Lesson objectives:
· Continue working on developing text analysis skills work of art;
· Reveal the writer’s intention through an analysis of the features of the story’s construction;
· Form ideas about your life position.
Equipment:
· presentation;
· cards for individual interviews;
· dictionary literary terms.
Forms and activities in the lesson:
o working with a dictionary of literary terms;
o analytical conversation;
o expressive reading of story episodes;
o drawing up a plan and tables;
o use of tables in the office.
During the classes
1. Organizational moment.
Greeting, announcing the topic, setting goals. Slide 1
2. Implementation of homework.
1) Tell me what new things you discovered from the life of the great writer?
2) Briefly convey the content of the story you read at home.
3.Analysis of the story
1) Make a plan for the story. (Several students read out plans,
Then a slide with the adjusted plan is shown)
Part 1: Ball Slide 2
· The leader's hall.
· Hosts of the ball.
· Varenka.
· Colonel.
· Ivan Vasilievich.
Part 2: After the ball
· Description of the street
· Soldiers.
· Punished
Colonel
· Ivan Vasilievich
2) Why is this work a story in its genre?
What type of literature are stories? (Check the table in
Literature office).
Working on part 1 of the story
3) What is unique about the introduction? (The suddenness of meeting the narrator
In a conversation about moral values human life. Introduction
Sets up the perception of subsequent events.)
4) What event is described in the story? (The leader’s ball, the hero’s falling in love, his disappointment).
5) Read the episode describing the dance of the colonel with his daughter (From the words “Varenka’s father was very handsome...” to the words “I said that I was not her gentleman”)
Slide 3
6) Write down the words-epithets of part 1 in your notebook. (Conclusion: the hero perceives everything with “enthusiastic tenderness”, he is in love, happy, “everything is especially sweet and significant” to him).
Working on part 2 of the story.
1) How does part 2 of the story begin? (From the words “When I entered the field...”).
2) How do we see the colonel in this part of the story? Slide 4
3) Write down the words-epithets 2 parts in your notebook.
4) Compiling tables: Slide 5
A) How do the heroes of part 2 of the story, the colonel and the man being punished, look and behave?
Colonel
punishable
A tall military man in an overcoat and cap.
A bare-chested man tied to soldiers' guns. His back is something wet, red, unnatural.
He walked with a firm imitating gait.
Twitching with his whole body, splashing his feet on the melted snow... he moved towards me, then tipping back - and then the non-commissioned officers, leading him by the guns, pushed him forward, then he fell forward - and then the non-commissioned officers pulled him forward.
Ruddy face and white mustache with sideburns.
A face wrinkled with suffering.
A tall, stately figure moved with a firm step.
A stumbling, writhing man.
B) Comparison of parts 1 and 2 of the story according to various characteristics.
Slide 6
Characteristics
At the ball
After the ball
Feelings
In love, cheerful, lively, admired, did not feel my body, delight, gratitude, rapturous tenderness, enthusiastically tender feeling, satisfied, happy, blissful, kind, infinitely happy.
Shame, nauseating melancholy, about to vomit with horror, awkwardness, unpleasantness, love has come to naught.
Epithets
Graceful, affectionate, sweet, shining, blushed, beautiful, tall, stately, fresh, affectionate, joyful, brilliant.
Cruel, bad music, unpleasant, scary, wrinkled with suffering, writhing, firm step, frightened, menacing, angry, angry.
Color
White, pink, blush, silver, light.
Black, red, colorful, white.
Sounds
Mazurka, waltz, polka, quadrille.
Flute, drum. A shrill melody, a beat, a scream, an angry voice, sobbing.
Details
Varenka’s white kid glove, the colonel’s suede glove, a feather from a fan, the colonel’s “homemade” boots.
Protruding lip, suede glove.
What is the role white and suede gloves in parts 1 and 2 of the text? (They connect the two parts of the story)
4. Conclusion.
Two episodes, at the ball and after the ball, are contrasted with each other: the light and joyful colors of the ball contrast sharply with the gloomy picture depicted in part 2.
The technique of opposition and contrast is called antithesis in literary criticism. It was this technique that Leo Tolstoy used as the basis for the composition of his story “After the Ball.”
Read the dictionary of literary terms for the exact definition of this concept. Slide 7
Antithesis (Greek) – stylistic figure, based on a sharp contrast, the opposite of images and concepts.
5. Homework
A) What is " life position" in my mind?
B) Questions 1, 2, textbook, page 342.
"Composition of a work of art"
Textbook, pp. 343-346
Lesson Objectives Show how the technique of contrast helps reveal the idea of a story. Carry out work on the analysis of artistic means that create pictures of the ball and execution. Fostering mercy, humanism, sensitivity to people, and rejection of violence against people.
All great changes in the life of one person, as well as of all humanity, begin and are accomplished in thought. In order for a change in feelings and actions to occur, there must first be a change in thought...Fruits are born from the seed. Also, actions are born from thoughts. L.N. Tolstoy “The Way of Life”
At the ball, the ball was wonderful, the hall was beautiful, the buffet was magnificent, the musicians were the famous hosts of the ball, a good-natured old man, a rich hospitable man, his good-natured wife Varenka in a white dress, in white gloves, in white shoes; she has a radiant, flushed face; gentle, sweet eyes, the colonel is handsome, stately, tall, with a white mustache, white sideburns, with sparkling eyes. Ivan Vasilyevich is satisfied, happy, blessed, kind
Execution scene street Something big, black, hard, bad music, soldiers, a lot of black people, in black uniforms, being punished, naked to the waist, his back is something colorful, wet, red, unnatural, colonel, tall military man, firm, shaking gait, Ivan Vasilyevich It was embarrassing , lowered his eyes; an almost physical melancholy in my heart, almost to the point of nausea
Story by L.N. Tolstoy’s “After the Ball” is a very small work in volume, but extremely deep in meaning. It is based on the technique of contrast, antithesis. The story is divided into two parts, which are sharply opposed to each other.
The first part of the work is a description of the ball. This part is filled with a feeling of light, love, joy, happiness. This is largely due to the fact that the narrator who narrates all the events is very much in love. Therefore, at that time he saw everything in the world in rainbow colors.
The ball took place in the house of the provincial leader, a good-natured and hospitable old man. “The ball was wonderful: a beautiful hall, with choirs, musicians - the famous serfs of the amateur landowner at that time, a magnificent buffet and a sea of champagne poured out,” says Ivan Vasilyevich. But the hero-narrator was drunk not from champagne, but from love, because at the ball was his beloved Varenka B., an extraordinary beauty: “... tall, slender, graceful and majestic, truly majestic.” Varenka always held herself unusually straight, throwing her head back a little. This gave her a kind of regal appearance, “which would have scared her away if not for the affectionate, always cheerful smile of her mouth, and her lovely, sparkling eyes, and her entire sweet, young being.”
It was obvious that the girl was not indifferent to the narrator. The newlyweds spent the entire evening together: playing and dancing. At the end of the evening, Varenka gave Ivan Vasilyevich a feather from her fan. Delight is what the hero experienced throughout the entire ball.
Before dinner, Varenka went to dance with her father, Colonel B., a handsome military man who adores his daughter. Their dance delighted all the guests. They admired this beautiful couple, and at the end of the dance the guests even applauded father and daughter B. It was clear how the colonel loved his daughter, how he strived to give her the best. The narrator noticed that Pyotr Vladislavich wears homemade boots of an old cut in order to be able to take his Varenka out into the world.
The atmosphere of this evening can be described in the words of Ivan Vasilyevich himself: “At that time I embraced the whole world with my love. I loved the hostess in the feronniere, with her Elizabethan bust, and her husband, and her guests, and her lackeys, and even the engineer Anisimov, who was sulking at me. At that time I felt a kind of enthusiastic and tender feeling towards her father, with his home boots and a gentle smile similar to hers.”
The second part of the story, which is of primary importance for the disclosure ideological plan works, exactly the opposite of the first. After a delightful night comes early morning, first morning of Lent. The narrator walks around the city, the rhythm of the mazurka still sounds in his soul. But suddenly this music is interrupted by another: “hard, bad music.” Among the fog, the hero-narrator sees black people (in contrast to the smart people from the ballroom). They stood in two rows, and between them they led a man naked to the waist. Each of the soldiers had to hit this man as hard as possible. Ivan Vasilyevich found out that the punishment of a fugitive Tatar was happening before his eyes.
As bright and beautiful as the first part of the story is, the second is so terrible and disgusting. If the leitmotif of the first part can be considered the melody of a mazurka, then the entire second part is accompanied by an “unpleasant, shrill melody” of drum and flute. It seems to me that the contrast between the wonderful dance of Colonel B. and his daughter at the ball is the terrible scene of the punishment of the poor Tatar, where one of the main characters is also the colonel. Only now he is not resting next to his beloved Varenka, but is fulfilling his official duties.
The description of the colonel, in general, has not changed. We see the same ruddy face and gray sideburns. The intonations with which this hero was described have changed, the attitude of the narrator and readers towards this brave servant has changed.
In contrast to the portrait of Varenka, a lovely young girl, affectionate and majestic at the same time, a description of the fugitive Tatar is given: “When the procession passed the place where I stood, I caught a glimpse of the back of the one being punished between the rows. It was something so motley, wet, red, unnatural that I didn’t believe it was a human body.”
The movement of the Tatar along the row of soldiers is contrasted with the description of the dance in the first part. If at the ball the dance of father and daughter delighted everyone, then here the movements of the captured fugitive resembled a terrible puppet dance, the movements of puppets, terrifying.
In addition, if in the first part Colonel B. brought his daughter to the narrator, handing her over to a caring gentleman, then in the second Pyotr Vladislavich, seeing the narrator, turned away from him as if from a stranger.
The picture he saw struck Ivan Vasilyevich to the depths of his soul. The shock was so deep that the narrator decided never to serve anywhere, just so as not to commit such monstrous acts. The scene of the punishment of the fugitive Tatar becomes even more terrible if we consider that it took place on the first day of Lent. After the pagan Maslenitsa, described in the first part, comes the most important Christian fast, when a person must forget everything worldly and turn to his soul. But it is at this time that the narrator witnesses the greatest crime of man - a crime towards himself, towards his soul.
The leading artistic device in Tolstoy’s story “After the Ball” is the technique of contrast. This work contrasts two parts of the story: the ball scene and the punishment scene; The heroes and their actions are contrasted. In addition, the moods, emotions, and musical leitmotifs of the work are radically different.
"AFTER THE BALL" . CONTRAST AS A DEVICE THAT ALLOWS YOU TO REVEAL THE IDEA OF A STORY. DEVELOPMENT OF THE CONCEPT OF PLOT AND COMPOSITION Distance lesson in 8th grade
FOR MANY YEARS A SEVERE AND TRUTHFUL VOICE SOUND, CONVICTING EVERYONE AND EVERYTHING; HE TOLD US ABOUT RUSSIAN LIFE ALMOST AS MUCH AS ALL THE REST OF OUR LITERATURE.
Why is this text a story in its genre? The story is an epic genre. The basis of the story is usually one event or incident, although there may be larger themes covering long periods of time, even the entire life of the hero. As a rule, a story has one plot line.
The following main parts are distinguished in the story: introduction at the ball after the ball conclusion The story is enclosed in a “frame”. This compositional technique is called “story within a story.”
3. Why does the author focus in the title on the events that happened “after the ball”? (Although the ball scene is described in more detail and takes large quantity pages, after the ball an event occurs that changes the hero’s life.)
Contrast as the main one artistic technique story. Assignment: conduct observations on the text and find key words from the episodes “At the Ball” and “After the Ball” according to the plan (see the plan on the next slide). If desired, make a table in your literature notebook: At the ball After the ball 1. White dress with a pink belt, diamond feronniere, white gloves. 2. 3. 4. 5. 1. Something black, motley, wet, red, black people. 2. 3. 4. 5.
Observation plan 1) paints, color scheme of this episode; 2) description of the appearance of the main character of the episode (Varenka, the soldier); 3) sounds, character of music; 4) the psychological state of the narrator; 5) a description of the appearance and behavior of the colonel.
Compare with your table At the ball After the ball 1. White dress with a pink belt, diamond feronniere, white gloves. 2. Varenka: a radiant, flushed face with dimples and gentle, sweet eyes. 1. Something black, motley, wet, red, black people. 2. Soldier: something big, black; a man naked to the waist, tied to the guns of two soldiers who were leading him; twitching with his whole body, splashing his feet on the melted snow; it was something so motley, wet, red, unnatural that I did not believe that it was a human body; stumbling, writhing; a face wrinkled with suffering; he did not speak, but sobbed.
At the ball After the ball 3. Quadrilles, and waltzes, and polkas; 3. Sounds of flute and drum. There is a mazurka motif in my soul. I was singing all the time and occasionally heard the mazurka motif. But it was some other, hard, bad music. ... the drummer and the flute player ... kept repeating the same unpleasant, shrill melody. ...the drums were still beating and the flute was whistling 4. I was happy, blissful, I was 4. I was... ashamed... as if I was kind, I was not I, but some kind of I was caught in the most shameful unearthly being who did not know evil action; there was almost a heart capable of nothing but good. I am physical, reaching the point of hugging the whole world at that time with my nausea, melancholy, such that I love. My happiness kept growing and stopped several times, and a kind of ecstatic-tender feeling grew in me, and it seemed like I was about to vomit. with all the horror that entered me from this sight.
At the ball After the ball 5. Tall, stately figure; a very handsome, stately, tall and fresh old man; his face was very ruddy, with a white curled mustache à la Nicolas I, white sideburns drawn up to the mustache and with temples combed forward, and the same affectionate, joyful smile as his daughter’s; a military commander like an old campaigner of Nikolaev bearing. 5. A tall military man in an overcoat and cap; walked with a firm, trembling gait; with his ruddy face and white mustache and sideburns; he sucked in air, puffing out his cheeks, and slowly released it through his protruding lip; The tall, stately figure of the colonel still moved with the same firm step; he's his strong hand wearing a suede glove, he hit a frightened, short, weak soldier in the face; Pretending that he did not know me, he, frowning menacingly and viciously, quickly turned away.
The author emphasizes the system of images in the composition of the story in linguistic means in the descriptions there is contrast
What conclusions can be drawn from these observations? The episode of the ball and the events after the ball are contrasted with each other. A contrasting image of heroes, circumstances, events is important technique to comprehend the idea of the story. These episodes are organically connected with each other. The contrast helped show the turning point in the hero’s soul. (This state was experienced by the writer himself!) Read the textbook article “Composition of a Work of Art” (pp. 345 -346).
Write down your conclusions in a literature notebook. A contrasting image of the characters, their psychological state, and the environment in which they act allows the writer to reveal the essence of their characters and at the same time expose social contradictions in tsarist Russia.
Problems raised by the author in the story Write in your literature notebook: The problem of moral choice. Problems of honor, duty, conscience. The problem of ill-treatment of soldiers. The problem of social injustice.
Life sources of the story Read the article in the textbook on p. 343 -344 (Vital sources of the story “After the Ball”. Why do you think Tolstoy in 1903 turned to the events of his youth - the 40s of the 19th century? What events shook Russia in 1903-1920? Why does the story retain its still relevant today?
In the story “After the Ball,” you can hear the roll call of two eras - the one that Tolstoy directly depicts (the 40s of the 19th century, the time of Nicholas I), and the one that is present invisibly (this is the 90s). Therefore, the writer in this story restores the past to show that its horrors live in the present, only slightly changing their forms.
1. Contrasting the images of the main characters
2. Color palette works.
3. Musical picture of the surrounding world.
4. Contrasting portrait of the colonel.
Our life path littered with the wreckage of what we began to be and what we could become.
A. Bergson
Our life is filled with accidents and unpredictable events. There are times when they cannot be immediately distinguished general flow life. Therefore, in order not only to identify it for yourself, but also to show it to the whole world, it is necessary to describe these phenomena. To do this, you can use the technique of contrast. A picture compiled in this way allows not only the writer, but also us to understand the background of a particular situation. On the other hand, this approach to facts makes it possible to present them in a more objective light. In this case, two opposing characteristics of the same situation are given, leaving us the right to resolve this issue.
However, by selecting various details of the description, the author of the work can tell us the path that he prefers. Let's consider our assumptions using the example of L.N. Tolstoy's story “After the Ball.” It presents an incident that radically changed life young man. At the same time, his decision influenced the fate of other people. And it was the contrasting pictures that played a significant role in this choice, further aggravating the current situation.
Already at the level of composition we are presented with two opposite poles: the ball and the punishment scene. The first amazes with its luxury and beauty, the second with its cruelty and senselessness. This contrast shows that there simply cannot be anything else in life. It is impossible to find any middle option. However, only two heroes - Ivan Vasilyevich and the colonel - are destined to go through both plot spaces. They are like two equally opposite worlds, since they represent different approach in solving the same problem. The colonel believes that the Tatar deserves such a terrible punishment. So he runs him through the gauntlet. Ivan Vasilyevich, on the contrary, does not understand why such cruelty should be shown, especially since the one being punished begs the soldiers to “have mercy.” These heroes also differ because one acts (the colonel), while the other is inactive. But in this sense it is not entirely correct to talk about the contrast of images. With their help, the author shows different approaches to the same problem.
In the story, Tolstoy uses more expressive facts, which make up a contrasting picture of the narrative. It is created at different levels: color and sound.
One of them no longer concerns the main “opponents” of the approach to life: Ivan Vasilyevich and the colonel. The color scheme characterizes other characters: Varenka and the Tatar. The girl in her color halo appears as a beautiful and immaculate beauty. Varenka's image is described through white and pink shades. Moreover, the first color is intensified: it is repeated several times in one sentence. “She was wearing a white dress with a pink belt and white kid gloves that did not reach her thin, sharp elbows, and white satin shoes.” It seems that with the help of this shade the author wants to show the very soul and essence of the girl, but cannot reflect them in any way - they are so beautiful. The pink color only emphasizes Varenka’s tenderness and freshness.
To describe a Tatar using only one color range an image of the horror that is imprinted in the memory of Ivan Vasilyevich is created. To do this, the author also places all the characteristics of the contrast in one sentence, thereby enhancing the impression of what he saw, “...I caught a glimpse of the back of the person being punished between the rows. It was something so motley, wet, red, unnatural that I didn’t believe it was a human body.” At the sight of such a scene, Ivan Vasilyevich felt ashamed; he did not know where to escape from the impression of such a cruel punishment. Soon he found the strength to break away from this terrible sight and go home.
And at this moment another level of contrast arises - sound. Ivan Vasilyevich did not see anything, but the terrible sounds of such an inhumane incident remained with him. “All the way in my ears the drumbeat was beating and the flute was whistling, then I heard the words: “Brothers, have mercy,” then I heard the self-confident, angry voice of the colonel shouting: “Will you smear? Will you?”” And again the writer collects all the sound series in one sentence. They create a harsh tirade of sounds, devoid of any euphony, moving from low tones (fraction) to high, one might say, hysterical (flute). Moreover, even in one sentence, the writer creates a consistent chain of different elements. First, music is heard, then the Tatar’s plea, which ends with the colonel’s menacing voice. This framing also shows us that any cries for help will not be heard. In contrast to this cruel picture are wonderful sounds bala. They literally intoxicated the main character a couple of hours ago. “Even though I was a lover of champagne, I didn’t drink, because without wine I was drunk with love, but I danced until I dropped - I danced quadrilles, waltzes, and polkas, of course, as far as possible: all with Varenka.” And the hero continues to hear them the moment he leaves the ball: they are so sweet and delightful. “I was singing all the time in my soul and occasionally heard the motif of the mazurka,” despite the fact that this was the only dance to which Ivan Vasilyevich did not invite Varenka. At that moment he was looking at the girl from the side. Therefore, the melody sounding in his soul reminded him of that beautiful image at the ball.
The most important achievement the writer becomes that he manages to show a contrasting combination not only with the help various elements. but also within the limits of one person - the colonel. At the ball, the military man is beautiful, despite some shortcomings in clothing, which are justified by his great attention to his daughter. “Varenka’s father was a very handsome, stately, tall and fresh old man. His face was very ruddy, with a white... curled mustache.” During punishment, it is as if a completely different person appears before us. The colonel “...sucked in air, puffing out his cheeks, and slowly released it through his protruding lip.” In such a contrasting comparison, we are shown not only the appearance, but also the behavior of a military man. He is changing before our eyes. And after such a picture, combined with other plots and events, Ivan Vasilyevich tries not to see Varenka anymore. “And the love just faded away. So this is what things happen and what changes and directs a person’s whole life.” The contrasting picture created by Tolstoy in this work also played a significant role in this decision.
The feeling that we experienced also appears in contrast to us. main character. After the ball, he was in love and inspired by the feelings that arose for Varenka: “I was not only cheerful and contented, I was happy, blissful, I was kind, I was not me, but some unearthly creature who knows no evil and is capable of one thing.” good". However, after the punishment scene, Ivan Vasilyevich is depressed and humiliated. “Meanwhile, there was an almost physical melancholy in my heart, almost to the point of nausea, such that I stopped several times, and it seemed to me that I was about to vomit with all the horror that entered me from this sight.” Each of the events left an indelible mark on the soul of Ivan Vasilyevich. But the last impression so eclipsed everything that the main character had seen and felt before. It was this that influenced his further actions and decisions.
Consequently, the use of contrast allows not only to show the event from two sides, but also, to some extent, to have a significant impact on the actions of the main characters. It seems that the author does not interfere with the narrative, and everything gradually goes on as usual. But in reality, everything is completely different. Negative side contrast shows which side the author is on and what position should be taken when considering a particular problem. Tolstoy skillfully used this technique to show in a short story how a person’s life can change not only from chance, but also from the perception of the contrast of the world in which he lives.
