After the ball epithets 1 feelings of the story. (Lesson 2). The artistic originality of the story “After the Ball.” Contrast as the main artistic device of the story. Other works on this work

The purpose of the lesson:

• show how the technique of contrast helps to reveal the idea of ​​a story;
• work on the analysis of artistic means that create pictures of the ball and execution;
• reveal the humanistic pathos of the story “After the Ball”.

Equipment: illustration for the story “After the Ball.”

During the classes

1. Introductory speech by the teacher and setting the goal of the lesson.

In the last lesson, we got acquainted with Leo Tolstoy’s story “After the Ball.” The writer was worried all his life about the lack of rights of the Russian soldier. Back in 1855, he worked on a project for reforming the army, in which he spoke out against the barbaric punishment of “driving through the ranks.” But the story “After the Ball” goes far beyond a protest against the inhumane treatment of soldiers; it poses broad humanistic problems, such as duty, honor, conscience, and humanity.

How L.N. Tolstoy expresses these problems, with the help of what artistic techniques and means he achieves the expression of these problems, we will talk today.

2. Conversation with students.

How is the story structured compositionally?

Which two scenes are contrasted?

What do we call contrast?

(Contrast - antithesis - opposition. Contrast can be between words, images, characters, compositional elements, etc. Contrast is an expressive device, a way to have an emotional impact on the reader)

Why is the story, most of which is devoted to describing the ball, called “After the Ball”?

3. Comparative characteristics of the characters’ behavior at the ball and after the ball.

Let's compare the behavior of the heroes at the ball and after the ball.

Drawing up a comparative characteristics plan.

Recording plans in a notebook.

4. The teacher's word.

Guys, let's find the epithets with which L.N. Tolstoy draws pictures in the first and second parts, and write them down in a notebook.

Notes in notebooks.

The ball is wonderful, the hall is wonderful, the buffet is magnificent, the musicians are famous, the mazurka motif sounds continuously.

Varenka is in a white dress, white gloves, and white shoes. She has “a radiant, flushed face with dimples and gentle, sweet eyes.”

Varenka’s father is handsome, stately, fresh with a white mustache, white sideburns with sparkling eyes, a joyful smile, a broad chest, strong shoulders and long slender legs.

Ivan Vasilyevich is satisfied, happy, blissful, kind, looking with rapturous emotion.

How can we explain that in the ball scene the hero perceives everything around him “with rapturous emotion”? (Love, sublime feelings, closeness to the beloved, youth, beauty).

In the second part of the story, the colors darken: something big, black.

Key words are written on the board: in the spring wet fog, draymen with firewood on sleighs, horses under glossy arches with wet heads, a blacksmith in a greasy sheepskin coat, Soldiers in black uniforms, an unpleasant shrill melody, a terrible picture of punishment.

The colonel is still the same - with a ruddy face and a white mustache and sideburns.

Match the colonel and the person being punished (write in notebooks).

The contrast intensifies when the narrator sees how a tall, stately colonel hits a short, weak soldier in the face with a strong hand in a suede glove.

What conclusions can be drawn from these observations?

5. Discussion and clarification of the idea of ​​the story.

Why did the colonel, as if a loving, attentive father, turn out to be cruel to the soldiers?

Why does Tolstoy contrast the two parts of the story with each other and use contrasting colors in his descriptions?

Why did Ivan Vasilyevich’s love for Varenka fail?

Why did Ivan Vasilyevich refuse public service? Was he right, in your opinion?

6. Miniature essay.

“My impressions after reading Leo Tolstoy’s story “After the Ball.”

Homework. Think about the question: Why does the author lead his hero to the parade ground where the picture of the execution of a soldier unfolds?

"Tolstoy's Story After the Ball"- Purpose of the lesson: After the ball. Not bad. August 20. Just finished fairy tales today, and not three, but two. L.N. Tolstoy "After the Ball". 1900s, the time of Nicholas2 (the author’s contemporary era). Today I’m going to Pirogovo. [..]. If we look directly at the past, our present will also be revealed to us. Observation of linguistic means At the ball:

“Leo Tolstoy “After the Ball”” - The mystery of the title of the story. Psychological state of the hero. L.N. Tolstoy Story “After the Ball.” Compare the draft and final versions of the ending of the story by L.N. A story within a story. Antithesis. A shame. Episode color scheme. Let's look into the contradictions in the colonel's behavior. After the ball. Story. Nicholas I.

“Lesson After the Ball” - By birth and upbringing he belonged to the highest landowner nobility in Russia. Let's remember the content of the story. A story usually has one plot line. Why was the soldier punished? M. Gorky. (History of Russian literature). Lesson objectives: Over two hundred works were written by Tolstoy. What university does the hero study at?

“L. Tolstoy “After the Ball”” - From the diary of L. N. Tolstoy. The history of the creation of the story. After the ball. Text analysis. Creative work. The purpose of the lesson. Roll call of eras in the story “After the Ball.” L.N. Tolstoy "After the Ball". Antithesis. Experiment. N. Ge Portrait of L. N. Tolstoy. Street. The author emphasizes the contrast. The role of contrast of color and sound in the story of L. Tolstoy.

"Tolstoy Lesson After the Ball"- Independent work. L. N. Tolstoy. May 19, 1910 Lev Nikolaevich Tolstoy Story “After the Ball.” The great significance of Tolstoy’s personality and creativity in Russian and world literature. Observations on linguistic means. Artist I. Repin. The main technique is opposition, the technique of contrast. What changes occurred in the colonel and Ivan Vasilyevich after the ball?

"Tolstoy After the Ball 1"- Themes. "After the ball". And calmness is spiritual meanness.” From the diary of Leo Tolstoy. Biography and creativity History Music Dances Artistic means of expression Heroes Love. Life credo. Lev Nikolaevich Tolstoy. Nicholas I. Defense of Sevastopol. Crimean War.

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About some features of stylistic skill

L. Tolstoy

(observations on the text of the story “After the Ball”)

With. Krasnogvardeiskoe

gymnasium No. 1.8 "A" class

Head – Alpeeva E.I.

teacher of Russian language and literature,

With. Krasnogvardeiskoe, gymnasium No. 1
With. Krasnogvardeiskoe

V.V. Vinogradov in his work “Problems of Russian Stylistics” examines stylistics in three aspects: stylistics of language, stylistics of speech and stylistics of artistic speech.

I tried to look at the stylistics of artistic speech in L. N. Tolstoy’s story “After the Ball”, to find those linguistic features that allow the author to solve the problems of this particular work.

V.V. Vinogradov considered the language of artistic speech in a complex relationship: firstly, as “speech”, or a text built on the basis of a given national language and reflecting its system; secondly, as a “language of art,” i.e., a system of means of artistic expression: “The language of verbal art is a system of verbal and artistic forms that arises on the basis of a synthesis of the communicative function of literary and colloquial language with the expressive and figurative function.”

Hence the tasks of linguistic analysis of a literary text, which boil down to the following: 1) correctly understand the text; 2) try to comprehend the plot and idea of ​​the work; 3) show the artistic means used by the author to achieve the goal; 4) pay attention to some features of the writer’s language, his artistic style.

The story by L.N. Tolstoy was written in 1903. According to family legend, the plot is based on the events that happened to the writer’s brother Sergei Nikolaevich. It is assumed that L.N. Tolstoy was familiar with the future prototypes of the story - Varvara Andreevna and her father, Colonel A.P. Koreysh, a military commander in Kazan.

In the rough drafts of L. N. Tolstoy there are several options for the title of the story: “The Story of the Ball and Through the Gauntlet”, “Daughter and Father”, “Father and Daughter”, “And you say ...”, and only at the last moment the writer stops at title "After the Ball", considering the main part of the story the events related to the execution scene. Identification of linguistic means and techniques with the help of which Tolstoy reveals two themes of the story that are important for understanding the ideological plan - at the ball and after the ball - is the main task of the analysis.

In the analyzed text there are words that are uncommon or rarely used in the modern Russian language, obsolete, colloquial, colloquial, and in need of explanation. Here are some of them.

Maslenitsa - pagan Slavic holiday of farewell to winter, associated with the custom of baking pancakes and organizing various entertainments.

Chamberlain – in monarchical states: court rank of senior rank.

Feronniere – female jewelry with precious stones, worn on the forehead.

Choirs – open gallery, balcony at the top of the main hall to accommodate the choir and musicians.

Like – made from husky (a type of soft leather).

Strip – braid sewn to the bottom of trousers, boots, etc. and threaded under shoes, under the foot.

Opoikovy – made of thin and soft leather, tanned from the hide of a dairy calf.

Maslenitsa(weather) – characteristic of Maslenitsa, which happens on Shrovetide.

Hard ( music) – in the text: harsh to the ear, harsh.

Outdated ones include:

Pyusovy – dark brown.

Hall – a room intended for receiving guests.

To colloquial and vernacular:

Spilled sea champagne – vernacular, abundance.

Servant - experienced, diligent, employee (usually about the military).

Build – sew.

Pacer – a horse that ambles first carries both right legs, then both left legs.

Daguerreotype portrait – An old photograph made on a metal plate.

The phrase may be unclear:

Didn't guess my quality. We are talking about a provincial custom of that time: two young people thought up the names of objects or different qualities of character - each with their own, the girl had to guess what was planned, the one with the quality guessed became a couple, in the same way gentlemen chose ladies for themselves.

Epaulettes- ceremonial officer's shoulder straps.

Dray – cab drivers who transported heavy loads.

Spitsruten – rods or sticks that were used to beat those being punished.

The text contains words and names written in French. So, in the text we find: “... for me, as Alphonse Karr said, he was a good writer...”.

Alphonse Karr - French satirist of the 19th century. In the 19th century there was a rule: foreign words and names must be presented in the text in their original spelling. In Russian graphics, foreign language phrases and names were found only in the speech of semi-intellectuals, merchants, etc.

Bronze clothes – this expression is used in the text in the meaning of “reliable means of protection”: we are talking about protecting the honor of a woman

The composition “After the Ball” is unique: it is a story within a story. The author seems to remain in the shadows. The narration is conducted on behalf of the second, “acting” narrator - Ivan Vasilyevich. He is briefly characterized at the beginning: “So he spoke respected by all Ivan Vasilievich... told He very sincere and truthful».

The story begins with a remark from the hero, which seems to define the theme:

“So you say that a person cannot understand on his own what is good and what is bad, that it’s all about the environment, that the environment is corroding. But I think it’s a matter of case.”

This “incident” is what makes up the plot. However, the beginning echoes the ending, where, after everything that has been said, Ivan Vasilyevich reflects:

“Well, do you think that I then decided that what I saw was a bad thing? Not at all. “If this was done with such confidence and was recognized by everyone as necessary, then it follows that they knew something that I did not know,” I thought and tried to find out. But no matter how hard I tried, I couldn’t find out.”

The whole story is built on contrasts, which are expressed both in composition and in vocabulary. The description of the ball and punishment, father and daughter are contrasted. Two images of the colonel are contrasted.

Such a compositional opposition entails a difference in linguistic means and a stylistic contrast between the first and second parts of the story, although the narrator is the same - Ivan Vasilyevich.

V.V. Odintsov, exploring the poetics of the story, drew attention to the nature of the narration in each part. In the first part, “the scene was described by a person for whom all this is the distant past,” in the second part it is “no longer the person for whom what was depicted has become the distant past, but the one who sees for the first time, who still does not even know exactly what is happening,” that is, the generalized transmission of the past is replaced in the second part by forms of direct perception.

While identifying the linguistic features of each part, I noted the following.

To describe the ball, the writer uses emotional epithets: a wonderful ball, a beautiful hall with choirs, musicians - famous serfs of an amateur landowner at that time, a magnificent buffet and a spilled sea of ​​champagne.

Describing Varenka, with whom the narrator is in love, Leo Tolstoy strictly selects vocabulary and does not use vivid metaphors: “... in her youth, eighteen years old, she was lovely: tall, slender, graceful and majestic, namely majestic; ...always cheerful smile both mouth and lovely sparkling eyes; ...I... only saw tall, slender figure...; …she smile thanked...; ...as a sign of regret and consolation smiled at me..." Tolstoy very often uses the repeated use of the same words, the same constructions. Here's another example: " especially touched me his boots; square toe boots especially touched me; I wasn't the only one, everyone was looking at her and admired by her admired both men and women."

To convey the high spirits of a young man in love, the construction “I + verb” is repeated: “ I took feather and could express all his delight and gratitude only with a glance. I was not only cheerful and satisfied, I was happy, blissful, I was kind, I was not me, but some unearthly creature who knows no evil and is capable of only good. I hid a feather into his glove and stood there, unable to move away from her.”

Epithets also play an important role in revealing the images of the story and conveying their emotional state. This is how different the colonel looks. At the ball: a very handsome, stately, tall and fresh old man; affectionate, joyful smile; he was built beautifully...

During the punishment: ... walked ... drawing in air, puffing out his cheeks, and slowly released it through his protruding lip; angry voice; frowning menacingly and viciously, he quickly turned away,

The use and placement of adjectives denoting color is stylistically important. There are only four such adjectives in the story: white, black, pink, red. In the first part of the story two of them are used: white (Varenka’s white dress, white gloves, white shoes, the colonel’s white mustache...), pink (Varenka’s pink belt). This is a bright, joyful part of the story, and the colors are appropriate.

The second part begins with an adjective black (saw something big black; soldiers in black uniforms). The adjective is also used here white, but in a different context (baring white teeth). And finally - the word red (something motley, wet, red - this is the back of the person being punished). In Russian icon painting, the color red often meant hell and martyrdom, so the use of this color is symbolic.

Sound images also have an emotional impact on the reader, also helping to convey changes in the narrator’s soul: joyful, cheerful music at the ball and the sounds of a drum and flute, hard, shrill music on the parade ground.

The change in internal state is conveyed, in essence, in one phrase: “I was singing all the time in my soul and occasionally heard the motive of a mazurka. But it was some other, hard, bad music.”

Of the poetic figures, Tolstoy used comparisons in the story: about the hostess of the ball: as good-natured as he is; father's smile like my daughter. A more expressive comparison: with... plump, white shoulders and chest, like portraits of Elizaveta Petrovna. And also: “How does it happen that, after one drop pours out of the bottle, its contents pour out in large streams, So in my soul, love for Varenka freed all the ability to love hidden in my soul.”

There are also anaphors in the story: “the procession began to move away, all the same blows fell from both sides on the stumbling, writhing man, and still the same the drums beat and the flute whistled, and still the same The tall, stately figure of the colonel moved with a firm step next to the punished.”

In my opinion, this detail is also interesting: the picture of the ball in the story is given in the evening artificial light, and the scene on the parade ground is “in daylight.” Means,

Was everything that happened at the ball a pretense, a mask? And the scene on the parade ground is a protest against the inhuman treatment of soldiers and even against corporal punishment of peasants.

As noted, one of the main compositional and stylistic techniques used by L.N. Tolstoy is antithesis. The story combines two themes: the theme of a magnificent ball and the theme of cruel execution. Hence the contrast of artistic and visual means, the clash of light and black colors in the description of the ball and “after the ball”, in the description of Colonel B. at the ball and in the execution scene, in the selection of contrasting epithets. The selection of vocabulary, special word usage, and the use of various syntactic constructions and poetic figures are subordinate to the disclosure of the moral issues of the story.

Used Books:

1. 
   Tolstoy L.N. “After the ball.”

1. 
   Belenky G.I., Khrenova O.M. “We read, think, argue” Moscow “Enlightenment” 1995

1. 
   Geller E. S. “Methodological recommendations for linguistic analysis of works of art at school” Makhachkala Daguchpedgiz 1989

1. 
   Collection of articles “In the world of Tolstoy” Moscow “Soviet writer”

Composition

Antithesis is a comparison of opposite images; and in a broader sense, any juxtaposition of opposing concepts, situations, or any other elements in a literary work. Proverbs are based on this artistic device, and it is widely used in world literature, for example, the contrast between Don Quixote and Sancho Panza in the novel “Don Quixote” by M. Cervantes. L.N. Tolstoy resorted to the same technique in one of his later stories - “After the Ball.” The hero on whose behalf the story is told is a person in whose fate chance played a decisive role. Before the turning point that happened in his youth, Ivan Vasilyevich was a student at a provincial university and dreamed of entering military service. He was “a very cheerful and lively fellow, and also rich,” so “the main pleasure ... were evenings and balls.”

Ivan Vasilyevich’s imagination was captivated by the lovely Varenka B., “tall, slender, graceful and majestic,” she had a regal appearance, “which would have scared her away if not for the affectionate, always cheerful smile on her mouth and lovely, sparkling eyes.” At the provincial leader’s ball, he danced with Varenka all evening and “without wine | I was drunk with love." He saw only her “tall, slender figure in a white dress with a pink belt,” he saw only “her radiant, flushed, dimpled face and gentle, sweet eyes.” Love for Varenka “released all the hidden” “capacity of love” in the young man’s soul. But fate wanted his whole life to “change” after one night, or rather the morning that followed, when he witnessed the scene of the monstrous, inhuman punishment of a fugitive Tatar.

The story, most of which is devoted to depicting a brilliant ball, is not by chance called “After the Ball.” A monstrous event, which played a decisive role in the fate of Ivan Vasilyevich, occurred precisely after him. But in order to more fully realize his idea, Tolstoy constructed the story as a consistent and contrasting depiction of the mazurka and execution scenes with many contrasting details. Without the episode of the soldier’s torture, the picture of the ball, with its grace, beautiful and elegant women, enthusiastic feelings and delicate pink and white colors, would have lost all meaning. And the execution scene would not have seemed so terrible to the student if it had not been preceded by a ball. The more festive and brilliant the young man imagined the world around him at first, the more unexpected and tragic his insight turned out to be, showing the world from a completely different, cruel and extremely unsightly side.
During the ball, the young man felt a special “enthusiastic and tender feeling” for the colonel, Varenka’s father. He saw in front of him a very handsome, stately, tall and fresh old man with a ruddy face and the same gentle, joyful smile as his daughter. When the father invited Varenka to dance, everyone around looked at them with enthusiastic emotion. While dancing, the colonel “briskly stamped one foot”, “his figure was now quiet and smooth, now noisy and stormy... moved around the hall”; “he deftly walked two laps”; “gently, sweetly, he wrapped his arms around his daughter...” And the narrator himself, “embracing the whole world with his love,” was afraid of only one thing: “so that something would spoil” this happiness. And of course, he could not have imagined that this “something” would turn out to be so terrible. In the morning, on the square, he saw the father of his beloved girl in a completely different guise: the colonel was walking... with a trembling gait”; “he sucked in air, puffing out his cheeks, and slowly released it through his protruding lip”; “with a strong hand in a suede glove he hit a frightened, short, weak soldier in the face because he did not lower his stick strongly enough” onto the back of the fugitive Tatar.

The punishment, which was supervised by the father of his beloved girl, caused a real mental crisis in the hero. In these episodes, it’s as if we have two different people in front of us: one of them evokes sympathy and a kind smile, the other - disgust and disgust. Even more striking is the contrast between the colonel, with his ruddy face and white mustache and sideburns, and the punished man, who, “twitching with his whole body, splashing his feet on the melted snow ... under the blows raining down on him from both sides,” moved through the ranks of soldiers. “I was so ashamed,” the hero describes the surging feelings, “that, not knowing where to look, as if I had been caught in the most shameful act..., I lowered my eyes... There was an almost physical melancholy in my heart, reaching the point of nausea... it seemed that I’m about to vomit with all the horror that entered me from this spectacle.”

Ivan Vasilyevich was never able to find out and understand why all this “was done with such confidence and was recognized by everyone as necessary.” “And without finding out, I could not enter military service, as I had wanted before, and not only did not serve in the military, but did not serve anywhere...” The hero’s love for Varenka began to wane from that day on. Just as earlier he involuntarily connected Varenka with her father-colonel “in one tender, touching feeling,” so now, “when she... was thinking with a smile on her face,” Ivan Vasilyevich “immediately remembered the colonel on the square,” and he felt embarrassed and unpleasant. He began to see the girl less and less, until his love for her completely cooled.

The story described in the story “After the Ball” was not just the author’s imagination. The prototype of Varenka B. was Varvara Andreevna Koreysh, the daughter of the military commander in Kazan, Andrei Petrovich Koreysh. Sergei Nikolaevich Tolstoy (brother of L.N. Tolstoy) was in love with this girl, but his romantic feeling faded after he, having fun dancing with Varenka at the mazurka ball, the next morning saw how her father led the execution. This incident became known to Lev Nikolaevich at the same time and made an indelible impression on him. Therefore, more than fifty years later, he used it to show with such artistic skill how the brightest dreams of a young enthusiastic person can instantly crash into cruel reality and completely change the rest of his life.
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