Regional state budgetary educational institution implementing adapted basic general education programs « Boarding school No. 1 »
L.N. Tolstoy. After the ball.
(8th grade) .
Completed:
Russian language teacher and
literature KGBOU SHI 1
Zhukova N.G.
Khabarovsk 2016
Objective of the lesson: identify the initial perception of the story read; introduce the history of creation; show the realistic basis of the work. Develop the ability to analyze images - characters, taking into account author's position. In the process of analyzing the work, comprehend the main conflict, expose social contradictions Tsarist Russia.
Before us is a portrait of L.N. Tolstoy by artist N.N.Ge (1884). "Late evening. The room is immersed 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 the work that is his main business life... He wants the truth, understood by him, to become accessible 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."
- What was the source for creating the story? It is known that the story is based on a story that happened to the writer’s older brother, Serg her
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 I . The noble-serf state was still strong at that time. Cane discipline was rampant in the troops, and soldiers were whipped for any offense or driven “through the gauntlet” when under drum roll the person being punished was dragged between the rows of soldiers and each one was obliged to hit his naked body with spits. People were often beaten to death b.
Contrast
The story has the following main parts:
after the ball
introduction
conclusion
at the ball
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 writer in such a way that we learn about all events from the narrator
Observation of linguistic means
ball wonderful, hall beautiful, buffet fabulous
the hosts of the ball
good-natured old man, rich man - hospitable, his wife good-natured
Varenka
V white dress, in white gloves, in white shoes, she has radiant, flushed face and affectionate cute eyes
Colonel
Handsome, stately, tall, fresh, With white mustache , white sideburns, with shiny eyes
Ivan Vasilievich
Satisfied, happy, blissful, kind,
Execution:
Something big, black, hard, bad music
Many black people in black uniforms,
punishable
Naked to the waist, his back is something motley, wet, red, unnatural
Colonel
High military man, walking hard trembling gait
Ivan Vasilievich
Was ashamed , lowered his eyes, my heart was almost physical, almost nauseating, melancholy
Ivan Vasilievich
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?
Contrast in the system of images
Colonel
What are the conclusions about spiritual qualities Is the colonel prompted by observations of his attitude towards his daughter at the ball?
What qualities of his nature are revealed in the scene on the parade ground?
What is the root of these contradictions, according to Tolstoy?
The test, guys, will help you remember the content of the story.
He will guide you through its pages once again.
1. Genre of the work:
a) story; b) essay; c) story.
2. It helps to reveal the idea of a work:
a) antithesis; b) hyperbole; c) personification.
3. Number of narrators in the work:
a) one; b) two; c) several.
a) hidden;
c) conveyed by one of the characters.
5. The role of the introduction to the work:
A ) show the time and place of action;
b) introduce the participants in the events;
c) introduce the narrator.
6. Turn the same stylistic figure
( «… blows still fell from both sides on the stumbler,
a writhing man, and still the drums beat and the flute whistled,
and still moved with the same firm step …
stately figure of a colonel …» )
a) reproduces the sad whistle of a flute;
b) shows the colonel in a new role;
c) conveys the horror of what is happening.
7. The work makes you think about:
a) the fate of the colonel;
b) a person’s personal responsibility for the life of society;
c) the love of Ivan Vasilyevich.
8. Theme of the work:
a) a story about the love of Ivan Vasilyevich;
b) a story about a colonel;
c) showing Nikolaev Russia.
9. Image of a colonel:
A ) typical;
b) tragic;
c) exceptional.
10. Tone of the story in this work:
a) neutral
b) emotionally charged;
c) protocol dry.
What social and moral problems does Tolstoy raise in his story “After the Ball”?
The main idea of Tolstoy's story is a passionate protest against hypocrisy and violence, against the humiliation of human dignity.
In the fate of a modest and unassuming decent person, depicted by Tolstoy, reflected a phenomenon whose meaning does not open immediately, but, in fact, is very large and does not decrease, but increases in the course of human history. The shock experienced by Ivan Vasilyevich freed him from narrow class morality, with its legalized inhumanity towards the lower: the Tatar’s plea for mercy, compassion and anger sounding in the words of the blacksmith became clear to him; Without realizing it, he shares the highest human laws of morality.
Composition
L. N. Tolstoy's story “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 spilled sea of champagne,” 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 clear that the girl was also 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 loves his daughter, how he strives 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, the 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 man’s greatest crime - a crime against himself, against 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.
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1. Contrast of color palette.
2. Contrasting feelings and things.
3. Connecting contrasting passages.
In L. N. Tolstoy’s story “After the Ball,” contrast plays a structure-forming role in the creation of the work. Two sides of the same coin become the starting point for the development of plot action. The critic K. Lomunov wrote about the contrast in the work: “Like many other works of the late Tolstoy, the story “After the Ball” is built on the principle of artistic contrast: a bright, colorful picture of a cheerful ball in a noble meeting is replaced by a harsh scene of painful punishment of a defenseless soldier, who is under dry spell. the crackle of drums is driven along the parade ground through the ranks.”
With the help of contrast, the author creates a special atmosphere, or aura, of the story. The incident that changed the life and fate of the protagonist is also based on contrast. The author shows the other side of the image of a magnificent and sophisticated colonel. Readers were able to fully appreciate its essence. After all, it was the fundamental change in this figure that caused such irreversible consequences not only for the student, but also for the daughter of the colonel himself. The core of the work, called “contrast,” forms concentric circles around itself, thereby creating work of art.
The story is told from the perspective of Ivan Vasilyevich, who begins it with a description of his beloved. “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.” Before us is depicted a sublime being, almost an angel, and not a real earthly person. But the images that appear after the ball of the provincial leader turn out to be quite earthly. “Soldiers in black uniforms stood in two rows facing each other, holding their guns to their feet, and did not move.” There is a contrast in these two passages, even at the level of color. Varenka is white and airy. The soldiers are black, with guns. With a few strokes, the author negates the feeling of sincerity and purity created by the image of the girl. “After the ball” different rules and laws apply. “Behind them stood a drummer and a flute player and, without ceasing, repeated the same unpleasant, shrill melody.” But the first sounds that he hears main character, still different.
In the shower young man The “musicians” play a different melody - the melody of love. She overwhelmed the main character so much that he could not fall asleep. “Everything in my soul was singing and occasionally I could hear the motif of a mazurka.” After what I saw in the morning, Ivan Vasilyevich was filled with another feeling: “... there was an almost physical melancholy in my heart, reaching the point of nausea, such that I stopped several times, and it seemed to me that I’m about to vomit with all the horror that entered me from this spectacle.” The sight that opened in the morning to the young man in love was truly monstrous. The contrasting transition used by the author when creating the work adds emotionality and enhances the impression of what was read.
After what he saw in the hero’s soul, only horror remained. In memory of the ball, the young man in love kept a feather from Varenka’s fan. He hid it in his glove and felt the unearthly warmth that it radiated. However, after the morning spectacle, even this sentimental pledge of peace and prosperity was unable to preserve the memory of his beautiful beloved.
The image of a suede glove that belonged to Varenka’s father is also used by the writer to create contrast. The glove first appears when the colonel is about to dance with his daughter. He pulls it on right hand with the words “everything must be done according to the law.” After that, smiling and taking his daughter’s hand, he goes to dance. In the punishment scene, the suede glove appears again, but in a completely different context: “...with his strong hand in a suede glove, he beat a frightened, short, weak soldier in the face because he did not lower his stick firmly enough on the red back of the Tatar.”
Drawing portraits of those who attended the ball, the author uses mainly “light”, “pleasant” images: velvet, diamond, plump, white, pink, kid. We see completely different colors in the morning. “It was something so motley, wet, red, unnatural that I didn’t believe it was a human body.” And these paintings are separated from each other by just a few hours. At the same time color palette The ballroom night can be called pure, sparkling - not only externally, but internally.
The contrast, which serves as the main compositional device in Tolstoy’s story, also manifests itself in the image of Ivan Vasilyevich. After all, it is he who is the connecting link between two opposing passages of the story. If not for this figure, the two parts of one whole would never have been able to connect. Only such a contrast, which occurs not only before our eyes, but also in the soul of the main character, has a tragic impact on his fate.
In his story, Tolstoy uses contrast as the surest means of influence. By the way, the reason for the creation of this work was a real story that happened. Its events have a shocking effect on both the narrator and the reader. The contrast technique used by the author is unique. potent drug, thanks to which the impression of what is read reaches that brightness and sharpness, as if the reader were observing everything that was happening with his own eyes, being a direct eyewitness to this dramatic story.
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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 of feelings and actions to occur, a change of thought must first occur...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
Src="https://present5.com/presentacii-2/20171213%5C37020-tolstoy_posle_bala.ppt%5C37020-tolstoy_posle_bala_1.jpg" alt=">Contrast as the basis of the composition of the story by L.N. Tolstoy"> Контраст как основа композиции рассказа Л.Н.Толстой "После бала"!}
Src="https://present5.com/presentacii-2/20171213%5C37020-tolstoy_posle_bala.ppt%5C37020-tolstoy_posle_bala_2.jpg" alt=">The purpose of the lesson: to expand students’ understanding of the work of Leo Tolstoy introduce his views on"> Цель урока: расширить представление учащихся о творчестве Л.Н.Толстого познакомить с его взглядами на ближайшую историю Задачи: рассмотреть сюжет и композицию рассказа дать представление о контрасте как !} artistic technique, on which the story is based
Src="https://present5.com/presentacii-2/20171213%5C37020-tolstoy_posle_bala.ppt%5C37020-tolstoy_posle_bala_3.jpg" alt=">Before us is a portrait of L.N. Tolstoy by artist N.N. .Ge (1884)."> Перед нами портрет Л.Н. Толстого работы художника Н.Н.Ге (1884)."Поздний вечер. Комната погружена в полумрак. Кажется, что в доме установилась глубокая тишина, все вокруг спит, и только великий труженик Толстой не может оторваться от работы, которая составляет главное дело его жизни... Он хочет, чтобы правда, понятая им, стала доступна всем людям... Толстой похож здесь на мудрого и величественного пророка, строгого судью и учителя жизни... Невидимая свеча ярко освещает лицо Толстого, свет серебрит седины его, и это создаёт ощущение ясности мысли, внутреннего спокойствия и мягкой человечности, так странно сочетающейся с суровостью проповедника".!}
Src="https://present5.com/presentacii-2/20171213%5C37020-tolstoy_posle_bala.ppt%5C37020-tolstoy_posle_bala_4.jpg" alt=">From the diary of L.N. Tolstoy 1903 August 9. Posted by in one day "Daughter and Father"."> Из дневника Л.Н.Толстого 1903г. 9 августа.Написал в один день «Дочь и отец». Не дурно. 20августа.Только нынче кончил сказки, и не три, а две. Недоволен. Зато “А вы говорите” недурно. Здоровье все хорошо. Нынче еду в Пирогово. [..] 18 июня. …веселый бал в Казани, влюблен в Корейшу, красавицу, дочь воинского начальника - поляка, танцую с нею; ее красавец старик-отец ласково берет ее и идет мазурку. И наутро, после влюбленной бессонной ночи, звуки барабана, и сквозь строй гонит татарина, и воинский начальник велит больней бить. (Очень бы хорошо.)!}
Src="https://present5.com/presentacii-2/20171213%5C37020-tolstoy_posle_bala.ppt%5C37020-tolstoy_posle_bala_5.jpg" alt=">History of the creation of the story What was the source for the creation of the story? It is known what is the basis"> История создания рассказа Что же послужило источником для создания рассказа? Известно, что в основу рассказа легла история, которая произошла со старшим братом писателя - Сергеем Николаевичем.!}
Src="https://present5.com/presentacii-2/20171213%5C37020-tolstoy_posle_bala.ppt%5C37020-tolstoy_posle_bala_6.jpg" alt=">The writer’s memory has preserved a lot and captured it in this story. Together with the writer we are transported"> Память писателя сохранила многое и запечатлела в этом рассказе. Вместе с писателем мы переносимся в 40-е годы 19века, время царствования Николая I. Ещё прочным было тогда дворянско-крепостническое государство. В войсках свирепствовала палочная дисциплина, и солдат за любую провинность секли плетьми или прогоняли "сквозь строй", когда под барабанную дробь наказуемого тащили между рядов солдат и каждый обязан был ударить шпицрутинами по голому телу. Человека нередко забивали насмерть.!}
Src="https://present5.com/presentacii-2/20171213%5C37020-tolstoy_posle_bala.ppt%5C37020-tolstoy_posle_bala_7.jpg" alt=">21st century (the era in which the reader lives) 40s 19th century, time of Nicholas 1 (events depicted in"> 21век (эпоха, в которой живёт читатель) 40-е годы 19в,время Николая1 (события, изображённые в рассказе) 1900-е годы, время Николая2 (современная автору эпоха) Перекличка эпох в рассказе «После бала»!}
Src="https://present5.com/presentacii-2/20171213%5C37020-tolstoy_posle_bala.ppt%5C37020-tolstoy_posle_bala_8.jpg" alt=">The author emphasizes the contrast in the composition of the story in the system of images in linguistic means in"> Автор подчёркивает контраст в композиции рассказа в системе образов в языковых средствах в описаниях!}
Src="https://present5.com/presentacii-2/20171213%5C37020-tolstoy_posle_bala.ppt%5C37020-tolstoy_posle_bala_9.jpg" alt=">Contrast as a compositional device The following main parts are distinguished in the story: Story, Thus,"> Контраст как композиционный приём В рассказе выделяются следующие основные части: Рассказ, таким образом, заключён в "раму". Этот композиционный приём называется "рассказ в рассказе", потому что произведение написано писателем так, что о всех событиях мы узнаём от рассказчика вступление на балу после бала заключение!}
Src="https://present5.com/presentacii-2/20171213%5C37020-tolstoy_posle_bala.ppt%5C37020-tolstoy_posle_bala_10.jpg" alt=">Observation of linguistic means At the ball:">!}
Src="https://present5.com/presentacii-2/20171213%5C37020-tolstoy_posle_bala.ppt%5C37020-tolstoy_posle_bala_11.jpg" alt=">Execution:">!}
Src="https://present5.com/presentacii-2/20171213%5C37020-tolstoy_posle_bala.ppt%5C37020-tolstoy_posle_bala_12.jpg" alt=">What conclusions about the colonel’s mental qualities are suggested by observations of his attitude towards"> На какие выводы о душевных качествах полковника наталкивают наблюдения над его отношением к дочери на балу? Какие качества его натуры проявляются в сцене на плацу? В чём корень этих противоречий, по мнению Толстого? Полковник Контраст в системе образов!}
Src="https://present5.com/presentacii-2/20171213%5C37020-tolstoy_posle_bala.ppt%5C37020-tolstoy_posle_bala_13.jpg" alt=">How does Ivan Vasilyevich appear in the characteristics of his interlocutors? What is his role in life Ivan's fate"> Каким предстаёт Иван Васильевич в характеристике своих собеседников? Какую роль в жизненной судьбе Ивана Васильевича сыграл «случай»? Как характеризует героя его решение не служить в военной службе и нигде не служить? Иван Васильевич!}
Src="https://present5.com/presentacii-2/20171213%5C37020-tolstoy_posle_bala.ppt%5C37020-tolstoy_posle_bala_14.jpg" alt=">Conclusion What do you see as the critical strength of the story? In the original editions, the story had the following"> Вывод В чём вы видите критическую силу рассказа? В первоначальных редакциях рассказ имел следующие названия: "Дочь и отец", "А вы говорите". Почему писатель отдал предпочтение заглавию "После бала?"!}
Src="https://present5.com/presentacii-2/20171213%5C37020-tolstoy_posle_bala.ppt%5C37020-tolstoy_posle_bala_15.jpg" alt=">If we look directly at the past, our present will also be revealed to us. If we just"> Если мы прямо поглядим на прошедшее, нам откроется и наше настоящее. Если мы только перестанем слепить себе глаза выдуманными государственными пользами и благами и посмотрим на то, что одно важно: добро и зло жизни людей, нам все станет ясно. Если мы назовем настоящими именами костры, пытки, плахи, клейма, рекрутские наборы, то мы найдем и настоящее имя для тюрем, острогов, войск с общею воинскою повинностью, прокуроров, жандармов. Если мы не будем говорить: зачем поминать? и не будем заслонять дел людских прошедшего воображаемыми пользами для различных фикций, мы поймем то, что делалось прежде, поймем и то, что делается теперь. (Л.Н.Толстой. Николай Палкин) Значение рассказа «После бала»!}