Tolstoy "After the Ball". The clash of the romantic worldview and the truth of life

1. For what purpose does L.N. Tolstoy turn to the past?

Unlike Lermontov (“Song about Tsar Ivan Vasilyevich...”), Gogol (“Taras Bulba”), who turned to the past in search of heroic characters, Tolstoy in the story “After the Ball” restores the past to show that its horrors live in the present, only slightly modified, that the past with its social inequality, cruelty, injustice is invisibly present in the present day (the time the story was written), that a renewal of life is necessary . The story overlaps two eras - the one depicted by Tolstoy (40s years XIX century, the era of Nicholas I), and that which is present invisibly, in the setting of social, philosophical problems, moral issues (900s).

2. What is the main theme of the story?

This is the theme of the moral responsibility of each member of society for the lives of everyone. It is revealed through the image of the narrator, Ivan Vasilyevich, whose life, as he believes, was changed by one single incident.

3. How is the work constructed?

The composition is based on the technique of antithesis (the ball and after the ball), the story is told in the first person, there are two narrators in the work: a young man who introduces the reader to Ivan Vasilyevich, and Ivan Vasilyevich himself, the narrator and at the same time one of the main characters of the work. What we have before us is, in essence, a “story within a story.” This ring composition allows us to bring together, and therefore compare, two eras.

4. On whose behalf is the story told about what happened at the ball and after the ball? Can we consider that there are two narrators in the story “After the Ball”? How can you name each of them, bearing in mind that Ivan Vasilyevich is also the hero of the work?

Let's go back to the beginning of the story.

“You say that a person cannot understand on his own what is good and what is bad...

This is how everyone respected Ivan Vasilyevich spoke after a conversation between us...”

We understand that there are two narrators in the work. One tells the story from the author. Another one is designated by this author both as a participant in the events and as a narrator - this is Ivan Vasilyevich.

5. Read the beginning of the story in roles from the perspective of each of the narrators.

Performed on behalf of the author presupposes a calm and devoid of emotional overtones. Having decided to read on behalf of Ivan Vasilyevich, it is necessary to convey emotional attitude this person to a story about his tragic fate. This is all the more important because the author states: “being carried away by the story... he told it very sincerely and truthfully.”

6. Reread final part a story that returns the reader to a conversation about the environment, about “what is good and what is bad.” Why did the author return to this conversation again at the end of the story? How is the conversation-conversation that frames the work combined with the theme and content of Ivan Vasilyevich’s story about the events at the ball and after the ball? Why can “After the Ball” be called a story within a story? How are the past and present related in the work?

“After the Ball” is a work that can be called a story within a story, since Ivan Vasilyevich’s narrative about the events at the ball and after the ball arose during a conversation between old friends. They are trying to decide “what is good and what is bad.” Ivan Vasilyevich offers episodes from his life that can help resolve this issue. The conversation between friends - the frame of the story - is the beginning and ending of this work. The frame of the story is also an important part in order to understand how concerned the participants in the conversation are with moral problems.

7. What feelings overcome young Ivan Vasilyevich at the ball? What does the hero of the story experience after parting with Varenka? What did he “see” and “hear” under the impression of a merry ball? How do the feelings experienced by the hero-narrator upon returning home manifest themselves in relation to his brother and footman Petrusha? How does the hero perceive the morning city landscape? Write down the words and expressions that most succinctly convey the state of Ivan Vasilyevich.

An enthusiastic feeling overwhelmed Ivan Vasilyevich at the ball: “I was not only cheerful and satisfied, I was happy, blissful, I was kind, I was not me, but some unearthly creature, knowing no evil and capable of only good.” . These feelings only intensified after his separation from his beloved girl. Both his brother and the footman Petrusha seemed to him “touchingly touching.” An equally tender feeling possessed him when looking at what surrounded him on the street: “everything was especially sweet and significant to me.”

8. What feelings took possession of Ivan Vasilyevich after he saw the cruel punishment of Tatarin? Why are the words “began to discern”, “began to look”, “saw”, “heard”, “saw”, “caught a glimpse”, “heard”, “not knowing where to look”, “seen” so often repeated in his story about punishment? were the words heard? How do they help gradually reveal the growth of the feeling that the hero of the story experienced on the terrible morning of the execution? Write down the words that convey Ivan Vasilyevich’s state as a witness to the punishment.

“I was so ashamed...” says Ivan Vasilyevich. He goes home, and “there was an almost physical melancholy in his heart, almost to the point of nausea.” Repeated words that speak of close attention an involuntary witness to the punishment, to what is happening, they force the reader to delve into the essence of what is happening, to understand the hero’s experiences.

9. Tell us about the hero’s experiences and thoughts at the ball and after the ball.

In order to talk about the hero’s experiences and thoughts, you can retell the entire story. But we can characterize them briefly - the path from delight and happiness to shock and horror occupies the entire narrative. Another option is also possible: a description of our reader’s observations about how, from the charm that gripped the hero at the ball, from the feeling of complete happiness, a person suddenly moves to the tragic shock that arises from the scene of the legalized murder of a guilty soldier. It is also worth remembering that these sharply different pictures unfold against the background of music, which very accurately accompanies the events described on the pages of the story.

10. What colors predominate in the description of the ball and in the description of the Tatar’s punishment for escaping?

The story breaks up into two contrasting pictures and each of them differs sharply in its tonality, which is noticeable in both the musical and pictorial solutions of these pictures. Even if we look very carefully at the first joyful part of the story, we will see only white, pink and silver colors - a light, festive palette. The harsh, bad music of the second picture is accompanied by black color and “something motley, wet, red, unnatural” into which the back of the beaten man has turned. So, white and pink, black and red. The details that accompany this image only enhance the emotional impact of the paintings.

11. How is the colonel drawn at the ball and after the ball? Can the words spoken by the colonel at the ball - “everything must be done according to the law” - be correlated with his behavior during the execution?

The image of the colonel at the ball and after the ball is the image of the same person, who always follows the law in everything. There is no insidious desire in him to pretend to be something, to deviate from his habits. And the stronger the shock of the hero - he sees that there is no falsehood in a person, that he is always the same, and the more obvious is the organic nature of his behavior on the parade ground during the punishment of the soldier. The Colonel is an integral nature, but this integrity includes as its organic and essential part the ability to carry out cruel reprisals, cruelty by order of the charter. If this is so, then it is impossible to change or correct anything in his fate and in his personality.

12. At the very beginning of the story, Ivan Vasilyevich’s interlocutors talk about the importance of understanding “what is good and what is bad.” What answer does the writer give to these questions in the story “After the Ball”? What kind of illustrations would you draw for the work of L.N. Tolstoy? How would you respond with your illustrations to the “what is good” and “what is bad” in the picture of life captured in the story?

In the story “After the Ball,” the author gives clear answers to the questions: “what is good” and “what is bad.” One of these answers is the ball scene. The second is the scene after the ball. And the illustrations that could be created could contain either two contrasting paintings or two series of such paintings. Both the ball and the execution consisted of many moments, each of which can be captured in an illustration. The first episode would show how beautiful, touching, humane the relationship between father and daughter is at the ball. Their beauty, grace, demeanor, plasticity of dance, purely human communication evoke a grateful response from everyone who sees them. And just as emotionally expressive are the brutal scenes of execution, which demonstrate the darkest sides of human character. Here there is cruelty, cowardice, senseless ruthlessness, and a calm attitude towards the humiliation of others.

13. How does Ivan Vasilyevich appear in the characteristics of his interlocutors? What role did “chance” play in Ivan Vasilyevich’s life? How does the hero characterize his decision not to serve in military service and not serve anywhere?

We see Ivan Vasilyevich as a person who is not alien to the joy of contact with the beautiful, the ability to respond to both good and bad, and sensitivity to what is happening nearby. In the author's description, he is presented as a kind, decent person. The interlocutors to whom he told his story evaluate him in the same way. An incident intervened in the usual course of his fate, which showed how Ivan Vasilyevich differs from any other person. In order to renounce the fate familiar to those around him, one must have a strong and decisive character, strength of convictions.

14. Working on the story “After the Ball,” L. N. Tolstoy expanded the episode of execution and persistently emphasized the contrast in the appearance of the colonel at the ball and after the ball. What was the writer trying to say with this?

Although Tolstoy expanded the description of the execution and at the same time emphasized the contrast in the appearance of the colonel at the ball and after the ball, the events that took place at the ball are depicted in more detail and more fully.

The contrast between these two parts of the story is obvious and the power of the description of the execution still suppresses the bright and joyful colors of the ball.

15. It is known that in the first edition of the story, Ivan Vasilyevich regrets that he did not marry Varenka. Why did L.N. Tolstoy exclude this motif from the final edition of the story?

If such a regret had remained in the text of the story, then the character of Ivan Vasilyevich would have changed greatly. In this case, he would have come to terms with the contrast in the colonel's behavior. From a person with a sensitive conscience and the ability to make extraordinary decisions, he would turn into one who humbly follows the usual standards.

16. What do you see as the critical power of storytelling?

The critical power of the story lies in its decisive portrayal of the darker aspects of life, in its obvious statement human dignity. Expanding the tragic part story, the author did not reduce the size of the description of the hero’s happiness at the ball. The proportions of good and evil in the story are not violated.

17. In the original editions, the story had the following titles: “Daughter and Father”, “And you say.” Why do you think the writer preferred the title “After the Ball”?
18. In his memoirs about L.N. Tolstoy, the famous lawyer and writer A.F. Koni, touching on the story “After the Ball,” could not ignore the contrast inherent in the work. He noted: “This fatal dissonance is stronger than any long and complex drama" In its literal meaning, the word “dissonance” means an inharmonious combination of sounds, and in a figurative sense it means discord, inconsistency, contradiction, a sharp discrepancy with something. In what meaning, in your opinion, did the memoirist use the word “dissonance”? Can the words “contrast” and “dissonance” be called in this case synonyms? Why is “dissonance” called “rocky” by the author of the memoirs?

In the evaluation of the story, the word dissonance is used as a synonym for contrast. Inconsistencies also arise in the emotional structure, in color, and in sound. The main reason why dissonance is called fatal is that its impact on the fate of the hero is great, that it is terrible as a social phenomenon.

19. The contrasting comparison of the two parts of the story was clearly reflected in the language work of art. Select antonyms from each part of the story that convey the sounds and colors of the ball and execution. Include them in your oral history.

The ball was wonderful, the hall was beautiful, the musicians were famous (serfs!), the buffet was magnificent and there was a sea of ​​champagne...

Something big, black...

Contrasting comparisons are also contained directly in the text: “I was singing all the time in my soul and occasionally heard the mazurka motif. But it was some other, cruel, bad music.”

It is hardly worth comparing the huddled body of the punished, having lost its human appearance, with the slender and dexterous dancers at the ball. Therefore, we will include them in the oral story with caution.

20. Characterizing the appearance of the colonel, Tolstoy emphasizes that “his face was very ruddy, with a white curled mustache a la Nicolas I, white sideburns brought to the mustache and with combed forward temples.” Comparing the appearance of the colonel, “a servant of Nicholas’s bearing,” with Nicholas I is an important artistic detail of the story. Think about why the writer resorts to comparing the appearance of the colonel with the appearance of the king. How does this comparison develop in the plot of the story “After the Ball”?

Drawing a portrait of “servants of Nikolaev bearing”, the author, as it were, indicates the starting point in revealing his character and life position. For the author, who wrote the story under the impression of his youth, the appearance of the servant of Nicholas’s time was alive, which he embodied both in the portrait of the hero of the story, and in its comparison with the appearance of the autocrat. Thus, the author managed to vividly reproduce the Nicholas era.

The portrait of Varenka’s father speaks about this: “Varenka’s father was a very handsome, stately, tall and fresh old man. His face was very ruddy, with a white curled mustache a la Nicolas I, white sideburns drawn up to the mustache and combed forward temples... He was a military commander, like an old campaigner of the Nicholas style.” The appearance and behavior of the colonel quite fully and uncompromisingly reveals the typical appearance of a martinet of Nikolaev bearing, who behaves and thinks as prescribed. Material from the site

21. The hero of the work and narrator Ivan Vasilievich calls an “incident” from his life “a long story.” But is this really “ long story"? After all, he immediately says that his “life changed in one night, or rather morning.” Read the story and watch how the writer, through the mouth of Ivan Vasilyevich, records the time of the night ball and the day that followed it. What events are these indications of the duration of action associated with? What is the time distance between the beginning of the story about the “wonderful” ball and the events that close the story of Ivan Vasilyevich?

We remember that the hero left the ball “at five o’clock, by the time he got home, sat at home, another two hours passed, so when I left, it was already light.” So the morning of the next day was marked for Ivan Vasilyevich with a tragic discovery: from the poetic world he unexpectedly moved to tragic world cruelty and lawlessness. And this journey took only a few hours.

22. Drawing the appearance of the hostess of the ball, the writer emphasizes that she was “in a velvet puce dress, with a diamond feronniere on her head and with open old, plump, white shoulders and breasts, like portraits of Elizabeth Petrovna.” Why does Tolstoy, in the story “After the Ball,” recreate the portrait of the ball hostess three times, each time comparing it with the portrait of Elizaveta Petrovna? To what extent does the mention of Empress Elizaveta Petrovna expand the time boundaries of Tolstoy’s work?

The author, hinting several times at the similarity of the hostess of the ball with the portrait of Elizaveta Petrovna, seems to be expanding the time frame. He includes in the system of relationships that excite and outrage him not only several episodes of recent times, but also an era that can be measured in more than a single decade.

23. With what feeling, remembering the distant past, does Ivan Vasilyevich describe the ball? Imagine that you have to depict a ball on an artistic canvas. What colors would prevail? Why?
24. How does the colonel appear in the ball scene? What about his appearance and behavior touches and delights the narrator?
25. Does the mood with which Ivan Vasilyevich returns home affect how he perceives the scene of the soldier being punished for escaping?
26. How do we see the colonel in this scene? How are his appearance and behavior described here? Let's “write” another picture. What paints will be needed? Why?
27. So what is the colonel really like? Was he being a hypocrite at the ball? Did you pretend to care? kind father, well-mannered, friendly person?
28. Can Ivan Vasilievich answer these questions? What feelings does he have? Did he understand the reasons for the contradictions in the colonel's behavior?
29. How did what he saw after the ball change the life of this honest, thinking man? Why didn't he become a military man, as he had previously planned? What conclusions did you come to? What did you devote your life to?
30. Show Tolstoy's artistic mastery with specific examples.
31. What impression did this story make on you? What got you excited? What did it make you think about?

Didn't find what you were looking for? Use the search

On this page there is material on the following topics:

• how the story after the ball is structured and why
• Tolstoy after the ball, how does this story affect the main character and his attitude to life
• examples of antitheses in the story after the ball
• The first meeting with Thaddeus on the pages of the story. What kind of person does the old man appear to you? What is striking about his appearance? What impression did Thaddeus make on Ignatich, and what impression did he make on you personally?
• the psychological mood of the narrator after the ball

Questions for Leo Tolstoy's story "After the Ball"
1) For what purpose does L.N. Tolstoy turn to the past?
Unlike Lermontov ("Song about Tsar Ivan Vasilyevich..."), Gogol ("Taras Bulba"), who turned to the past in search of heroic characters, Tolstoy in the story "After the Ball" restores the past to show that its horrors live on in the present, only slightly modified, that the past with its social inequality, cruelty, injustice is invisibly present in today (the time of writing the story), that a renewal of life is necessary. The story echoes two eras - the one that Tolstoy portrays (the 40s of the 19th century, the era of Nicholas I), and the one that is present invisibly in the formulation of social, philosophical problems, and moral issues (the 900s).
2) How is the work constructed?

The composition is based on the technique of antithesis (the ball and after the ball), the story is told in the first person, there are two narrators in the work: a young man who introduces the reader to Ivan Vasilyevich, and Ivan Vasilyevich himself, the narrator and at the same time one of the main characters of the work. What we have before us is, in essence, a “story within a story.” This ring composition allows us to bring together, and therefore compare, two eras.
3) Tell us about the hero’s experiences and thoughts at the ball and after the ball.

In order to talk about the hero’s experiences and thoughts, you can retell the entire story. But we can characterize them briefly - the path from delight and happiness to shock and horror occupies the entire narrative. Another option is also possible: a description of our reader’s observations of how, from the charm that gripped the hero at the ball, from the feeling of complete happiness, a person suddenly moves to the tragic shock that arises from the scene of the legalized murder of a guilty soldier. It is also worth remembering that these dramatically different pictures unfold against the background of music, which very accurately accompanies the events described on the pages of the story.
4) What colors predominate in the description of the ball and in the description of the Tatar’s punishment for escaping?

The story breaks up into two contrasting pictures and each of them is sharply different in its tonality, which is noticeable in both the musical and pictorial solutions of these pictures. Even if we look very carefully at the first joyful part of the story, we will see only white, pink and silver colors - a light, festive palette. The harsh, bad music of the second picture is accompanied by black color and “something motley, wet, red, unnatural” that the back of the beaten man has turned into. So, white and pink, black and red. The details that accompany this image only enhance the emotional impact of the paintings.
5) How is the colonel drawn at the ball and after the ball? Can the words spoken by the colonel at the ball - “everything must be done according to the law” - be correlated with his behavior during the execution?

The image of the colonel at the ball and after the ball is the image of the same person who always follows the law in everything. There is no insidious desire in him to pretend to be something, to deviate from his habits. And the stronger the hero’s shock - he sees that there is no falsehood in a person, that he is always the same, and the more obvious is the organic nature of his behavior on the parade ground during the punishment of the soldier. The colonel is an integral nature, but this integrity includes as its organic and essential part the ability to brutally reprisal, cruelty by order of the charter. If this is so, then it is impossible to change or correct anything in his fate and in his personality.
6)What do you see as the critical power of the story?

The critical power of the story lies in its decisive portrayal of the darker aspects of life, in its obvious affirmation of human dignity. While expanding the tragic part of the story, the author did not reduce the size of the description of the hero’s happiness at the ball. The proportions of good and evil in the story are not violated.
7) In the original editions, the story had the following titles: “Daughter and Father”, “And you say.” Why do you think the writer preferred the title “After the Ball”?

How does the colonel appear in the ball scene? What about his appearance and behavior touches and delights the narrator?
9)

Current page: 6 (book has 14 pages total) [available reading passage: 10 pages]

4. Working on the story “After the Ball,” L. N. Tolstoy expanded the episode of execution and persistently emphasized the contrast in the appearance of the colonel at the ball and after the ball. What was the writer trying to say with this?

5. It is known that in the first edition of the story, Ivan Vasilyevich regrets that he did not marry Varenka. Why did L.N. Tolstoy exclude this motif in the final version of the story?

6. What do you see as the critical power of the story "After the Ball"?

7. In the original editions, the story had the following titles: “Daughter and Father”, “And You Say”. Why do you think the writer preferred the title “After the Ball”?

Contrast like compositional technique

The accusatory power of L. N. Tolstoy’s story “After the Ball” is emphasized by the strictly thought-out construction (composition) of the work, in which the main plot points – the ball scenes and the execution – are contrasted. Consistently contrasting the main parts of Ivan Vasilyevich’s “sincere and truthful” story, the writer persistently emphasizes the contrast in state of mind the hero, in the system of images and characters, in descriptions, in individual details of the work. Numerous contrasting comparisons find flexible verbal expression. Thus, skillfully using the deeply exciting contrast in the protagonist’s experiences at the ball and after the ball, given in direct movement and development, L. N. Tolstoy deliberately repeats leitmotif words, for example, in the following sentences: “... in my soul Love to Varenka freed all the ability hidden in my soul love"; "I was so ashamed that, not knowing where to look, as if I had been caught in the very shameful act, I lowered my eyes and hurried to go home” (emphasis mine. – Auto.). Here the love that gripped Ivan Vasilyevich at the ball is contrasted with the feeling of shame of a witness to the punishment. The writer persistently emphasizes the contrast in the colonel’s behavior with his “affectionate, joyful smile” at the ball and his “menacing and vicious frown” during the execution of the punishment. In contrast, the story contains the images of Varenka, “graceful and majestic,” and the punished soldier with his “face wrinkled with suffering” and “motley, wet, red, unnatural” body. Contrast as a compositional device helps L.N. Tolstoy express the author’s position with utmost clarity and convey to the reader the merciless truth of the work.

Questions and tasks

1. In his memoirs about L.N. Tolstoy, the famous lawyer and writer A.F. Koni, touching on the story “After the Ball,” could not ignore the contrast inherent in the work. He noted: “This fatal dissonance is more powerful than any long and complex drama.” In its literal meaning, the word “dissonance” means an inharmonious combination of sounds, and in a figurative sense it means discord, inconsistency, contradiction, a sharp discrepancy with something. In what meaning, in your opinion, did the memoirist use the word “dissonance”? Can the words “contrast” and “dissonance” be called synonyms in this case? Why is “dissonance” called “fatal” by the author of the memoirs?

2. The contrasting comparison of the two parts of the story is clearly reflected in the language of the work of art. Select antonyms from each part of the story that convey the sounds and colors of the ball and execution. Include them in your oral history.

Time and space in literary text

The composition of the story “After the Ball” largely determines the features of the organization of artistic time and space in it.

In the story, two time layers can be distinguished: this is the time of telling in a conversation about “what is good and what is bad,” which opens and ends the work, and the time of the action, that is, that “long story” that “changed” the whole life of the narrator . The story told by Ivan Vasilyevich took place “in the forties,” when the “everyone respected” narrator was still a university student. One of the interlocutors recalls his daguerreotype portrait, which indicates the accuracy of the reproduction of the era: daguerreotype as one of the methods of photography was invented in 1839. The age of the heroine also speaks about the distance between the time of the event and the time of the story: the lovely Varenka B., whom both men and women admired during the ball, was only eighteen years old, but even later, at fifty years old, she, according to Ivan Vasilyevich, “was wonderful beauty” (which means that more than thirty years have probably passed between the events narrated and the time of the story).

Recalling the events at the ball and after the ball, Ivan Vasilyevich characterizes them as “a matter of the past,” which determines the features of the narrative style in the story, which is characterized by the frequent use of past tense verbs. The verb “to be” is used especially persistently in the story, which emphasizes that the “incident” told by Ivan Vasilyevich precedes the moment of speech: “And it happened that I was very much in love”; “I was not only cheerful and contented, I was happy, blissful, I was kind, I was not me, but some unearthly creature, knowing no evil and capable of only good.” Sometimes the verb “to be” begins individual sentences, emphasizing the features of Ivan Vasilyevich’s tale manner: “I was a student at that time...”; “I was a very cheerful and lively fellow...”; “It was the most Pancake week weather, there was fog, the snow saturated with water was melting on the roads...”

The time of storytelling, in which the narrator and his interlocutors find themselves, and the time of action, in which the heroes of the work live, always correlate with the time of creation of the work and with the present day, when the work of art becomes the property of the reader.

In the story how small form narrative literature the space of action is inevitably limited. The events described in the story “After the Ball” take place “at the ball of the provincial leader,” in the narrator’s house and on the streets of a small provincial town. The hero of the story, who was afraid of “only one thing, that something might spoil” his “happiness,” involuntarily appears at the end of the city, “near the big field” where Varenka B. lived. It was there that the girls’ institute was located and it was there that the “festival” was located, where the terrible torture of the fugitive soldier took place, led by “a tall military man in an overcoat and cap.” Thus, the time of action of the story, which tells about the events at the ball and after the ball, is closely related to the organization of space in the work.

Questions and tasks

1. The hero of the work and narrator Ivan Vasilyevich calls an “incident” from his life “a long story.” But is this really a “long story”? After all, he immediately says that his “life changed in one night, or rather morning.” Read the story and watch how the writer, through the mouth of Ivan Vasilyevich, records the time of the night ball and the day that followed it. What events are these timing indications associated with? What is the time distance between the beginning of the story about the “wonderful” ball and the events that close Ivan Vasilyevich’s story?

1. Describing the colonel’s appearance, Tolstoy emphasizes that “his face was very ruddy, with a white curled mustache à la Nicolas I, white sideburns drawn up to the mustache and with combed forward temples.” Comparison of the appearance of the colonel, “a servant of Nicholas’ bearing,” with Nicholas I is important artistic detail story. Think about why the writer resorts to comparing the appearance of the colonel with the appearance of the king. How does this comparison develop in the plot of the story “After the Ball”?

2. Drawing the appearance of the hostess of the ball, the writer emphasizes that she was “in a velvet puce dress, with a diamond feronniere on her head and with open old, plump, white shoulders and breasts, like portraits of Elizabeth Petrovna.” Why does Tolstoy, in the story “After the Ball,” recreate the portrait of the ball hostess three times, each time comparing it with the portrait of Elizaveta Petrovna? To what extent does the mention of Empress Elizaveta Petrovna expand the time boundaries of Tolstoy’s work?

Literature of the 20th century

Yu. N. Tynyanov. M. Aldanov. S. Zweig. B. L. Vasiliev. L. M. Leonov.

Author and time on the pages of works of the 20th century

All generations of people have maintained an interest in the past. The science of the 20th century brought the art of words a real opportunity to more thoroughly reflect the past in a work of art. The attitude of the reading public towards works dedicated to bygone eras has become sharper and more demanding. Authors increasingly began to look in the past for answers to today's questions.

The themes and genre richness have expanded historical works, among them appeared Science fiction, detective and adventure literature, fantasy. The best of these works enhance the reader's interest in bygone times and legendary events.

Disputes, hobbies and misconceptions of the era brought new approaches and new assessments historical events, expanded the genre palette of word artists. Along with epic novels, such as “Quiet Don” by M. Sholokhov, bright and dynamic historical miniatures appeared, for example, “Humanity’s Finest Hours” by Zweig. Author's position manifests itself not only in the choice of the genre of the work, but also in the coverage of a particular event, in the choice of heroes. The writer's assessment of the past time reflects his view of the world today.

History remains history, and interest in it, the desire to fully understand its secrets are inherent in readers different generations, replacing each other. Epic, lyric and drama, using existing genres and, trying to create new ones, compete in attempts to bring the events of past centuries closer to ours today, to his concerns, searches and achievements.

The author of numerous stories and stories, Ivan Bunin said: “I am a poet, and more a poet than a writer, I am mainly a poet.” But he never separated his poetry from prose, which is characterized by increased emotionality and deep lyricism.

Bunin's poetry is inspired by the imperishable beauty of nature. His “greedy gaze” notices the “golden iconostasis of sunset”, “living pattern of stars”, “gray sky”, “cool and empty day”, “sunny chambers” pine forest, “forests on distant slopes”, which remind him of “yellow-red fox fur”, “naked” autumn steppes. In the colors of nature, “love and joy of being” shines for him.

At the beginning of the century, Bunin traveled through the countries of Europe and Asia. In his poems, the theme of the past begins to sound, which harmoniously connects with the theme of beauty in life and art: “The beauty that the world strives forward is also a trace of the past.” Ancient monuments different eras and countries appear in the poet’s poems as living witnesses human history. Bunin is inspired by images of the Ancient East, ancient Greece, historical monuments Palestine and Egypt. He wanders in thought in the remoteness of space and time:

I am a man: like God, I am doomed
To experience the melancholy of all countries and all times.

The living element of Russian folklore invades the lyrical poems of Ivan Bunin. Epics and fairy tales, traditions and legends are transformed into poetry. Placers folk wisdom are heartfeltly reflected in the poems “Two Voices”, “Svyatogor”, “Stepmother”, “Poison”, “Bride”, “Prince Vseslav”, “Alyonushka”. They are sung in them true heroes past and mythological heroes, rebellious, daring and mysterious natures.

At a crossroads

At a crossroads in a wild ancient field
A black raven sits on a cross.
The steppe is overgrown with weeds in the wild,
And the old shield rusted in the grass.

At the crossroads people drew
Fatal inscription: “The path is straight
It prepares a lot of troubles, and hardly
You will use it to return home.

The path to the right will leave you without a horse -
You will wander alone, sire and naked, -
And the one who directs the path to the left,
Will meet death in unknown fields..."

I'm scared! There are graves in the distance...
In them the past slumbers in eternal sleep...
“Answer me, black-winged raven!
Show me the way in the wilderness."

The afternoon slumbers. On animal paths
Bones smolder in the grass. Three ways
I see in the yellowing plains...
But where and how to go along them?

Where does the wild plain border?
Who, frightening the sensitive horse,
In the silence from the blue distance it calls
Me in a human voice?

And I’m alone in the field, and bravely
Life is calling, but death is staring you in the eye...
The black raven is gloomy and important,
Half asleep, sitting on the cross.

Questions and tasks

1. How does the description of a steppe overgrown with weeds make you feel? Why does the poet use the words “field”, “steppe”, “plain”, “edge” in this description? What epithets for them enrich the picture of the steppe? Explain the meaning of the personifications “the past slumbers in eternal sleep”, “noon slumbers”.

2. What experiences does contemplation of the “ancient field” evoke in the poet? To which artistic means does the poet come running, expressing the feelings that gripped him? What words express the leitmotif of the poem?

1. Compare the signature “on the pebble” in the epic “Three Trips of Ilya Muromets”:

To the old Cossack and Ilya Muromets
Three paths have come, the paths are wide:
And if you go down that road, you’ll be killed,
To go to another one - to be married,
Yes, to go to the third one - to be rich... -

with the inscription on the cross in the poem “At the Crossroads”. What did the poet achieve by changing the inscription? Why did he call her "fatal"?

2. Compare the poem by I. A. Bunin “At the Crossroads” and the painting by the artist V. M. Vasnetsov “The Knight at the Crossroads”. What motifs unite the works of the poet and the artist?

Svyatogor

The horse of Svyatogor the hero wakes up:
Svyatogor fell with his chest on the quiver.
A raven floats across the field, cawing.
The dawn became dim and hot.
The moon stood on its midnight watch.

Oh, Svyatogor is not sleeping, he’s pretending!
The horse touches lightly with his hoof
Shoulder-length in gilded carving:
“Am I not full of spring wheat?
Am I not covered with a fire blanket?
Should I carry Ivan on myself?

In an open field, near the Alatyr stone,
The moon shines on the hero's helmet:
Svyatogor accepted God's death.
The horse sighs and roars like an animal:
He served one master!
And Ivan opened the white tent:

He crawls through the dew, creeps up,
He is chasing a wild Tatar,
He grabs the horse by the mane.
Night after night goes by, the raven croaks,
The horse shuffles around Alatyr in the wind,
Ringing empty stirrups.

Questions and tasks

1. What is the theme of the poem? Why did Svyatogor accept “God’s death” near the “Alatyr stone”, which in Russian folklore is depicted as “the father of all stones”, as a “white-flammable stone” and is endowed with healing properties?

2. What feelings and thoughts does the poet share with the reader in the poem “Svyatogor”?

1. What role does the landscape play in the poem? clean field"? What sounds disturb the silence of the picture painted by the poet? What significance does the image of a croaking raven acquire in the poem?

2. In the poem “Svyatogor”, the poet, depicting a heroic horse, follows the traditions of the Russian epic epic. How does he show the horse's affection to its owner?

Svyatogor and Ilya

On maned horses on shaggy ones,
On golden stirrups on unraveled ones,
The brothers, the youngest and the eldest, are coming,
They travel for a day, and two, and three,
They see a simple trough in the field,
They run into a coffin, and a big one:

The coffin is deep, made of oak,
With a black roof, heavy, languid,
So Svyatogor raised it,
He lay down, covered himself and joked: “It’s just right!”
Help, Ilya, Svyatogor
Go out into God’s space again!”

Ilya hugged the roof, grinned,
I swelled my entire overweight liver,
Moved it up... No, wait!
"You with the sword"! – a voice is heard from the coffin.
He is for the sword, - anger is engaged,
The heart lights up in the chest, -

But he doesn’t even take the sword: he cuts,
Let him not do things, but destroy:
Wherever it hits, the hoop is ready,
The iron bond is growing:
Do not rise from the tomb crypt
Svyatogor forever and ever!

Ilya started to fight - God’s will.
Driving away along a wide field,
Wipes away a tear... Took it away
Russian power Earth half:
Go to a different path,
To other things!

Questions and tasks

1. “Svyatogor and Ilya” is a poetic adaptation of one of the central episodes of the epic “Svyatogor and Ilya Muromets”. How they appear in the poem epic heroes? On whose side does the author sympathize?

2. The hero of Russian epics, Svyatogor, one of the older heroes, cannot find a use for his strength. How is this trait of Svyatogor reflected in I. A. Bunin’s poem? How do you understand the meaning of the ending of the poem?

1. What unites the poems “Svyatogor” and “Svyatogor and Ilya”? How is the death of the hero shown in them?

Balmont's poetry is the poetry of fleetingness, of captured moments. In every minute he strives to feel the fullness of life, to see a window into eternity. He surrenders to the “powerful and sweet” feeling of victory over “ages and spaces.” In an unquenchable thirst for knowledge, Balmont traveled almost the whole world. His lyrics often contain images of foreign lands, distant history, culture, and art. In the collections “Firebird”, “Birds in the Air”, “Round Dance of Times”, the poet immerses himself in the “folk element” and recreates the images of “song singers”, “wizards of Russian speech”, Slavs “knowing space”, recalls Ilya Muromets, whom no one has surpassed “in nobility and scope.”

Balmont's poems are extremely melodic. The poet himself wrote that “they contain rhythms and chimes of euphonies found for the first time.” His poems fascinate with the magic of sounds: in them “the reeds rustle barely audibly, silently,” and “the groves are full of whispers, murmurs,” in them, “alien to the pure charms of happiness, a boat of languor, a boat of anxiety” beats with a storm.

In 1921, Balmont and his family went on a business trip abroad for a year. But he was not destined to return to Russia. Balmont was homesick for his homeland, for the small village of Gumnishchi, Shuisky district, Vladimir region, where he was born. In one of his poems he sadly wrote:

My mourning is not for months,
It will last for many strange years.

Dear heroes,
The heavens shine in you,
You have water, steppe,
Forest voices.

You rocked your childhood
Like a winter storm 15
Myatel is a blizzard (this spelling of the word is typical for the lyrics of K. Balmont).

Rocking in the snowy distance
A sunken spruce.

You lived in adolescence,
Like a reflection of eternal forces,
Like a stalk of old,
Who broke through the darkness.

You married your youth
With an elegant dream,
With the depth of sadness,
With a golden smile.

When the dream wanted
To be in the bright swell of days,
You looked boldly
They gave her the firebird.

When in the backwater of dreams
Sadness entered like a shadow,
You made the misery
Transparent like crystal.

The moments have sunk
But, having raised his rod,
You brought back your youth
And laughter is with living water.

And where the roads meet,
Your image is like a star.
Bogatyrs, you are gods,
You live and live forever.

Questions and tasks

1. How do you understand the meaning of the title of the poem?

2. In the poem “Water of Life,” the appeal to “native heroes” acts as a poetic device that determines the emotional atmosphere of the poem and its construction. Watch how the poet, who paid tribute to the grace of form, achieves the compositional harmony of the poem by alternating addresses.

1. How heroes are perceived in different periods human life? How do they appear in childhood, adolescence, youth? How do you understand the metaphors “in the bright swell of days”, “backwater of dreams”, “moments drowned”? What does the poet achieve by using these figurative expressions?

2. What comparisons, generously scattered throughout the poem, seemed unexpected, unusual, or striking to you?

3. In what words of the poem is the image of a crossroads, a crossroads given?

1. How is the unity of heroes and nature emphasized in the poem?

The main theme of Evgeniy Vinokurov’s lyrics is the spiritual maturity of a person, reflections on his inner world: the universe is “simple, but man is complex.” He is passionate about thinking about reality and intensely peers at “how wonderfully everything in this world is confused, how incomprehensible everything is.” “A supporter of earthly appearance,” he does not ignore the visible details of the surrounding world. The poet rejoices in the sun, “when it rises flamingly over the edge of the forest like a hot ball,” he squints “from the chamomile pollen,” he remembers that “somewhere there is a province with geraniums, with a thread of a path running to the river.” But in his poems the memory of the war is also alive - about the “thickly whitewashed barracks”, about the “rations given out in short supply”, about the sad cry of the harmonica, about friends in battle. In his lyrics, Vinokurov opposes “drinking the cup of cold life drop by drop.” The world for him is “mysteriously high.” He wants to comprehend its diversity and integrity, to find “words that will always live.” These words, says the poet, must be written in blood:

Shedding ink is not held in high esteem
Those who have suffered have the right to speak!

Evgeny Vinokurov is always attentive to what “they were told” and what “myths say.” In the cycles of poems “Hellas” and “Antique”, he “leaves through the past day after day” and hears its “distant hum.” Reflections on the past and on “everyday, extraordinary days” are often accompanied by subtle, good-natured humor. Sublime philosophy lyrical creativity the poet is adjacent to everyday concreteness:

Through the crowd of everyday life
I would like to go all the way
the feeling that we are one in essence
with eternity,
carry it around the world.

Goals: educate personality,

• having an idea about the work of L.N. Tolstoy, about the composition of the story “After the Ball”, about the peculiarities of using the technique of contrast.
• able to analyze a work, work in a group, express an opinion, give reasons for an answer, listen and hear.
• brought up with respect for Russian literature and its heritage.

Lesson type: learning new knowledge

Equipment: presentation, multimedia projector, task cards, text of the work, stickers, glue, Whatman paper, felt-tip pens.

Lesson plan:

1. Training on creating a collaborative environment

2. Introductory part

3. Presentation of new material

4. Physical exercise

5. Practical application of new material (self-regulation task)

6. Conclusion

7. Reflection

8. Homework

PROGRESS OF THE LESSON

1. Training on creating a collaborative environment

Students stand in a circle. The presenter throws the ball and names any noun, adjective or verb. The one who caught the ball must throw it to another friend, calling the antonym. This way, students are primed to talk about contrasts in class.

2. Introductory part

Before us is a portrait of L.N. Tolstoy by artist N.N. Ge (1884).

Late evening. The room is in twilight. It seems that there is deep silence in the house, everyone around is sleeping, and only the great worker Tolstoy cannot tear himself away from work, which is the main work of his life... He wants the truth, understood by him, to become available to all people... Tolstoy here he looks like a wise and majestic prophet, a strict judge and teacher of life... An invisible candle brightly illuminates Tolstoy’s face, the light silvers his gray hair, and this creates a feeling of clarity of thought, inner peace and gentle humanity, so strangely combined with the severity of the preacher.”

Reading the diaries of L.N. Tolstoy for 1903, we will see several interesting entries from July 9, August 9, August 20. We are talking about the story "After the Ball". The story was first published only after the writer's death.

The writer’s memory retained a lot and captured it in this story. Together with the writer, we are transported to the 40s of the 19th century, the time of the reign of Nicholas II, whom the advanced Russian intelligentsia nicknamed “Nikolai Palkin.” The noble-serf state was still strong at that time. Cane discipline was rampant in the troops, and soldiers for any offense were flogged or driven “through the ranks,” when the punished person was dragged between the rows of soldiers to the beat of drums, and everyone was obliged to hit his naked body with a stick or a rifle ramrod. The person was often beaten to death.

Participant Crimean War, the writer fiercely defended throughout his life the idea of ​​mercy and compassion, especially in relation to the ordinary Russian soldier.

What was the source for creating the story? It is known that in The story is based on a story that happened to the writer’s older brother, Sergei Nikolaevich.

3. Presentation of new material

What impression did the story make on you?

What is the role of the introduction?

(Let us pay attention to the peculiar role of the introduction - it, as it were, sets the reader up for the perception of subsequent events and introduces the narrator. The narrative begins immediately, even suddenly, without extensive exposition. And it also ends without any conclusions. Before us is, as it were, a fragment of life: here is the case , which happened a long time ago, but answers the questions of modern reality, the writer tells us)

What is special about the structure of the story? Highlight the main parts of the story.

The story has the following main parts: introduction, ball, after the ball, conclusion. The story is thus enclosed in a “frame”. This compositional technique is called "a story within a story", because the work is written by the narrator in such a way that we learn about all events from the narrator.

What parts does Ivan Vasilyevich’s narrative itself consist of?

(Scenes of the ball and execution)

Which of the two parts do you consider to be the main one, carrying the main content of the work? ( That's right, this is the second part, where the colonel and the soldiers submissive to him torture the Tatar).

Why did the writer need the first part?

What is this technique called?

(Antithesis - opposition. The story contrasts the main plot points - the ball scene and the execution.)

4. Physical exercise

5. Practical application of the new material

Observation over language means, with the help of which the writer contrasts the pictures of the ball and the soldier’s punishment:

Students are divided into 5 groups of 5 people. They are offered a certain set of words, phrases, phrases, as well as illustrations from the story “After the Ball.”

Assignment: independently systematize the proposed language material based on the derived artistic device, and then present the resulting picture as you see fit - in the form of a diagram, table, cluster, illustration, etc.

Conversation about the main characters:

1. What are the conclusions about spiritual qualities Is the colonel prompted by observations of his attitude towards his daughter at the ball?
2. What qualities of his nature are revealed in the scene on the parade ground?
3. What is the root of these contradictions, according to Tolstoy?
4. How does Ivan Vasilyevich appear in the characteristics of his interlocutors?
5. What role in life's destiny Was Ivan Vasilyevich played by “chance”?
6. How does the hero characterize his decision not to serve in military service and not to serve anywhere?

6. Conclusion

What do you see as the critical power of the story?

FINAL QUESTION.- In the original editions, the story had the following titles: “Daughter and Father”, “And you say.” Why did the writer prefer the title “After the Ball”?

Sample output: The significance of the story “After the Ball” goes far beyond the protest against the inhuman treatment of soldiers and even against corporal punishment of peasants: it raised, as we see, broad humanistic problems:

“If we look directly at the past, our present will also be revealed to us. If we just stop blinding our eyes with fictitious state benefits and benefits and look at the fact that one thing is important: the good and evil of people’s lives, everything will become clear to us. If we give real names to bonfires, torture, scaffolds, brands, recruiting, then we will also find a real name for prisons, prisons, troops with general conscription, prosecutors, gendarmes. If we don’t say: why commemorate? and let us not obscure past human affairs with imaginary benefits for various fictions, we will understand what was done before, we will also understand what is being done now." (L.N. Tolstoy. Nikolai Palkin)

Independent work. L.N. Tolstoy “After the Ball.”

1. "After the ball" by L.N. Tolstoy is:

1) a story;

2) a story;

3) a novel;

4) comedy; tragedy.

2. “After the Ball” by L.N. Tolstoy should be attributed to:

1) lyrics;

3. “After the Ball” by L.N. Tolstoy - work:

1) realistic;

3) romantic;

4) classic.

4. The main character in “After the Ball” is called...

5. The narration in “After the Ball” is told mainly from the perspective of:

3) another person.

6. The main artistic device used in the story “After the Ball”:

1) comparison;

2) comparison;

3) contrast.

7. The heroine of the story “After the Ball” is called...

8. The main theme of the story “After the Ball” is:

1) scene of punishment of a soldier;

2) depiction of social injustice;

3) love of young people;

4) picture of the ball.

9. Realist writers can be called:

1) Pushkin, Dostoevsky, Tolstoy;

2) Dostoevsky, Tolstoy, Karamzin;

3) Karamzin, Gogol, Radishchev;

4) Radishchev, Karamzin, Pushkin.

10. What type of composition is in the story?

11. With what feeling does the narrator describe the ball scene?

12. Why did the colonel, attentive and sensitive during the ball, turn out to be cruel and heartless towards the soldier?

13. The main idea of ​​the story...

14. How can you characterize the meaning of the title of the story?

7. Reflection

8. Homework

LESSON SUMMARY ON LITERATURE

8th grade

Lesson topic: “The story of L.N. Tolstoy “After the ball.” The main motives of the story. Artistic time. Techniques for creating images."

Lesson type: lesson of learning new material.

Lesson format: combined.

GoalsAndlesson objectives:

1. Educational:

1) expand students’ understanding of the work of L.N. Tolstoy;

2) introduce students to the historical background for the creation of the story “After the Ball”;

3) consider the plot and composition of the story, identify the basic techniques for creating images; 1) understanding the content of Leo Tolstoy’s story “ Caucasian prisoner"; the ability to highlight the main problems raised by the author in the work;

2) introducing children to independent research and creative activity; development of the skill of analyzing a work of art, logical thinking;

3) education of a spiritual and moral personality, respecting human dignity, with a tolerant attitude towards national question, clearly understanding the concept of “honor”.

Equipment: computer, projector, portrait of the writer, lesson presentation.

Leading task:

Materials and equipment:

textbook for educational institutions on literature for grade 8 (authors V.Ya. Korovina, V.P. Zhuravlev, V.I. Korovin).

Lesson progress:

I. Teacher's opening speech . Today we turn to the work of the largest and outstanding Russian classic writer L.N. Tolstoy. The focus is on the story “After the Ball,” one of the most famous in the author’s legacy. 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, conscience, humanity, and mercy. As L.N. expresses Tolstoy these problems, with the help of which artistic techniques and the means to achieve the expression of these problems, what are the main motives of the story, we will talk today.

II. The teacher's story about the historical and cultural background of L.N.'s story. Tolstoy "After the Ball". Before us is a portrait of L.N. Tolstoy by artist N.N.Ge (1884). “Late evening. The room is in twilight. It seems that there is deep silence in the house, everything around is sleeping, and only the great worker Tolstoy cannot tear himself away from work, which is the main work of his life. He wants the truth, understood by him, to become available to all people. Tolstoy here looks like a wise and majestic prophet, a strict judge and teacher of life. An invisible candle brightly illuminates Tolstoy’s face, the light silvers his gray hair, and this creates a feeling of clarity of thought, inner peace and gentle humanity, so strangely combined with the severity of the preacher.”

Reading the diaries of L.N. Tolstoy for 1903, we will see several interesting entries from July 9, August 9, August 20. It's about about the story “After the Ball”. The story was first published only after the writer's death.

The writer’s memory retained a lot and captured it in this story. Together with the writer, we are transported to the 40s of the 19th century, the time of the reign of Nicholas II, whom the advanced Russian intelligentsia nicknamed “Nikolai Palkin.” The noble-serf state was still strong at that time. Cane discipline was rampant in the troops, and soldiers for any offense were flogged or driven “through the ranks,” when the punished person was dragged between the rows of soldiers to the beat of drums, and everyone was obliged to hit his naked body with a stick or a rifle ramrod. People were often beaten to death.

A participant in the Crimean War, the writer fiercely defended throughout his life the idea of ​​mercy and compassion, especially in relation to the ordinary Russian soldier. What was the source for creating the story? It is known that the story was based on a story that happened to the writer’s older brother, Sergei Nikolaevich.

III. Analytical work by work. What impression did the story make on you? Why?

(Students' answers).

– Read the introduction. What is his role?

(“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 jamming. But I think that it’s all about the case. I’ll tell you about myself.

This is how the respected Ivan Vasilyevich spoke after a conversation between us, about the fact that for personal improvement it is necessary to first change the conditions among which people live. Nobody, in fact, said that you cannot understand for yourself what is good and what is bad, but Ivan Vasilyevich had such a manner of responding to his own thoughts that arose as a result of conversation and, on the occasion of these thoughts, telling episodes from his life. Often he completely forgot the reason for which he was telling, getting carried away by the story, especially since he told it very sincerely and truthfully.

That’s what he did now.”

The introduction, as it were, sets the reader up to perceive subsequent events and introduces the narrator. The narrative begins immediately, even suddenly, without a detailed preface. And it also ends without any conclusions. Before us is, as it were, a fragment of life: here is an incident that happened a long time ago, but answers the questions of modern reality, the writer tells us).

– What is special about the structure of the story, its composition? Highlight the main parts of the story.(The following main parts are distinguished in the story: introduction, ball, after the ball, conclusion. The story is thus enclosed in a “frame”. This compositional technique is called “story within a story”, because the work is written in such a way that we learn about all the events from the narrator).

– What parts does Ivan Vasilyevich’s narrative itself consist of?(Scenes of the ball and execution).

– Which of the two parts do you consider to be the main one, carrying the main content of the work?(This is the second part, where the colonel and the soldiers submissive to him torture the fugitive Tatar).

– Why did the writer need the first part?(Show the “other” side of life in the Nicholas era, and with its help shade and emphasize the cruelty of the paintings of the second part).

– What is this technique called?(Antithesis - opposition. The story contrasts the main plot points - the ball scene and the execution).

– What images and situations are contrasted by the writer?(Ball at the provincial leader = execution, hall at the leader = description of the street, hosts of the ball = soldiers, Varenka = punished).

– What images unite the parts of the story?(Images of the colonel and Ivan Vasilyevich).

IV. Conversation about the main characters. Who is the main character of the work? Why? Give reasons for your point of view.

(The narrator, it is on his behalf that the story is told and the incident that happened to him, which turned his whole life upside down, is described).

– How do you imagine it? Try to draw a verbal portrait of him.

(Students' answers).

– How does Ivan Vasilyevich feel at the ball?

(He really likes everything there, he is literally blinded by its splendor and beauty).

– What epithets were chosen to describe the ball?

(The ball is wonderful, the hall is beautiful, the musicians are famous, the buffet is magnificent, the owner is good-natured).

– Why does the hero see everything at the ball in such rainbow colors?

(He is happy, in love).

– Which color scheme uses L.N. Tolstoy to depict this scene? Which color is dominant? Why? What associations does it give you? white? What might it symbolize?

(Good, light, purity, dream, ideal).

– Now let's immediately see what colors are involved in the second episode.

(Something big black).

– The hero does not yet see the whole picture, but what does the reader feel when he hears these words?

(Alarm, warning).

– Black people - what kind of people are they? Why was this uniform chosen, not the men in black? Will we see what the military is doing?(They punish a person, black is the color of detachment from feelings, from compassion, from empathy, a color symbolizing death).

– What are they bringing him?(Pain, suffering, torment).

– What other colors are present in the episode? What do they symbolize?(Red - life, suffering, blood, white - innocence, purity, spiritual purity).

– The color white appears again, but now it represents completely different feelings (baring white teeth). What is hidden behind these words?(Torment, pain).

– Compared to black people, this white grin looks especially terrible. The contrast helped the writer create the emotional atmosphere of the episode and show the turning point in the hero’s soul. Why did Colonel B. hit the soldier in the face?(Because he weakly hit the Tatar).

– Have we seen this piece of clothing before? Under what circumstances?(I put on a glove to dance with Varenka).

– Do you remember what the colonel said?(“Everything must be done according to the law”).

– What side of military life did Ivan Vasilyevich see? What trait showed up in the colonel’s behavior?(Cruelty. The belief that such cruelty can be justified.)

– Why, after seeing this, did the hero change his mind about becoming a military man?(He would have to accept these laws, this cruelty, but he could not participate in this horror, since he felt shame from the mere sight).

– But something else was revealed to the hero that morning. He apparently found his place in life. One of his interlocutors says: “No matter how many people would be worthless if you weren’t there.” Ivan Vasilyevich refused to live by “military laws” with their cruelty, he begins to understand the falsity of the laws high society, to which Colonel B. belongs. Tolstoy reveals the truth to both the hero and the reader: there is another law by which people have tried to live from time immemorial. What law is this?(Divine).

– On what day do all the events take place?(Forgiveness Sunday - Clean Monday).

– What kind of holiday is Forgiveness Sunday?(We must forgive everyone, we must repent).

– Why is Monday called Clean?(The man was cleansed and fasting began - abstinence, prayers, repentance).

– What phrase throughout Clean Monday will it sound in the hero's memory?(“Brothers, have mercy”).

– But the brothers were not merciful. And only two people heard these pleas. Who are they?(Ivan Vasilyevich and a weak soldier, who was immediately punished for his compassion).

– What do you think the author is calling us and pushing us and the hero to do? How simple, but important truth revealed to the hero on this holy day? How should you learn to live?(According to God's laws, compassion, forgiveness, loving people.)

– What do you see as the critical power of storytelling? What are the main motives in it?(slide 7).(Motives of rejection of social justice, motives of forgiveness, mercy, conscience. The critical strength of the story is in revealing the “weak” sides of social order, under which Tolstoy’s heroes live, rejection of cruelty in any of its manifestations. At the same time, the author seems to be drawing parallels with his contemporary time, in which, unfortunately, little has changed in Russia).

– Right. At the same time, the writer masterfully masters the visual and expressive means of language when creating images of characters: color, sound and their contrasting comparison. In the original editions, the story had the following titles: “Daughter and Father,” “And You Say.” Why did the writer prefer the title “After the Ball”?(The scene with the punishment of the soldiers became a kind of “sobering up” of the hero from the pomp and splendor of the “facade” life of the era).

V. Summing up the lesson . The significance of the story “After the Ball” goes far beyond the protest against the inhuman treatment of soldiers and even against corporal punishment of peasants: it raised, as we see, broad humanistic problems: “If we look directly at the past, our present will also be revealed to us. If we just stop blinding our eyes with fictitious government benefits and benefits and look at the fact that one thing is important: the good and evil of people’s lives, everything will become clear to us. If we give real names to bonfires, torture, scaffolds, brands, recruiting, then we will also find a real name for prisons, prisons, troops with general conscription, prosecutors, gendarmes. If we don’t say: why commemorate? and let us not obscure past human affairs with imaginary benefits for various fictions, we will understand what was done before, we will also understand what is being done now” (L.N. Tolstoy. “Nikolai Palkin”)(slide 8).

VI . Homework: Write an essay on the topic "Colonel at the ball and after the ball."