Reception of contrast in the story. L.N. Tolstoy. The story "After the ball". Contrast as a technique that allows you to reveal the idea of ​​the story. Other writings on this work

In his memoirs about L. N. Tolstoy, the famous lawyer and writer A. F. Koni, touching on the story “After the Ball”, could not pass by the contrast inherent in the work. He noted: "This fatal dissonance is stronger than any long and complicated drama." In the literal sense, the word "dissonance" means a non-harmonic combination of sounds, and figuratively - discord, inconsistency, contradiction, a sharp inconsistency with something. In what sense, 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 by the author of the memoirs “fatal”?

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

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

The ball is wonderful, the hall is beautiful, the musicians are famous (serfs!), the buffet is magnificent and the bottled sea of ​​champagne ...

Something big black...

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

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

L. N. Tolstoy. After the ball. Contrast as a compositional technique

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The story of L.N. Tolstoy's "After the Ball" is a very small in volume, but extremely deep in meaning work. It is based on the reception of contrast, antitheses. 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 tells about all the events, is very much in love. Therefore, at that time he saw everything in the world in iridescent colors.

The ball was held in the house of the provincial leader, a good-natured and hospitable old man. “The ball was wonderful: the hall was beautiful, with choirs, the musicians were the famous serfs of the amateur landowner at that time, the buffet was magnificent and the bottled sea of ​​champagne,” says Ivan Vasilyevich. But the hero-narrator was not drunk on champagne, but on love, because his adored Varenka B., an extraordinary beauty, was at the ball: "... tall, slender, graceful and majestic, just majestic." Varenka always carried herself unusually upright, throwing her head back a little. This gave her a kind of regal air, "which would have frightened her away, if not for the affectionate, always cheerful smile of her mouth, and her lovely, shining eyes, and her whole sweet, young being."
It was evident that the girl was not indifferent to the narrator. The young people spent the whole evening together: they played and danced. At the end of the evening, Varenka gave Ivan Vasilyevich a feather from her fan. Delight - that's what the hero experienced throughout the 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 all the best. The narrator noticed that Pyotr Vladislavich wears old-style homemade boots in order to be able to take his Varenka out into the world.

The atmosphere of this evening can be characterized by 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. To her father, with his house boots and affectionate, similar to her smile, I experienced at that time some kind of enthusiastic tender feeling.

The second part of the story, which is of fundamental importance for revealing the ideological concept of the work, is directly opposite to 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." Amid the fog, the narrator sees black people (in contrast to the smart people from the ballroom). They stood in two rows, between them led a man, stripped to the waist. Each of the soldiers had to hit this man as hard as possible. Ivan Vasilyevich found out that before his eyes the punishment of the fugitive Tatar was taking place.

How bright and beautiful the first part of the story is, how terrible and disgusting the second is. If the melody of the mazurka can be considered the leitmotif of the first part, then the entire second part is accompanied by the “unpleasant, screeching melody” of the 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 does not rest next to his beloved Varenka, but performs his official duties.

The description of the colonel, in general, has not changed. We see the same ruddy face, gray whiskers. The intonations with which this hero was described have changed, the attitude of the narrator and readers towards this brave campaigner 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 was standing, I caught a glimpse of the back of the punished between the rows. It was something so motley, wet, red, unnatural that I did not believe that it was a human body.

The movement of the Tatar along the line of soldiers is opposed to the description of the dance in the first part. If at the ball the dance of the father with his 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 part, Pyotr Vladislavich, seeing the narrator, turned away from him as 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 not to commit such monstrous deeds. The scene of the punishment of the fugitive Tatar becomes even more terrible, given that it took place on the first day of Lent. After the pagan Shrovetide, described in the first part, the most important Christian fast comes, when a person must forget everything worldly and turn to his soul. But it is at this time that the narrator becomes a witness to the greatest crime of man - a crime in relation to himself, to his soul.

The leading artistic technique in Tolstoy's story "After the Ball" is the technique of contrast. In this work, two parts of the story are contrasted: the scene of the ball and the scene of punishment; heroes and their actions are contrasted. In addition, the moods, emotions, musical leitmotifs of the work are radically different.

The story "After the Ball" (1903) is based on a real incident that happened to the writer's brother. The story told by Tolstoy dates back to the forties of the 19th century, to the time of the reign of Nicholas I, when corporal punishment was used in the Russian army. Often, guilty soldiers were sentenced to several thousand blows with sticks and driven through the ranks along the "green street", that is, between two rows of soldiers who beat the punished with a vine (spitzruten).

Compositionally, the story is divided into two parts.

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The first depicts the events that took place at the ball; in the second - after the ball. In terms of volume, the first part is larger, however, naming the work “After the Ball”, Tolstoy emphasized that the main role was assigned to the second part. Ivan Vasilyevich, on behalf of whom the narration is being conducted, says: “My whole life has changed from one night, or rather, morning.”

Tolstoy gives an assessment of events through the mouth of the hero.

Experienced in his youth left an indelible impression in the soul of Ivan Vasilyevich, so he tells "sincerely and truthfully." Ivan Vasilyevich was "strongly in love"; a deep, joyful feeling that overwhelmed his heart determined the emotionally elevated tone of the first part of the story. Whether Ivan Vasilyevich talks about the woman he loves, her father, the atmosphere at the ball, his experiences - an enthusiastic state of love is felt in everything. Drawing Varenka B., he uses definitions that reproduce a charming image, reveal the feelings of a lover: Varenka was “a wonderful beauty”, “charming, slender ...”, she has a “royal look”, “charming shining eyes”. When Ivan Vasilyevich talks about Varenka's toilet, feelings do not prevent him from being specific; this is natural: fascinated by youth, beauty, he watched a loved one for a long time, remembered well every detail of the decoration. The situation at the ball and the guests present are described with the same thoroughness. Let us recall, for example, the portrait of a colonel. Ivan Vasilyevich mentions a white curled mustache, temples combed forward, a broad chest, not richly decorated with orders, good calf boots, fitted with thongs with "square toes, without heels."

But now Ivan Vasilyevich spoke about what he had experienced at the ball - his speech lost its harmony and smoothness, which corresponds to the state in which he was "drunk with love", whose feeling grew more and more.

The picture of torture is sharply opposed to a secular ball. Instead of the good music of "famous musicians", there was an "unpleasant shrill melody"; instead of the bright dresses of ladies and gentlemen, there were a lot of "black people"; instead of the beautiful well-groomed faces of the guests, there is the face of a fugitive soldier wrinkled from suffering; instead of the beaming smiles of those having fun, there are the bared teeth of the punished; instead of the smooth, graceful pas of the dancers, the convulsive movements of the beaten.

The antithesis is also found in the language of the narrator. The bright, sublime vocabulary of the first part is replaced by words that characterize the gloom, cruelty, inhumanity of the picture that Ivan Vasilyevich observed on the parade ground. He saw "something big, black", "something terrible", "something motley, wet red, unnatural", "heard hard, bad music"; horror, confusion seized the narrator at the sight of a tormented, beaten soldier, with a bleeding back, unconsciously repeating "brothers, have mercy." The frequent use of the indefinite pronoun "something" gives the spectacle an impersonal, repulsive, sinister character.

Colonel B. also looked different on the parade ground: his affectionate smile, charming courtesy disappeared, his voice became hoarse, stern, angry. He "terribly and viciously" frowned, with a hand in a suede glove, habitually and mercilessly beat his victim. Eventually actor appeared before readers as it was in reality - empty, duplicitous, deceitful, cruel, inhuman.

Shocked by the terrible scene on the parade ground, where that side of the secular nobility, which was carefully hidden from prying eyes, was revealed, Ivan Vasilyevich experienced a deep spiritual crisis: the feeling for the colonel's daughter faded away, he left the service, neglected his career, success in the world, but he was incapable of more.

The story of L.N. Tolstoy's "After the Ball" is a very small in volume, but extremely deep in meaning work. It is based on the reception of contrast, antitheses. 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 tells about all the events, is very much in love. Therefore, at that time he saw everything in the world in iridescent colors.

The ball was held in the house of the provincial leader, a good-natured and hospitable old man. “The ball was wonderful: the hall was beautiful, with choirs, the musicians were the famous serfs of the amateur landowner at that time, the buffet was magnificent and the bottled sea of ​​champagne,” says Ivan Vasilyevich. But the hero-narrator was not drunk on champagne, but on love, because his adored Varenka B., an extraordinary beauty, was at the ball: "... tall, slender, graceful and majestic, just majestic." Varenka always carried herself unusually upright, throwing her head back a little. This gave her a kind of regal air, "which would have frightened her away, if not for the affectionate, always cheerful smile of her mouth, and her lovely, shining eyes, and her whole sweet, young being."

It was evident that the girl was not indifferent to the narrator. The young people spent the whole evening together: they played and danced. At the end of the evening, Varenka gave Ivan Vasilyevich a feather from her fan. Delight - that's what the hero experienced throughout the 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 all the best. The narrator noticed that Pyotr Vladislavich wears old-style homemade boots in order to be able to take his Varenka out into the world.

The atmosphere of this evening can be characterized by 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. To her father, with his house boots and affectionate, similar to her smile, I experienced at that time some kind of enthusiastic tender feeling.

The second part of the story, which is of fundamental importance for revealing the ideological concept of the work, is directly opposite to 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." Amid the fog, the narrator sees black people (in contrast to the smart people from the ballroom). They stood in two rows, between them led a man, stripped to the waist. Each of the soldiers had to hit this man as hard as possible. Ivan Vasilievich found out that before his eyes the punishment of the fugitive Tatar was taking place.

How bright and beautiful the first part of the story is, how terrible and disgusting the second is. If the melody of the mazurka can be considered the leitmotif of the first part, then the entire second part is accompanied by the “unpleasant, screeching melody” of the 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 does not rest next to his beloved Varenka, but performs his official duties.

The description of the colonel, in general, has not changed. We see the same ruddy face, gray whiskers. The intonations with which this hero was described have changed, the attitude of the narrator and readers towards this brave campaigner 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 punished between the rows. It was something so motley, wet, red, unnatural that I did not believe that it was a human body.

The movement of the Tatar along the line of soldiers is opposed to the description of the dance in the first part. If at the ball the dance of the father with his 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 part, Pyotr Vladislavich, seeing the narrator, turned away from him as 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 not to commit such monstrous deeds. The scene of the punishment of the fugitive Tatar becomes even more terrible, given that it took place on the first day of Lent. After the pagan Shrovetide, described in the first part, the most important Christian fast comes, when a person must forget everything worldly and turn to his soul. But it is at this time that the narrator becomes a witness to the greatest crime of man - a crime in relation to himself, to his soul.

The leading artistic technique in Tolstoy's story "After the Ball" is the technique of contrast. In this work, two parts of the story are contrasted: the scene of the ball and the scene of punishment; heroes and their actions are contrasted. In addition, the moods, emotions, musical leitmotifs of the work are radically different.

Make a table. At the ball. After the ball. Scene. Color spectrum. Sounds. Portrait of Father Varenka. The emotional state of the hero. Hall at the leader. Street description. White, pink, sparkling. Black, grey, blood red. Mazurka motif. An unpleasant screeching melody. Satisfied, happy, blissful, kind, looks with enthusiastic tenderness. My heart was almost physical, to the point of nausea, melancholy. With a ruddy face and a white mustache and sideburns. Handsome, stately fresh with a white mustache ... With a ruddy face and a white mustache and sideburns. With a ruddy face and a white mustache and sideburns.