The role of composition in L. Tolstoy's story "After the Ball" in revealing its ideological and artistic content Works on Russian Literature

Composition

In Russian fiction, there are rare works that lack a landscape. The depiction of paintings of animate and inanimate nature helps the author to create a certain mood, to convey the state of mind of the hero, to reveal the idea of ​​the work.

For example, in Leo Tolstoy's story "After the Ball," the narrative is clearly divided into two episodes: a ball at the provincial leader's and the brutal punishment of a soldier. This incident drastically changed the life of the narrator Ivan Vasilyevich. Descriptions of the two events are sharply contrasted with each other. The beauty, charm of Varenka (“I saw only a tall, slender figure in a white dress with a pink belt, her radiant, dimpled face and affectionate, sweet eyes”) - and the suffering of a fugitive soldier brought to inhuman suffering (“It was something like that motley, wet, red, unnatural, that I did not believe that it was a human body ")

The feelings of the hero are contrasting. At the ball, the concepts of “love” and “happiness” define everything, but after the morning impression, bright feelings are replaced by “melancholy” and “horror”.

All this important day for the storyteller, he was accompanied by music (“In my soul I sang all the time and occasionally heard the motive of the mazurka”). And after the ball, the sounds of the flute and the drum accompany the punishment of the Tatar (“All the way in my ears a drumbeat beat and a flute whistled (...) it was some other cruel, bad music”).

The story "Caucasus" is devoted to the key theme of I. A. Bunin's work - love. It tells the story of the forbidden love of a young man and a married woman. The lovers decided to secretly leave the capital for several weeks to the warm sea. There are almost no replicas in this small work, the feelings of the heroes are conveyed through landscape sketches. The descriptions of dank autumn Moscow and exotic pictures of the Caucasus are in contrast. “In Moscow, it rained cold, ... it was dirty, gloomy, the streets were wet and gleaming black with the open umbrellas of passers-by ... And it was a dark, disgusting evening when I was driving to the station, everything inside me froze from anxiety and cold.” In this passage, the inner state of the hero (excitement, fear and, perhaps, remorse from a dishonest act) merges with the Moscow bad weather.

The Caucasus, however, greeted the "fugitives" with a wealth of colors and sounds. Nature cannot feel, she is silently beautiful. A man breathes his mood into it. Suffice it to compare the Caucasus in the recollections of the narrator, when he was lonely ("autumn evenings among black cypress trees, near cold gray waves ..."), and the beautiful, fantastic Caucasus today, when his beloved woman is nearby ("In the woods, a fragrant mist shone azure, dispersed and melted , beyond the distant wooded peaks the eternal whiteness of the snowy mountains shone; "the nights were warm and impenetrable, in the black darkness fire flies were floating, twinkling, shining with topaz light, tree frogs were ringing glass bells"). The passionate feelings of the heroes make nature so surprisingly poetic, fabulous.

The story "Chelkash" by M. Gorky (1895) is devoted to the theme of "the little man", "the tramp". It begins with a detailed description of the dock of a large port city: the rumble of cars, a metallic grinding, heavy giant steamers. "Everything breathes with the fashionable sounds of the anthem to Mercury" - the god of trade. The mighty sea element is tamed by metal ("The waves of the sea chained in granite are suppressed by the enormous weights sliding along their ridges, they beat against the sides of ships, against the coast, beat and murmur, foamed, polluted with various rubbish") People have become slaves of the enrichment tools they have created, they are "funny and pitiful "," insignificant in comparison with the surrounding iron colossus, heaps of goods, rattling wagons ... ". This landscape reveals to us how the greatness and beauty of nature is suppressed by human activity.

Thus, landscapes in a work of art help to penetrate deeply into the souls of the heroes and their experiences, to better understand the ideological intent of the author.

Other compositions on this work

In the story "After the Ball" by Leo Tolstoy, written in the 90s. XIX century, depicted in the 1840s. The writer thereby set the creative task of restoring the past in order to show that his horrors live in the present, only slightly changing their forms. The author does not ignore the problem of a person's moral responsibility for everything that happens around him.

The composition of the story, built on the basis of the “story within a story” technique, plays an important role in revealing this ideological concept. The work begins suddenly, with a conversation about the moral values ​​of being: “that for personal improvement it is necessary first to change the conditions among which people live”, “what is good, what is bad,” and just as it ends suddenly, without conclusions. The introduction, as it were, tunes the reader to the perception of subsequent events and introduces the narrator Ivan Vasilyevich. Further, he already tells the listeners an incident from his life that happened a long time ago, but answers the questions of our time.

This main part of the work consists of two pictures: a ball and a scene of punishment, and the main one in revealing the ideological concept, judging by the title of the story, is the second part.

The episode of the ball and the events after the ball are depicted using an antithesis. The opposition of these two pictures is expressed in many details: colors, sounds, mood of the characters. For example: "beautiful ball" - "which is unnatural", "famous musicians" - "unpleasant, shrill melody", "face reddened with dimples" - "face wrinkled from suffering", "white dress, in white gloves, in white shoes" - “something big, black,… these are black people”, “soldiers in black uniforms”. The last opposition of black and white colors is reinforced by the repetition of these words.

In contrast, the state of the protagonist in these two scenes can be expressed by the words: “I hugged the whole world with my love at that time” - and after the ball: “I was ashamed to such an extent ... into me from this sight. "

An important place in the opposed paintings is occupied by the image of the colonel. In a tall military man in an overcoat and a cap, the guiding punishment, Ivan Vasilyevich does not immediately recognize the handsome, fresh, with shining eyes and a joyful smile of his beloved Varenka's father, whom he recently looked at at the ball with enthusiastic amazement. But it was Pyotr Vladislavovich “with his ruddy face and white mustache and sideburns”, and with the same “strong hand in a suede glove” he beats a frightened, undersized, weak soldier. By repeating these details LN Tolstoy wants to show the colonel's sincerity in two different situations. It would be easier for us to understand him if he was pretending somewhere, trying to hide his true face. But no, he is still the same in the execution scene.

This sincerity of the colonel, apparently, led Ivan Vasilyevich to a dead end, did not allow him to fully understand the contradictions of life, but he changed his life path under the influence of what had happened. Therefore, there are no conclusions in the conclusion of the story. Leo Tolstoy's talent lies in the fact that he makes the reader think about the questions posed by the whole course of the narration, the composition of the work.

Leo Tolstoy's story "After the Ball" develops the theme of "tearing off all and all kinds of masks" from the carefree, washed, festive life of some, opposing it to lawlessness, oppression of others. But at the same time, the writer makes readers think about such moral categories as honor, duty, conscience, which at all times made a person responsible for everything that happened to him and to society. We are led to these reflections by the very composition of the story, built on the contrast between the pictures of the ball and the punishment of the fugitive soldier, conveyed through the perception of the young man Ivan Vasilyevich. It is he who will have to understand “what is good and what is bad”, assess what he has seen and make a choice of his future destiny.

The life of the young man was developing happily and carefree, no "theories" and "circles" interested either him or other young people-students close to him. But at the same time, there was nothing reprehensible in their hobby for balls, skating, light revels. We are imbued with sincere sympathy for Ivan Vasilyevich at the ball, when we see him charmed by the festive atmosphere of a dinner party, tenderly in love with Varenka. The words say about the enthusiastic, responsive soul of this person: “I was not me, but some unearthly creature who knew no evil and was capable of one good”, “at that time I embraced the whole world with my love”.

And this hot, impressionable young man for the first time in his life faced with cruel injustice, with humiliation of human dignity, shown even not in relation to him. He saw that a terrible reprisal against a man was being carried out in an ordinary, customary way by a man who himself had recently been kind and cheerful at the same ball.

Horror from what he saw entered the living soul of the young man, he "was so ashamed" that he "lowered his eyes", "hurried to go home." Why didn’t he interfere in what was happening, didn’t express his indignation, didn’t accuse the colonel of cruelty and heartlessness? Probably because such a terrible scene, seen for the first time, simply stunned the young man, and also embarrassed the sincerity with which the colonel behaved during this punishment. “Obviously, he knows something that I don’t know,” Ivan Vasilyevich pondered. "If I knew what he knows, I would understand what I saw, and it would not torment me." From the story we learn that Ivan Vasilyevich did not succeed in "reaching the root" in his reflections. But his conscience did not allow him to become a military man in later life, because he could not deal with a person like that "according to the law", serve cruelty.

And the character of the colonel, this really loving father, a pleasant person in society, firmly entered the distorted concepts of duty, honor, dignity, which allow trampling on the rights of other people, dooming them to suffering.

In one of his articles, L. N. Tolstoy wrote: “The main harm is in the state of mind of those people who establish, allow, prescribe this lawlessness, those who use it as a threat, and all those who live in the belief that such violation of all justice and humanity is necessary for a good, right life. What a terrible moral mutilation must occur in the minds and hearts of such people ... "

38. Why did Ivan Vasilyevich not serve anywhere? (based on the story of Leo Tolstoy "After the Ball")

The composition of Leo Tolstoy's work "After the Ball" is a "story within a story." The narration begins with the words of Ivan Vasilievich, whom the author briefly introduces in the introduction. We are talking about the moral values ​​of human life, about "that for personal improvement it is necessary first to change the conditions among which people live", "what is good, what is bad." Ivan Vasilievich was described as a "respected" man, he said "very sincerely and truthfully."

After such an established trust in the hero, we hear his story about one morning that changed his whole life.

The event takes place at a time when the narrator was young, rich, carefree, like his friends, with whom he studied at a provincial university, having fun at balls, parties, skating with young ladies and did not think about serious issues of life.

At the ball, which he describes, Ivan Vasilyevich was especially happy: he was in love with Varenka, who reciprocated him, he was happy and "hugged the whole world with his love at that time." The ability for such feelings testifies to the enthusiastic, sincere, broad soul of a young man.

And for the first time in his life, this ardent young man is faced with another, terrible world, the existence of which he did not suspect. The scene he saw of the cruel punishment of a fugitive soldier, carried out under the supervision of Varenka's father, filled Ivan Vasilyevich's soul with unimaginable horror, almost physical melancholy, reaching the point of nausea. The execution was terrible in itself, but the hero was also struck by the fact that the same dear colonel "with his ruddy face and white mustache and sideburns", whom Ivan Vasilyevich had just seen at the ball, was in charge. The narrator, meeting his eyes with Pyotr Vladislavovich, felt ashamed and awkward, which later turned into painful reflections on what he saw: “obviously he (the colonel) knows something, which I don’t know ... If I knew what he knows, I would I also understood what I saw, and it would not torment me. "

"If this was done with such confidence and was recognized by all as necessary, then, therefore, they knew something that I did not know."

But Ivan Vasilyevich could not understand the need to mock a person, humiliate his dignity. That is why “I could not enter the military service, as I wanted before, and not only did not serve in the military, but did not serve anywhere and, as you see, was no good,” the hero concludes his story. Conscientiousness, a sense of responsibility for everything that happens in life, did not allow Ivan Vasilyevich to become a "cog" in the soulless state machine.

What, after all, was this man, who had matured after a memorable morning, been doing? The author does not give us a direct answer, but in the words of the listeners of Ivan Vasilyevich's story there is a recognition of his services to those people whom he managed to help in life: “Well, we know that, how you were no good,” said one of us. "Tell me better: no matter how many people are good for nowhere, if you weren't there."

39. Autumn in the lyrics of Russian poets (based on the poems of M. Yu. Lermontov "Autumn" and F. I. Tyutchev "Autumn evening")

The nature of the native land is an inexhaustible source of inspiration for poets, musicians and artists. All of them recognized themselves as a part of nature, “breathed one life with nature,” as F. I. Tyutchev said. He also owns other wonderful lines:

Not what you think, nature:

Not a cast, not a soulless face -

She has a soul, she has freedom,

It has love, it has a language ...

It was Russian poetry that was able to penetrate the soul of nature, to hear its language. In the poetic masterpieces of A. Pushkin, A. A. Fet, S. Nikitin, F. I. Tyutchev, M. Yu. Lermontov and many other authors, different seasons of the year are also reflected in generalized paintings (for example, “A sad time! Charm of the eyes! "), And in their beautiful moments (" O first lily of the valley! ").

This is not to say that some time of the year has received more or less creative attention. It's just that in every state of nature, the poet can see and hear the consonance of his thoughts and feelings.

Here we have before us two "autumn" poems by M. Yu. Lermontov and F. I. Tyutchev: "Autumn" and "Autumn Evening".

One of them, a poem by Lermontov, paints a kind of generalized picture of the autumn season, including the landscape, and the life of animals, and the mood of people. The defining words here are: "drooped", "gloomy", "does not like", "hide", "dull". It is they who create the sad emotional background of the poem, convey the feeling of some kind of loss. But Lermontov is a poet who sees the world as bright and full of movement. So in this small work there is a bright color scheme: a combination of yellow, green, silver, and verbs here make up almost a third of the independent parts of speech. In the first two lines, the use of three verbs in a row immediately creates the impression of an autumn wind, freshness.

The next picture is the opposite of the first: it is static: "Only in the forest did the spruce droop? They keep the gloomy greenery." But the technique of impersonation enlivens her too.

And here is a man - a plowman who has finished his hard work on the ground. Yes, he won't have to rest between the flowers for a long time, but this is the law of life, and there is no hopeless sadness in this picture either.

All living things meet autumn in their own way, therefore “the brave beast is in a hurry to hide somewhere”. The epithet "brave" is interesting, M. Yu. Lermontov conveys his admiration for the rational arrangement of the living world: after all, the animals will skilfully hide and survive the harsh winter.

In the last lines, the poet turns his gaze from the earth to the sky: there is a dull moon, fog. And yet the field is silvery even under this dim light.

Lermontov creates a picture of autumn, full of harmony, naturalness, life.

Also managed to catch the "sweet, mysterious charm" in the autumn evenings F. I. Tyutchev. This poet senses subtle transitions from late winter to early spring or from late summer to early autumn. Nature in his poems is alive, active, as if she keeps her own calendar.

The poem "Autumn Evening" captures the transition of a sad, orphaned nature to descending storms, the moment of withering is stopped, the mysterious soul of the living world is depicted, suffering from the departure of the variegated trees, foggy and quiet azure. Therefore, it is so natural at the end of the poem to parallel this state of nature with the world of rational beings, meekly and bashfully enduring inevitable suffering. Attention is drawn to the epithet "ominous", as Tyutchev saw the shine of autumn leaves. This word stands out among other figurative definitions of the poem: "quiet azure", "sadly lonely land", "meek smile". These epithets leave the impression of a fading life, reinforced by the words “damage, exhaustion”, and therefore the variegation of trees with crimson leaves against this background seems somehow defiantly unnatural; deceptive, and therefore ominous.

The poem was written by Tyutchev as if in one breath, because there is only one sentence in it, in which the human soul and the soul of nature merged into a single whole.

40. Spring in the lyrics of Russian poets (based on the poems of A. A. Fet "The first lily of the valley" and A. N. Maikov "The field is rippling with flowers")

A. N. Maikov and A. A. Fet can rightfully be called the singers of nature. In landscape lyrics, they reached brilliant artistic heights, true depth. Their poetry attracts with its sharpness of vision, subtlety of image, loving attention to the smallest details of the life of their native nature.

A.N. Maikov, moreover, was also a good artist, therefore he loved to poetically display the bright, sunny state of nature in his poems. And what could be brighter and more sunny than a singing spring or summer day? The earth that wakes up, coming into force after the cold weather pleases the eye with a riot of colors, “warms the heart” with hopes and greetings, makes you smile for no reason, as it is described in the poem by A. N. Maikov “After the fading with flowers”.

The poetic space here is devoid of images, it is all flooded with light, even the singing of larks seems to dissolve in the "brilliance of half a day." And the poet places himself inside this picture, without violating its harmony, but on the contrary, conveying the state of happy unity of the human soul and the world around him in a moment of delight:

But, listening to them, eyes to the sky,

Smiling, I draw.

The sublime, solemn mood of the poem is given by the vocabulary: "wavering", "abysses", "gaze", "amuse", "heed".

These words of high stylistic coloring, as it were, carry the reader into the blue abyss, where the poet also directs his gaze.

The world is also harmonious, beautiful in the lyrics of A. A. Fet. But the poet does not strive to depict a holistic and complete image of nature. He is interested in “poetic events” in the life of nature: roses are sad and laugh, a bell in a flower garden tinkles subtly, a fluffy spring willow spreads its branches, and “the first lily of the valley” “from under the snow asks for sunlight”. Of course, the richest in such events can again be spring with its desire for life, joy. That is why there are so many exclamation sentences in the poem "The First Lily of the Valley". It is important for Fet not to photographically accurately depict natural phenomena, but to convey his impressions of them. And the lily of the valley in his poem becomes not just an image, but an image-experience:

Oh first lily of the valley! From under the snow

You ask for the sun's rays;

What a virgin bliss

In your fragrant purity!

Such verses are not addressed to the mind, but to the feelings of a person with his penchant for unexpected connections and associations:

So the maiden sighs for the first time

About what - it is not clear to her, -

And a timid sigh smells sweet

Excessive young life.

Fet has "air, light and thoughts at the same time": his poetic feeling penetrates beyond the boundaries of ordinary things and phenomena into the transcendent mystery of the universe:

As the first ray of spring is bright!

What dreams descend in him!

This explains the poet's violation of the traditional convention of the metaphorical language, all boundaries between man and nature have been eliminated: the poem speaks at once about both the lily of the valley and the maiden.

Another feature of Fet's lyrics is its musicality, which manifests itself in the sounding of objects and phenomena of the surrounding world. There is also a song beginning in the poem "The First Lily of the Valley". It is created, firstly, by lexical repetitions: "first", "spring - spring", "virgin - virgin", "sighs - sigh", as well as anaphores: "how", "what", synonyms: "fragrant - fragrant ".

Reading such verses as "The field is rippling with flowers", "The first lily of the valley" is a real pleasure, allowing you to plunge into the wonderful world of poetry and spring.

41. The inner world of the hero in the story of A. Chekhov "About love"

AP Chekhov's story "About Love" is on a par with two of his other stories "The Man in a Case" and "Gooseberry", which were named "Little Trilogy". In these works, the writer judges people with truncated horizons in life, indifferent to the wealth and beauty of the world of God, who have limited themselves to a circle of small, philistine interests.

In the story "About Love" we read about how a living, sincere, mysterious feeling is destroyed by the very loving hearts committed to the "case" existence. The story is told on behalf of Pavel Konstantinovich Alekhine, a Russian intellectual, a decent, intelligent person who lives alone and joylessly. The story of his love for the married lady Anna Alekseevna Luganovich was told to his friends in confirmation of his thought that we, Russian people, “when we love, we do not stop asking ourselves questions: is it honest or dishonest, clever or stupid, what will this love lead to, and etc. Well, whether it’s good or not, I don’t know, but what it interferes, does not satisfy, annoys - I know that. " But this load of moral doubts prevented the hero not only in love, at the beginning of his story he says a few words about himself that reveal his inner world. Alekhine, by his inclinations, is an armchair scientist, forced to lead the everyday life of a successful landowner, taking away all his free time, and at the same time he was bored and disgusted. His love for the young woman made him even more unhappy. She only confirmed the hero's impossibility to break with a joyless existence: “Where could I take her? It would be another matter if I had a beautiful, interesting life, if I fought for the liberation of my homeland or were a famous scientist, artist, artist, otherwise, from one ordinary, everyday situation, I would have to carry her into another, the same or even more everyday ". The hero understands that in the life to which he has doomed himself, there is no place for the great mystery of love. The inertia of Alekhine and Anna Alekseevna's existence held their souls captive and eventually destroyed their feelings. And only when separation came, with a burning pain in his heart, the hero realized “how petty and deceptive it was” everything that prevented them from loving. But enlightenment is a little late and after the words spent, the turn of righteous deeds does not come.

The story is structured as a monologue of the protagonist, but there is an introduction to it and an ending that allows the author to give his own assessment of this story. Attention is drawn to the landscape sketch in the frame of the story: Alekhine begins his story in a bleak rainy weather, when only a gray sky was visible through the windows. This capacious Chekhovian detail as a symbol of the gray, dull life that the hero leads, and his inner world. And here is the end of the story: "While Alekhine was talking, the rain stopped and the sun came out," the heroes admire the beautiful view, and along with sadness from what they heard, purification comes to their souls, which allows A.P. Chekhov to hope that healthy aspirations are in their thoughts and the feelings of the Russian people will nevertheless prove to be stronger than a bloodless and boring existence.

42 The problem of the positive hero in the story of M. Gorky "Chelkash"

In the story of Maxim Gorky "Chelkash" two main characters appear - Grishka Chelkash - an old poisoned sea wolf, an inveterate drunkard and a clever thief, and Gavrila - a simple country boy, a poor man, like Chelkash.

Initially, the image of Chelkash was perceived by me as negative: a drunkard, a thief, all tattered, bones covered with brown skin, a cold, predatory gaze, a gait like the flight of a bird of prey. This description evokes some disgust, dislike. But Gavrila, on the contrary, was broad-shouldered, stocky, tanned, with big blue eyes, his gaze is trusting and good-natured, there was simplicity in him, perhaps even naivety, which gave zest to his image. Gorky brings his two heroes face to face, so they get to know each other and go to a common cause - theft. (For the fact that Grishka drew Gavrila into his affairs, Chelkash can be safely called a negative hero). But in the course of their common craft, a negative opinion about Gavril develops: he is cowardly, showed weakness: he sobbed, cried, and this causes hostility to the guy. There is, as it were, a change of roles: Chelkash turns from a negative hero into a positive one, and Gavrila vice versa. Here you can see the manifestations of true human feelings in Chelkash: he was offended to lie, the boy. He, a thief, passionately loved the sea, this boundless, free, powerful element, this feeling cleared him of everyday problems, at sea he became better, he thought a lot, philosophized. Gavrila was deprived of all this, he loved the land, peasant life. However, Chelkash is also connected with the earth, connected after many generations, connected with memories of childhood. Gavrila gave birth to pity in the old sea wolf, he pitied him and was angry with himself for it.

The main problem of the positive hero is that he is too kind, not everyone would give to a completely stranger all the money, even if earned by dishonest labor, because of which he risked his life and freedom. Moreover, Gavrila was greatly hurt by the pride (and Chelkash was very proud) of Chelkash, he called him an unnecessary person, insignificant, he (Gavrila) does not appreciate and does not respect the person who did him good. In addition, he is greedy, he almost killed a man for money, he is ready to sell his soul for an extra penny. Chelkash, in spite of his riotous lifestyle, the fact that he is a thief and a reveler, cut off from everything that is dear, has not lost his sense of reason, a sense of conscience. He is truly glad that he did not become and will never become greedy, low, not remembering himself because of money, ready to suffocate because of a penny.

The main ideal of Chelkash's life has always been and will always be freedom, wide, endless, powerful, like the sea element.

43. Landscape in M. Gorky's story "Chelkash"

Poets and writers of different times and peoples used the description of nature to reveal the inner world of the hero, his character, mood. The landscape is especially important at the climax of the work, when the conflict, the problem of the hero, his inner contradiction are described.

Maxim Gorky didn’t do without this in his story “Chelkash”. The story, in fact, begins with artistic sketches. The writer uses dark colors (“the blue southern sky darkened by dust is dull”, “the sun looks through a gray veil”, “waves chained in granite”, “foamed, contaminated with various rubbish”), this already tunes in a certain way, makes you think, to be on the alert, to be on the alert.

These pictures are complemented by sounds: “ringing of anchor chains”, “roar of carriages”, “metallic scream of iron sheets”. All these details seem to warn us of an impending conflict. And against the background of this, Grishka Chelkash appears - an old poisoned wolf, a drunkard and a brave thief. The description of his appearance fully corresponds to the description of the pictures of the port; the author uses gloomy colors - "disheveled black with gray hair and a drunken, sharp, predatory face", "cold gray eyes", this causes some disdain and disgust for the hero. Against this background, we see a young, stocky guy - Gavrila. An acquaintance is struck between them, Chelkash invites this guy to take part in the case - in theft, but Gavrila does not yet know what this case is.

Night, silence, clouds floating across the sky, a calm sea, sleeping in a healthy sound sleep of "a worker who was very tired during the day." Both heroes are also calm, but behind this calmness lies inner tension. As this tension grows from the internal to the external, Gorky shows how the sea awakens, how the waves rustle, and this noise is terrible. This fear is born in the soul of Gavrila. Chelkash left Gavrila alone, and he himself went for "prey". And again everything was quiet, it was cold, dark, ominous, and most importantly, everything was silent. And from this deaf silence it became creepy. Gavrila felt crushed by this silence, and although he despised Chelkash, he was still glad of his return. Meanwhile, the night became darker and more silent, and this gave confidence and strength to complete a successful "operation", the sea became calm, and peace of mind returned to both heroes. Nature, as it were, helped the heroes to overcome all obstacles and successfully reach the coast. Landscape sketches reflect the inner state of the heroes: everything is calm, and the sea is calm ...

In the last scene - the scene of the conflict between Chelkash and Gavrila - we see a picture of rain, at first it comes in small drops, and then everything is largest and largest. This exactly corresponds to the brewing conflict: at first it was based simply on begging for money, and then on a fight. Streams of rain weaved a whole network of threads of water, in my opinion, M. Gorky wanted to show that Gavrila got entangled in the network of his own thoughts: he wanted to get money, and not just his share, but all the "earned" money, and secondly, he conceived killing a person if he does not voluntarily give the money, and, thirdly, for all this he wanted to be forgiven so that his conscience was clear.

And the rain kept pouring down, its drops and splashes of water washed away the traces of the drama, a small conflict that flared up between the old wolf and the young man.

Undoubtedly, the role of the landscape is great in the work. From these descriptions, it is easier to understand the character of the characters, what they have in mind, an idea of ​​what will happen next is formed, thanks to them, the approaching conflict, the peak and resolution of the conflict are felt.

44. Chelkash and Gavrila (based on the story of M. Gorky "Chelkash")

Gorky's early work (90s of the XIX century) was created under the sign of “collecting” the truly human: “I got to know people very early and, from my youth, began to invent a Man in order to satisfy my thirst for beauty. Wise people ... convinced me that I had a bad idea of ​​consolation for myself. Then I went to the people again and - this is so understandable! - again from them I return to the Man, ”Gorky wrote at this time.

Stories from the 1890s. can be divided into two groups: some of them are based on fiction - the author uses legends or composes them himself; others draw characters and scenes from the real life of tramps.

The story "Chelkash" is based on a real case. Later, the writer recalled the tramp, which served as the prototype for Chelkash. Gorky met this man in a hospital in the city of Nikolaev (Chersonesos). “I was amazed at the good-natured mockery of the Odessa tramp, who told me the case I described in the story“ Chelkash ”. I well remember his smile, which showed his magnificent white teeth - the smile with which he concluded the story of the treacherous act of the guy he hired to work ... "

There are two main characters in the story: Chelkash and Gavrila. Both tramps, poor, both village peasants, of peasant origin, accustomed to work. Chelkash met this guy by chance, on the street. Chelkash recognized him as "his own": Gavrila was "in the same pants, in bast shoes and in a torn red cap." He was of a heavy build. Gorky several times draws our attention to large blue eyes, looking trustingly and good-naturedly. With psychological precision, the guy defined Chelkash's "profession" - "we are throwing nets along dry shores and in barns, along whips."

Gorky opposes Chelkash Gavril. Chelkash at first "despised", and then, "hated" the guy for his youth, "clean blue eyes", a healthy tanned face, short strong hands, because he has his own house in the village, that he wants to start a family, but most importantly It seems to me that this is that Gavrila has not yet learned the life that this seasoned man leads, because he dares to love freedom, which does not know its value, and which he does not need.

Chelkash seethed and shuddered from the insult inflicted by the guy, from the fact that he dared to object to an adult man.

Gavrila was very afraid to go fishing, because this was his first business of this kind. Chelkash was calm as always, he was amused by the guy's fear, and he enjoyed it and reveled in what a formidable man he is, Chelkash.

Chelkash rowed slowly and evenly, Gavrila quickly and nervously. This speaks of the perseverance of character. Gavrila is a beginner, that's why the first campaign is so hard for him, for Chelkash this is another campaign, a common thing. Here the negative side of the man is manifested: he does not show patience and does not understand the guy, yells at him and intimidates. However, on the way back, a conversation ensued, during which Gavrila asked the man: "What are you now without land?" These words made Chelkash think, pictures of childhood, the past, the life that was before the thieves' life surfaced. The conversation fell silent, but even from Gavrila's silence, a village breathed on Chelkash. These memories made me feel lonely, torn out, thrown out of that life.

The climax of the story is a fight over money. Greed attacked Gavrila, he became scary, an incomprehensible excitement moved him. Greed took possession of the young man, who began to demand all the money. Chelkash perfectly understood the state of his ward, went to meet him - he gave the money.

But Gavrila acted low, cruelly, humiliated Chelkash, saying that he was an unnecessary person and that no one would have missed him if Gavrila had killed him. This, naturally, hit Chelkash's self-esteem, anyone in his place would have done the same.

Chelkash, undoubtedly, is a positive hero, in contrast to him Gorky puts Gavrila.

Chelkash, despite the fact that he leads a riotous lifestyle, steals, would never act so low as this guy. It seems to me that the main things for Chelkash are life, freedom, and he would not tell anyone that his life is worthless. Unlike a young man, he knows the joys of life and, most importantly, life and moral values.

In the story "After the Ball" by L. N. Tolstoy, written in the 90s. XIX century, depicted in the 1840s. The writer thereby set the creative task of restoring the past in order to show that his horrors live in the present, only slightly changing their forms. The author does not ignore the problem of a person's moral responsibility for everything that happens around him.

The composition of the story, built on the basis of the “story within a story” technique, plays an important role in revealing this ideological concept. The work begins suddenly, with a conversation about the moral values ​​of being: “that for personal improvement it is necessary first to change the conditions among which people live”, “what is good, what is bad,” and just as it ends suddenly, without conclusions. The introduction, as it were, tunes the reader to the perception of subsequent events and introduces the narrator Ivan Vasilyevich. Further, he already tells the listeners an incident from his life that happened a long time ago, but answers the questions of our time.

This main part of the work consists of two pictures: a ball and a scene of punishment, and the main one in revealing the ideological concept, judging by the title of the story, is the second part.

The episode of the ball and the events after the ball are depicted using an antithesis. The opposition of these two pictures is expressed in many details: colors, sounds, mood of the characters. For example: "beautiful ball" - "which is unnatural", "famous musicians" - "unpleasant, shrill melody", "face reddened with dimples" - "face wrinkled from suffering", "white dress, in white gloves, in white shoes" - "something big, black, ... these are black people", "soldiers in black uniforms." The last opposition ....

Today in the lesson we will read and analyze Leo Tolstoy's story "After the Ball" and pay special attention to the skill of the writer, who has rightfully become the first figure in Russian literature.

Late evening, the room is dark. It seems that everything around him is asleep, and only the great worker Tolstoy cannot tear himself away from the work, which now 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.

At the turn of two eras, Tolstoy created a number of works, among which was the story "After the Ball". He was written in 1903, and published after the death of the writer - in 1911. The plot basis of the story was the actual events that happened to LN Tolstoy's brother - SN Tolstoy.

Rice. 2. Brothers Tolstoy (from left to right): Sergey, Nikolay, Dmitry, Lev (Moscow, 1854). ()

Varvara Andreevna Koreish was the daughter of a military commander in Kazan. The writer himself knew both her and her father. Sergei Nikolayevich's feelings for this girl faded away after he, merrily dancing a mazurka with her at the ball, saw the next morning how her father ordered the expulsion of a soldier who had escaped from the barracks through the line. This case, without a doubt, then became known to Lev Nikolaevich. The story "After the Ball" was written at the end of the writer's life. All the skill of Tolstoy the artist was embodied in him. Let's consider the artistic originality of this work.

Mazurka

Mazurka- paired three-part dance at a lively pace. By origin, it is associated with the folk dance of the Polish region of Mazovia - Mazur.

Mazurka is widespread in Russian music of the 19th century. In aristocratic life, the mazurka (along with the polonaise) is one of the typical ballroom dances, and against its background the quarrel of Onegin and Lensky is played out in Tchaikovsky's opera Eugene Onegin. About Colonel Skalozub from Woe from Wit it is said: "Constellation of maneuvers and mazurkas"... The same can be said about Varenka's father.

Composition(construction, structure, architectonics) is the arrangement of the selected material in such an order that the effect of a greater impact on the reader is achieved than would be possible with a simple communication of facts.

In the story "After the Ball" Tolstoy uses a compositional technique story in story... Using this technique, he first acquaints the reader with the main character, who will later become the main storyteller. Thus, the story creates a double author's view of the story and creates additional credibility. The main storyteller is Ivan Vasilievich, who recalls the story of his youth. This was the period of the 40s of the 19th century. The narrative consists of several parts. Let's outline the story.

Story composition"After the ball":

1. Introduction. Dispute about the influence of society on a person.

2. The main part.

2.2. Execution.

3. The ending. Reasoning about a person's place in society.

Such a composition, in which the introduction and ending are taken outside the framework of the main plot, is called framing... Thus, the main narrative consists of two parts: the description of the ball and the execution. As you can see, the composition is based on antithesis reception- artistic opposition. Now let's work on the text and fill in the table, giving examples of opposition, contrast. In the table we write down quotes from the first part - the description of the ball, and the second part - after the ball, i.e. executions.

Execution

Execution- this is the name of a terrible punishment, widespread in the army in the first half of the 19th century, introduced during the reign of Nicholas I.

The soldier was driven through the line and beaten with sticks or rods. This is how an old, 95-year-old soldier, the hero of the article of the same name by Tolstoy, Nikolai Palkin, recalls those times: “… A week did not pass so that a man or two from the regiment would not be beaten to death. Nowadays they don't even know what sticks are, but then this word did not leave my mouth. Sticks, sticks! .. Our soldiers also nicknamed Nikolai Palkin. Nikolai Pavlych, and they say Nikolai Palkin. And so the nickname went to him. "

Rice. 4. Illustration for the story "After the Ball". ()

In 1864, not far from the Yasnaya Polyana estate, an execution took place over a soldier who hit an officer who mocked him. When Tolstoy found out about this event, he decided to intercede in court for the soldier, but his help was unsuccessful. The soldier was sentenced to pass through the line.

Rice. 5. Illustration for the story "After the Ball". ()

The trial and execution made a deep impression on Tolstoy. It should be noted that the whole life of the writer was tormented by the thought of the lack of rights of the Russian soldier. It is known that Tolstoy served in the army. In 1855, he worked on a project to reform the army, including raising the question of the barbarity of execution.

Thus, we have proved that the story is based on the artistic method of antithesis. Thus, Tolstoy creates two worlds that collide with each other. This is an idle world, a cheerful aristocratic life and a harsh world of reality. This is the world of good and evil that collide in the human soul.

Rice. 6. Illustration for the story "After the Ball". ()

The Colonel, a kind and loving father, amazes us with his cruelty, which he manifests in the service. Together with Ivan Vasilyevich, we understand that he is the real one in the second part of the story. LN Tolstoy, being a count by birth, belonged to high society.

In the last years of his life, he thought more and more about the injustice of the world order. He wrote about this: “The task of a person in life is to save his soul; to save your soul, you need to live like God, and to live like God, you need to renounce all the joys of life, work, humble yourself, endure and be merciful. "

More than once we have become acquainted with a work of a small epic form and we know that an artistic detail plays a huge role in such works.

Artistic detail- pictorial and expressive detail, a characteristic feature of any object, part of everyday life, landscape, interior, portrait, carrying an increased semantic load, characterizing not only the object itself, but also determining in many ways the reader's attitude to it.

Internal monologue- the announcement of thoughts and feelings that reveal the inner experiences of the character, not intended for the hearing of others, when the character speaks, as it were, to himself, "to the side." It is the main method of the psychological characterization of the hero.

Tolstoy uses the technique of internal monologue in the story "After the Ball" in the second part, when the narrator Ivan Vasilyevich, after what he saw, begins to analyze the events and shares his experience with us.

“Obviously, he knows something that I don’t know,” I thought of the colonel. "If I knew what he knows, I would understand what I saw, and it would not torment me." But no matter how much I thought, I could not understand what the colonel knew, and fell asleep only in the evening, and then after I went to my friend and got drunk with him completely drunk. Well, do you think I then decided that what I saw was a bad thing? Not at all.

“If this was done with such confidence and was recognized by everyone as necessary, then, therefore, they knew something that I did not know,” I thought and tried to find out. But no matter how hard he tried, and then he could not find out. And without knowing it, I could not enter the military service, as I wanted before, and not only did not serve in the military, but did not serve anywhere and, as you can see, was no good. ”

These words say a lot about the narrator Ivan Vasilievich. In his youth, he is a representative of high society, a careless rake who enjoys life, faced a real situation that revealed to him the truth about the world, society and a person's place in this world. This truth broke him. Ivan Vasilyevich did not want to become part of the system in a society that was opposite to him, therefore he did not serve anywhere. Does Tolstoy justify him or condemn him for inaction and passivity? But don't jump to conclusions. Let's find out first what the ending was supposed to be in the draft versions of the story.

“I began to see her less often. And my love ended in nothing, but I did as I wanted, in military service and tried to develop in myself such a consciousness of my duty (I called it that), like that of the colonel, and partly achieved this. And only in old age I now understood the horror of what I saw and what I myself did. "

As you can see, Tolstoy first conceived to show the degradation of the hero. He not only did not have to draw conclusions, but also in many ways became like a colonel, performing actions for which, in his old age, Ivan Vasilyevich was ashamed. In the final version of the story, Ivan Vasilyevich refuses to serve at all. Therefore, Tolstoy does not condemn his hero. Rather, he wanted to show his disbelief that something can be changed in society, since, unfortunately, there are very few people like Ivan Vasilievich, sincere, honest, capable of compassion, with a keen sense of justice.

Summing up the lesson, I would like to emphasize once again that in all his works L. N. Tolstoy raises universal human problems. All the skill of the writer is aimed at educating in the reader a humanist, a person who is not indifferent to those around him, a person with high moral ideals.

Humanist

Humanist- adherent of humanism; the one who recognizes the value of a person as an individual, his right to freedom, happiness, development and manifestation of his abilities, the one who considers the welfare of a person as a criterion for assessing social relations.

1. Tell the story behind the story "After the Ball".
2. Prepare a paper on the artistic identity of the story.
3. Make a table with the characteristics of the characters in the story.

1. Korovina V.Ya. and other literature. 8th grade. Textbook in 2 parts. 8th ed. - M .: Education, 2009. - Part 1 - 399 p .; Part 2 - 399 p.
2. Merkin G.S. Literature. 8th grade. Textbook in 2 parts - 9th ed. - M .: 2013., Part 1 - 384 p., Part 2 - 384 p.
3. Buneev R.N., Buneeva E.V. Literature. 8th grade. House without walls. In 2 parts. - M .: 2011. Part 1 - 286 p .; Part 2 - 222 p.

1. Internet portal "Festival of pedagogical ideas" Open lesson "" ()
2. Internet portal "referatwork.ru" ()
3. Internet portal "refdb.ru" ()