In the scene of a conversation with the Russian general Balashev, Bonaparte allowed himself to pull his ear, saying that it was a great honor to be pulled by the emperor’s ear. The description of Napoleon contains many words containing a negative connotation; Tolstoy characterizes the emperor’s speech especially vividly: “condescending”, “mockingly”, “viciously”, “angrily”, “dry”, etc. Bonaparte also speaks boldly about the Russian Emperor Alexander: “War is my craft, and his business is to reign, and not to command troops. Why did he take on such responsibility?”

The image of Napoleon in “War and Peace” revealed in this essay allows us to conclude: Bonaparte’s mistake was in overestimating his capabilities and excessive self-confidence. Wanting to become the ruler of the world, Napoleon could not defeat Russia. This defeat broke his spirit and confidence in his strength.

Work test

Portrait of Napoleon

Lev Nikolaevich emphasizes the limitations and self-confidence of this commander, which is manifested in all his words, gestures and actions. The portrait of Napoleon is ironic. He has a “short”, “plump” figure, “fat thighs”, a fussy, swift gait, a “white plump neck”, “a round belly”, “thick shoulders”. This is the image of Napoleon in the novel War and Peace. Describing the morning toilet of the French emperor before the Battle of Borodino, Lev Nikolaevich is revealing portrait characteristics, given initially in the work, enhances. The emperor has a “groomed body”, “overgrown fat breasts”, a “yellow” and “swollen” face. These details show that Napoleon Bonaparte (War and Peace) was a man far from working life and alien to folk roots. The leader of the French is shown as a narcissistic egoist who thinks that the entire Universe obeys his will. People are of no interest to him.

Napoleon's behavior, his manner of speaking

The image of Napoleon in the novel "War and Peace" is revealed not only through a description of his appearance. His manner of speaking and behavior also reveals narcissism and narrow-mindedness. He is convinced of his own genius and greatness. Good is what came into his head, and not what is actually good, as Tolstoy notes. In the novel, every appearance of this character is accompanied by the author's merciless commentary. So, for example, in the third volume (first part, sixth chapter) Lev Nikolaevich writes that it was clear from this man that only what was happening in his soul was of interest to him.

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

Episode with a portrait of Napoleon's son

Napoleon approached the picture, feeling that what he would do and say now “is history.” The portrait depicted the emperor's son, who was playing the globe in bilbock. This expressed the greatness of the leader of the French, but Napoleon wanted to show “fatherly tenderness.” Of course it was clean water acting. Napoleon did not express any sincere feelings here, he was only acting, posing for history. This scene shows the arrogance of this man, who believed that all of Russia would be conquered with the conquest of Moscow and thus his plans for domination over the whole world would be realized.

Napoleon - actor and player

And in a number of further episodes, the description of Napoleon (“War and Peace”) indicates that he is an actor and player. He says on the eve of the Battle of Borodino that the chess has already been set, the game will begin tomorrow. On the day of the battle, Lev Nikolaevich remarks after the cannon shots: “The game has begun.” Further, the writer shows that it cost tens of thousands of people their lives. Prince Andrey thinks that war is not a game, but only a cruel necessity. A fundamentally different approach to it was contained in this thought of one of the main characters of the work “War and Peace”. The image of Napoleon is shaded thanks to this remark. Prince Andrei expressed the opinion of a peaceful people who were forced under exceptional circumstances to take up arms, as the threat of enslavement loomed over their homeland.

Comic effect produced by the French Emperor

It didn’t matter to Napoleon what was outside of himself, since it seemed to him that everything in the world depended only on his will. Tolstoy makes such a remark in the episode of his meeting with Balashev (“War and Peace”). The image of Napoleon in it is complemented by new details. Lev Nikolaevich emphasizes the contrast between the insignificance of the emperor and his inflated self-esteem. The comic conflict that arises is the best proof of the emptiness and powerlessness of this historical figure, who pretends to be majestic and strong.

The spiritual world of Napoleon

In Tolstoy's understanding spiritual world the leader of the French is " artificial world", populated by "ghosts of some kind of greatness" (volume three, part two, chapter 38). In fact, Napoleon represents living proof one old truth that “the king is a slave of history” (volume three, part one, chapter 1). Believing that he is carrying out his own will, this historical figure he was just playing the “difficult”, “sad” and “cruel” “inhuman role” that was intended for him. He would hardly have been able to bear it if this man’s conscience and mind had not been darkened (volume three, part two, chapter 38). The writer sees the darkening of the mind of this commander-in-chief in the fact that he consciously cultivated spiritual callousness in himself, which he mistook for true greatness and courage.

So, for example, in the third volume (part two, chapter 38) it is said that he loved to look at the wounded and killed, thereby testing his spiritual strength (as Napoleon himself believed). In the episode when a squadron of Polish lancers swam across the Neman River and the adjutant, in front of his eyes, allowed himself to draw the attention of the emperor to the devotion of the Poles, Napoleon called Berthier to him and began to walk with him along the shore, giving him orders and occasionally looking displeasedly at the drowned lancers who were entertaining his attention. For him, death is a boring and familiar sight. Napoleon takes for granted the selfless devotion of his own soldiers.

Napoleon is a deeply unhappy man

Tolstoy emphasizes that this man was deeply unhappy, but did not notice this only due to the absence of at least some moral feeling. The "Great" Napoleon, the "European hero" is morally blind. He cannot understand beauty, goodness, truth, or the meaning of his own actions, which, as Leo Tolstoy notes, were “the opposite of good and truth,” “far from everything human.” Napoleon simply could not understand the meaning of his actions (volume three, part two, chapter 38). According to the writer, one can come to truth and goodness only by renouncing the imaginary greatness of one’s personality. However, Napoleon is not at all capable of such a “heroic” act.

Napoleon's responsibility for what he did

Despite the fact that he is doomed to play a negative role in history, Tolstoy does not at all diminish the moral responsibility of this man for everything he has done. He writes that Napoleon, destined for the “unfree”, “sad” role of the executioner of many peoples, nevertheless assured himself that their good was the goal of his actions and that he could control and guide the destinies of many people, do things through his power of beneficence. Napoleon imagined that the war with Russia took place according to his will; his soul was not struck by the horror of what had happened (volume three, part two, chapter 38).

Napoleonic qualities of the heroes of the work

In other heroes of the work, Lev Nikolaevich associates Napoleonic qualities with the characters’ lack of moral sense (for example, Helen) or with their tragic errors. Thus, in his youth, Pierre Bezukhov, who was carried away by the ideas of the French emperor, remained in Moscow in order to kill him and thereby become the “savior of mankind.” In the early stages of his spiritual life, Andrei Bolkonsky dreamed of rising above other people, even if this required sacrificing loved ones and family. In the image of Lev Nikolaevich, Napoleonism is a dangerous disease that divides people. It forces them to wander blindly along the spiritual “off-road.”

The image of Napoleon in the novel by Tolstoy L.N. “War and Peace” is revealed deeply and comprehensively, but with an emphasis on the personality of Napoleon the man, and not Napoleon the commander. The author characterizes it based, first of all, on his own vision of it. historical person, but based on facts. Napoleon was the idol of many contemporaries, for the first time we hear about him in the salon of Anna Pavlovna Scherer, and we perceive the image of the character in many ways: as an outstanding commander and a strong-willed man who deserves respect, and as a despotic tyrant who is dangerous both for other peoples and for his country . Napoleon appears as an invader on Russian soil and immediately turns from an idol into a negative hero.

Tolstoy portrays Napoleon satirically. This can be seen in his external characteristics: he speaks as if his words are being written down in history books, his left calf trembles, and his thick thigh and chest give him solidity.

Tolstoy either depicts the hero as a playing child who rides in a carriage, holds on to the strings and at the same time believes that he is making history, or compares him with a gambler who, as it seemed to him, calculated all the combinations, but for some unknown reason ended up losing. In the image of Napoleon, Tolstoy seeks to portray, first of all, not a commander, but a man with his moral and ethical qualities.

The action of the novel develops during the period when the French emperor turned from a bourgeois revolutionary into a despot and conqueror. For Napoleon, glory and greatness come first. He strives for his appearance and with words to impress people. Posture and phrase are not so much qualities of Napoleon’s personality, but more indispensable attributes of a “great” man.

He refuses true life, “with its essential interests, health, illness, work, rest... with the interests of thought, science, poetry, music, love, friendship, hatred, passions.” He chooses for himself the role of an actor who is alien to human qualities. Tolstoy characterizes Napoleon not as a great man, but as inferior and flawed.

When inspecting the battlefield near Borodino strewn with corpses after the battle, “personal human feeling for a short moment took precedence over that artificial ghost of life that he had served for so long. He endured the suffering and death that he saw on the battlefield. The heaviness of his head and chest reminded him of the possibility of suffering and death for him.” However, this feeling was too fleeting. Napoleon imitates human feelings. Even looking at the portrait of his little son, he “made an appearance of thoughtful tenderness. He felt that what he would say and do now was history.” His every gesture, every movement of his is subordinated to some feeling known only to him - the understanding that he is - great man, whom millions of people look at every moment, and all his words and gestures are sure to become historically significant.

Inspired by his victories, Napoleon is unable to see how great the number of victims of the war is. During the Battle of Borodino, even nature opposes the aggressive plans of the French emperor: the sun shines blindingly straight into your eyes, the enemy’s positions are hidden in the fog. All the adjutants' reports immediately become outdated, military commanders do not report on the progress of the battle, but make orders themselves. Events develop without the participation of Napoleon, without the use of his military skills. Having entered Moscow, abandoned by its inhabitants, Bonaparte wants to restore order in it, but his troops are engaged in robberies and discipline cannot be restored in them. Feeling like a winner at first, Napoleon is forced to leave the city and flee in disgrace. Bonaparte leaves, and his army is left without leadership. The conquering tyrant instantly becomes a low, pitiful and helpless creature. This debunks the image of a commander who believed that he was capable of making history.

Russian literature second half of the 19th century centuries, she actively mastered the plots and images of European literature. The beginning of the century in Europe was the era of Napoleon, so the topic of Napoleon and Napoleonism became one of the leading ones. In Russian literature, several directions can be traced in the coverage of this topic. The first is associated with patriotic coverage of the events of the War of 1812, the theme of the glory of Russian weapons. Here this topic is addressed in the aspect of denouncing Napoleon. The second is romantic (A.S. Pushkin “Napoleon on the Elbe”; “Napoleon”; M.Yu. Lermontov “Airship”, “Napoleon”). IN romantic lyrics this image becomes a symbol of freedom, greatness, power. Pushkin writes that after the departure of this “ruler of thoughts, the world became empty.”

However, gradually the name of Napoleon is associated with the idea of ​​selfishness and individualism, and the theme is conceptualized in the aspect of power, domination over people.

L.N. Tolstoy demythologized this image in his epic novel War and Peace. The Napoleon about whom historians write, according to the writer, is a mythical figure created by inertia human consciousness. The concept of a “great man” ultimately leads to the justification of evil and violence, cowardice and meanness, lies and betrayal. And only by finding peace in your soul and finding ways to peace can you be reborn to true life.

The author of War and Peace was reproached for caricaturing his portrayal of Napoleon. But for Tolstoy, “there is no greatness where there is no beauty and truth.” Tolstoy deprives Napoleon of naturalness and plasticity. The appearance of this “great man” is insignificant and ridiculous. The writer repeatedly repeats the definitions “small”, “short in stature”, again and again he draws the emperor’s “round belly”, “fat thighs of short legs”. Here Tolstoy uses his favorite technique: repetition of one expressive detail.

The writer emphasizes the coldness, complacency, feigned profundity in the expression of Napoleon's face. One of his traits stands out especially sharply: posturing. Napoleon behaves like a bad actor on stage.

In front of the portrait of his son, he “made an appearance of thoughtful tenderness,” “his gesture was gracefully majestic.” The Emperor is confident: everything he does and says “is history.” And even such an insignificant phenomenon as the trembling of the calf of his left leg, expressing his anger or anxiety, seems to him significant, historical.

During the Battle of Austerlitz, Napoleon still retained human traits: “There was a special shade of self-confidence on his cold face. Well-deserved happiness that happens on the face of a loving and happy boy.” Over the years, his face becomes increasingly cold. And on the day of the Battle of Borodino we see the terribly changed, repulsive appearance of the emperor: “yellow, swollen, heavy, with dull eyes, a red nose.”
The true appearance of Napoleon becomes even more clear when comparing him with Kutuzov. According to Tolstoy, Napoleon and Kutuzov are exponents of the historical trends of the time. The wise Kutuzov, free from the passions of vanity and ambition, easily subordinated his will to the will of “providence”, that is, he saw the higher laws governing the movement of mankind, and therefore became the leader of the people's liberation war. Napoleon, due to complete indifference to man and lack of moral sense, was placed at the head of the war of aggression. Thanks to his subjective qualities, Napoleon is chosen as the spokesman for the sad historical necessity- “the movement of peoples from West to East”, which resulted in the death of Napoleonic army. Napoleon, according to Tolstoy, was destined “by providence for the sad, unfree role of the executioner of nations, fulfilling the cruel, inhuman role that was intended for him...”

The description of Napoleon's image occurs throughout all pages of the novel. At the very beginning of the story, the guests of Anna Pavlovna Scherer's salon begin an argument about the French emperor. This dispute ends only in the epilogue of the novel.

For the author of the novel, not only was there nothing attractive about Napoleon, but, on the contrary, Tolstoy always considered him a man whose “mind and conscience were darkened.” Therefore, all his actions “were too contrary to truth and goodness.” Not a statesman who knows how to read in the minds and souls of people, but a spoiled, capricious, narcissistic poser - this is how the Emperor of France appears in many scenes of the novel.

The imaginary greatness of Napoleon is exposed with particular force in the scene depicting him on worship mountain, from where he admired the daytime panorama of Moscow: “Here it is, this capital: it lies at my feet, awaiting its fate... One word of mine, one movement of my hand, and this ancient capital perished...”

So thought Napoleon, who waited in vain for “the boyars with the keys to the majestic city.” But he found himself in a pitiful and ridiculous position: “And soon the end came to the extraordinary career of this cruel, treacherous conqueror.”

The image of Napoleon serves as a means of understanding the role of the individual in the historical movement in the novel. The meaning of great people, as Tolstoy believed, lies in the “insight folk meaning events."

1. Introduction
2. Heroes of the novel about Napoleon
3. Andrey Bolkonsky
4. Pierre Bezukhov
5. Nikolay Rostov
6. Boris Drubetskoy
7. Count Rastopchin
8. Characteristics of Napoleon
9. Portrait of Napoleon

Introduction

Historical figures have always been of particular interest in Russian literature. Some are the subject of separate works, others are key images in the plots of novels. The image of Napoleon in the novel “War and Peace” by Tolstoy can be considered as such. We meet the name of the French emperor Napoleon Bonaparte (Tolstoy wrote precisely Bonaparte, and many heroes called him only Buonoparte) already on the first pages of the novel, and part only in the epilogue.

Heroes of the novel about Napoleon

In the living room of Anna Scherer (maid of honor and close associate of the Empress), the political actions of Europe in relation to Russia are discussed with great interest. The owner of the salon herself says: “Prussia has already declared that Bonaparte is invincible and that all of Europe can do nothing against him...”. Representatives of secular society - Prince Vasily Kuragin, the emigrant Viscount Mortemar invited by Anna Scherer, Abbot Moriot, Pierre Bezukhov, Andrei Bolkonsky, Prince Ippolit Kuragin and other members of the evening were not unanimous in their attitude towards Napoleon.
Some did not understand him, others admired him. In War and Peace, Tolstoy showed Napoleon from different sides. We see him as a general-strategist, as an emperor, as a person.

Andrey Bolkonsky

In a conversation with his father, the old Prince Bolkonsky, Andrei says: “... but Bonaparte is still a great commander!” He considered him a “genius” and “could not allow shame for his hero.” At an evening with Anna Pavlovna Sherer, Andrei supported Pierre Bezukhov in his judgments about Napoleon, but still retained his own opinion about him: “Napoleon as a great man on the Arcole Bridge, in the hospital in Jaffa, where he gives his hand to the plague, but... there are other actions which are difficult to justify." But after a while, lying on the Austerlitz field and looking into the blue sky, Andrei heard Napoleon’s words about him: “This is a beautiful death.” Bolkonsky understood: “...it was Napoleon - his hero, but at that moment Napoleon seemed to him such a small, insignificant person...” While examining the prisoners, Andrei thought “about the insignificance of greatness.” Disappointment in his hero came not only to Bolkonsky, but also to Pierre Bezukhov.

Pierre Bezukhov

Having just appeared in the world, young and naive Pierre zealously defended Napoleon from the attacks of the Viscount: “Napoleon is great because he rose above the revolution, suppressed its abuses, retaining everything good - the equality of citizens, and freedom of speech and the press - and only That’s why he acquired power.” Pierre recognized the “greatness of soul” of the French emperor. He did not defend the murders of the French emperor, but the calculation of his actions for the good of the empire, the willingness to take on such a responsible task - to start a revolution - this seemed to Bezukhov a real feat, the strength of a great man. But when he came face to face with his “idol,” Pierre saw all the insignificance of the emperor, cruelty and lawlessness. He cherished the idea of ​​killing Napoleon, but realized that he was not worth it, since he did not even deserve a heroic death.

Nikolay Rostov

This young man called Napoleon a criminal. He believed that all his actions were unlawful and, out of the naivety of his soul, he hated Bonaparte “as best he could.”

Boris Drubetskoy

A promising young officer, a protégé of Vasily Kuragin, spoke of Napoleon with respect: “I would like to see a great man!”

Count Rastopchin

A representative of secular society, a defender of the Russian army, said about Bonaparte: “Napoleon treats Europe like a pirate on a conquered ship.”

Characteristics of Napoleon

The ambiguous characterization of Napoleon in Tolstoy's novel "War and Peace" is presented to the reader. On the one hand, he is a great commander, a ruler, on the other, an “insignificant Frenchman,” a “servile emperor.” External features bring Napoleon down to earth, he is not as tall, not as handsome, he is fat and unpleasant as we would like to see him. It was “a plump, short figure with broad, thick shoulders and an involuntarily protruding belly and chest.” Descriptions of Napoleon are present in different parts of the novel. Here he is before the Battle of Austerlitz: “...his thin face did not move a single muscle; his shining eyes were motionlessly fixed on one place... He stood motionless... and on his cold face there was that special shade of self-confident, well-deserved happiness that happens on the face of a loving and happy boy.” By the way, this day was especially solemn for him, since it was the anniversary of his coronation. But we see him at a meeting with General Balashev, who arrived with a letter from Emperor Alexander: “...firm, decisive steps,” “round belly... fat thighs of short legs... White plump neck... On his youthful, full face... an expression of a gracious and majestic imperial greeting " The scene of Napoleon awarding the bravest Russian soldier with the order is also interesting. What did Napoleon want to show? Your greatness, the humiliation of the Russian army and the emperor himself, or admiration for the courage and steadfastness of the soldiers?

Portrait of Napoleon

Bonaparte valued himself very much: “God gave me the crown. Woe to anyone who touches her." These words were spoken by him during the coronation in Milan. Napoleon in War and Peace is an idol for some and an enemy for others. “The trembling of my left calf is a great sign,” Napoleon said about himself. He was proud of himself, he loved himself, he glorified his greatness over the whole world. Russia stood in his way. Having defeated Russia, it was not difficult for him to crush all of Europe under him. Napoleon behaved arrogantly. In the scene of a conversation with the Russian general Balashev, Bonaparte allowed himself to pull his ear, saying that it was a great honor to be pulled by the emperor’s ear. The description of Napoleon contains many words containing a negative connotation; Tolstoy characterizes the emperor’s speech especially vividly: “condescending”, “mockingly”, “viciously”, “angrily”, “dry”, etc. Bonaparte also speaks boldly about the Russian Emperor Alexander: “War is my craft, and his business is to reign, and not to command troops. Why did he take on such responsibility?”