Рассмотрен один из ключевых аспектов ценностной архитектоники художественного мира Л.Н. Толстого: проблема «настоящего», подлинного, действительно существующего и экзистенциально насущного (и противоположного ему мнимого, миражного, фиктивного). Событийный характер любого рода ценности заставляет с особым вниманием отнестись к аксиологическому феномену, в основе которого бытийная подлинность сама по себе. Проблема подлинного (и миражного) предельно важна для художественной антропологии Толстого и его эстетики (в том числе в связи с проблемой реализма).

This article describes one of the key aspects of value architectonics of Tolstoy's fiction world: the problem of originality, of something that is "true", original, real, actually essential and vital in the existential area (and the opposite aspect of something fictitious or spurious). The event-trigger character of any type of values makes us study the axiological phenomenon (based on the originality of being as such) profoundly. The problem of originality (and bluff) is extremely important for Tolstoy's fiction anthropology and aesthetics (including its connection with the problem of realism). The question of a person's event-trigger soundness is related to the following specific problem: some characters have the value basics of being, and others do not. In this article the author analyzed the fiction organization of Tolstoy's characters connected with life's true origins in contrast with characters without this connection. The action of these "true origins" can be clearly seen in the behavior of characters that lack the axiological propriety: in feigning of their connection with the true (relationships between parents and children in both directions, giving help to a neighbor, patriotism, tragic significance of death etc.) or in their focusing on fake origins of value propriety (loyalty to emperor or empress, knightly nobleness, eloquence or wittiness of high society). This pretending, fake variant of appeal to the value basics of being is most convenient for analysis because the shadow-mask-type character of simulation emphasizes the formal side of the phenomenon. There are a lot of such examples of parasitic using of something that could create a true existential validity in Tolstoy's novel War and Peace: appeal to the son's image ("Roman king") and organizations of "my mother's home" by Napoleon, "my poor mom" in mademoiselle Boorienne's dreams about her connection with some prince, difficulty and loftiness of parenthood in conversation between Basil Kuragin and Anna Pavlovna Sherer, etc. In this article the author analyzed this type of fake, simulating appeal to true life origins by the example of a specific interpretation of the story about Bezukhov's death made by Anna Mikhailovna Drubetskaya and Pierre's behavior in this situation. Anna Mikhailovna (and persons like she) "writes novels" using the spurious model of axiological interpretation of her own life or its specific part (this action could be compared with narrating "heroic" stories about a fight - like Nicholas Rostov did). This statement ("write novels") expressly emphasizes Tolstoy's rejection of the novel genre in its European understanding. Further, the author analyzes the axiological category "originality" against the background of a detailed analysis of Tolstoy's understanding of the folk truth. The model of the author activity, which traces back to Aristotle, was also used to clarify the essence of this phenomenon.