much to be said about the young women in war and peace who show an active desire to be in society (natasha, hélène, lise, and julie) and how the men of the novel and, by extension, tolstoy, value their worth. in all cases the fate of each woman is determined exactly by how entrenched she is in society. andrei loved lise until she "joined society" and then he abandons her and rips her away from what made her happy. julie abandons her only true friend, marya, and ends up in a marriage where everyone can tell her husband doesn't love her except for herself. we don't even need to talk about the fate tolstoy thought hélène deserved. all of natasha's hardships happen as a result of her being enticed by that life, but she's spared once she retreats back into the safety of family and tradition
it's not some sort of groundbreaking statement to point out tolstoy's opinion of russian high society nor his opinion of women, really, but it's just interesting to look this idea of how the women are treated narratively in that regard. the madonna/whore complex is so rampant in this book, it's insane.
some examples,
volume i, part one, vi.
and then, in volume ii, part one, ix.
it's devastating. lise truly never did anything to hurt anyone and narratively she's punished solely for the fact that andrei doesn't like her anymore. she becomes just a fridged woman for andrei to mourn and compare natasha to when she stumbles into society
volume ii, part five, ii.
there's an uncomfortable read to how this shows the perceived difference between julie, someone who allows herself to enjoy society, and marya, someone who hates moscow and is therefore seen as superior to julie. julie appears relatively little, but in each circumstance it's to highlight a "wrong" sort of woman compared to a "right" sort, even in the beginning when sonya sees her with nikolai
and speaking of sonya, let's get into the absolute blatant mess of dolokhov's stance on women and their morals 🧍♀️
from the original version, part three, xxiv.
this is right before his proposal to sonya. sonya, who is someone far outside society at this point (and is also, notably, a child...), especially in comparison to hélène, who he blames her inability to love him on her "impurity." tolstoy didn't hold back with dolokhov and his clear-cut madonna/whore complex. there are the madonnas, the women in his family and a young girl who has never been around anyone but her family, and every other woman is a whore
(this excerpt also leads into a lot of my thoughts about the dynamic between hélène and dolokhov and my conspiracy theory that their "Affair" was nowhere near what it was made out to be, but that's a post for another day)
this all brings us to natasha
volume ii, part five, xix.
pierre's opinion of women, like tolstoy's, deals in extremes. the second natasha is no longer an innocent child, she's a "vile woman," just like how he views hélène
i think i'll end by airing out some frustration about how fans of the men of war and peace excuse these ideologies rather than denouncing them? i'd rather see a fan of them talk about their complicated feelings about women rather than go "haha its because he likes boys" because as real as that is, that feels like the weirdest copout in the face of just ....... misogyny. like i think they're gay too but that's not an excuse to ignore their women hating LMAO it just seems like it would be more interesting to dissect that and make for a good character study
that's a lot of the fun in being a fan of this book today, the opportunity to give life and analyze a character in a way that the author never would have. we can look at his flaws and make something better out of them! death of the author babey it's our city now!!! anyways these women deserve so much better, but that comes at absolutely no surprise
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“Why are we not together as we were last summer in your huge study, on that blue sofa, the 'sofa of secrets'? Why can I not, as I did three months ago, draw new moral strength from those eyes of yours, so gentle, so calm, so penetrating, eyes that I have loved so well and seem to see before me even as I write.”
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