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• Zong horror opera "TODD" from "The King and the Jester" Rock musical by the Todd group The King and the Jester

Municipal autonomous educational institution

"Secondary school number 141

with in-depth study of individual subjects "

Sovetsky district of Kazan

Literature lesson summary

in 10th grade

Analysis of the episode "Pierre in Captivity"

(vol. 4, part 1, g. XI - XII novel by L.N. Tolstoy "War and Peace")

Prepared

teacher of Russian language and literature

Gimatutdinova Irina Lvovna

Kazan

2011

I ... Introductory speech of the teacher.

- The path of Pierre's searches in the continuation of the novel is the path of trial, error, doubt and disappointment.

- Why was Pierre taken prisoner?

- Captivity was for Pierre the penultimate stage of his quest. In one of his letters, Tolstoy argued that "the idea of ​​the boundaries of freedom and dependence" was central to the novel. The pictures of the shooting of the "arsonists" are also devoted to the proof of this idea.

II ... Episode analysis.

- Who are the participants in this scene and how does Tolstoy portray them?(The participants in this scene are the French, the arsonists and the crowd. The "large crowd of people" consisted of Russians, Germans, Italians, Frenchmen and stood in a semicircle. French troops were deployed "on two fronts", the arsonists were placed "in a known order").

- Why did the French try to end the execution as soon as possible?("… all in a hurry , - and they were in a hurry not like in a hurry to make things understandable for everyone, but in the same way as in a hurry to complete what is needed, but unpleasant and incomprehensible business »).

- How did those sentenced to death behave, how did they feel?(“The sharp ones, going up to the post, stopped and ... silently looked around them, as they looked knocked out beast for a suitable hunter. " “The factory could not go. They were dragging him under the arms, and he was shouting something. When they brought him to the post, he suddenly fell silent ... wounded animal , looked around him ... ". Let's pay attention to the nature of repeated comparisons).

- The brotherly bond between people has been severed: some people have turned into "killed beasts", while others?(The "hunters").

- How do these "hunters" feel?(“There was smoke, and the French with pale faces and trembling hands were doing something near the pit.” “One old mustachioed Frenchman had his lower jaw shaking ...”).

- Why? What did everyone, without exception, both those who executed and those who were being executed, understand?(“Everyone obviously, undoubtedly knew that they were criminals who had to rather hide the traces of their crime ").

- What question torments Pierre?( « Who does it finally? They all suffer the same way as I do. Who is it? Who is it? ").

 This means that it was not they, but someone else, or rather, something else, that created this whole nightmare. Man is a splinter drawn by the flow of history.

- How did this thought affect Pierre?("From the minute Pierre saw this terrible murder committed by people who did not want to do it, it was as if the spring that held everything in his soul was pulled out ... and everything fell into a heap of senseless rubbish").

 But at this moment it is absolutely necessary in the development of Pierre. To accept the new faith, one had to lose faith in the old beliefs, to renounce faith in human freedom. The whole scene of the execution, even more terrible than the scene of the Borodino battle(remember the description of the burial of the factory) , was intended to show both Pierre and the readers howa person is powerless to change the inevitable fatal order established by someone other than him .

 And then ...

- With whom does Pierre meet in captivity?(With a soldier, a former peasant Platon Karataev) .

 We come to the ideological center of the novel. In Platon Karataev - the ultimate expression of Tolstoy's thoughts aboutthe boundaries of freedom and dependence ... We need to carefully read everything that has been said about Platon Karataev.

- What is Pierre's first impression of Platon Karataev?("Pierre felt something pleasant, soothing and round ...").

- What influenced Pierre so much, what interested in this man?("Round" movements, smell, Plato's busyness, completeness, coherence of movements).

- What is the manner of speech of Karataev?(His language is folk).

 Let's analyze together one of Platon Karataev's remarks("- Eh, falcon, do not grieve, - he said with that tenderly melodious affection with which old Russian women speak. - Do not grieve, friend: endure an hour, but live a century!"). What features of speech did you pay attention to?(Common speech; saturation with proverbs and sayings; manner of communication).

 Work on options:

I option : vernacular, elements of folklore("Bude", "important potatoes", "goshpitala", "sam-sem", "the yard is full of bellies", etc.).

II option : Proverbs and sayings(“To endure an hour, but to live for a century”, “Ged is a judgment, and it’s not true”, “The worm is gnawing on cabbage, but before that it disappears”, “Not with our mind, but by God's judgment,” etc.). We will talk more about the meaning of these sayings, but now we will only note the presence of these proverbs as a feature of Karataev's speech.

III option : the manner of communicating with the interlocutor("... he said with a gentle, melodious affection ...", with a "restrained smile of affection", "was upset that Pierre had no parents").

 He listened to others with equal interest and readiness and talked about himself. He immediately began to ask Pierre about life. For the first time (!) Someone became interested not in the captive Bezukhov, but in the man Bezukhov. In Plato's voice - affection.

- Describe the appearance of Karataev.(“When the next day, at dawn, Pierre saw his neighbor, the first impression of something round fully confirmed: the whole figure of Plato ... was round , the head was perfect round , back, chest, shoulders, even the arms that he wore, as if always intending to hug something, were round ; pleasant smile and big brown tender eyes were round ).

 Once Natasha said about Pierre that he« quadrangular ». Pierre is attracted by this "roundness" of Karataev. And Pierre himself should, as it were,"Cut corners" in your attitude to life and also become"Round" like Karataev.

- What is the meaning of Karataev's story about how he got into the soldiers?

 Everything will be done as it should, and everything - for the best. He got into the soldiers illegally, but it turned out that the big brother's family benefited from this. Karataev expresses the Tolstoyan idea that the truth lies in the rejection of one's “I” and in complete submission to fate. All of Karataev's proverbs boil down to this belief in the inevitability of doing what is destined, and this inevitable is the best.

– "Yes, the worm gnaws cabbage, but before that you disappear" - these are his thoughts on the war with the French. The French invasion is eating into Russia like a worm in a cabbage. But Karataev is sure that the worm disappears before the cabbage. It is a belief in the inevitability of God's judgment. Immediately in response to Pierre's request to clarify what this means, Plato responds "not with our mind, but with God's judgment."

- This proverb is the basis of karatayevshchina:the less a person thinks, the better. Reason cannot influence the course of life. Everything will be done according to God's will.

 If we accept this philosophy as true(quietism), then it is possible not to suffer from the fact that there is so much evil in the world. You just have to give up the idea of ​​changing anything in the world.

 Tolstoy trying to prove it but life refutes this philosophy.

- How did this karatay philosophy influence Pierre?(Pierre “felt that a previously destroyed world was now being erected in his soul with a new beauty, on some new and unshakable foundations).

III ... Development of the theme in "subsequent episodes" (vol. 4, part 2, ch. XII, XIV).

- What did Pierre strive for all his life?(To agree with myself).

- What was he looking for this calmness?(“... he looked for it in philanthropy, in Freemasonry, in the scattering of secular life, in wine, in the heroic deed of self-sacrifice, in romantic love for Natasha; he sought it out by thought, and all these searches and attempts all deceived him ").

- In what has Pierre found happiness now?(Happiness is now in the absence of suffering, satisfaction of needs and "as a result, the freedom of choice of occupations" ... "Satisfaction of needs - good food, cleanliness, freedom - now when he was deprived of all this, Pierre seemed to be perfect happiness ... ").

 A thought trying to raise a person above his immediate needs only introduces confusion and uncertainty into the soul of a person. Man is not called to do more than what concerns himpersonally . (Pierre "... did not even think about Russia, or about the war, or about politics, or about Napoleon"). A person must determine the boundaries of his freedom, says Tolstoy. And he wants to show that the freedom of man is not outside of him, but in himself.

- How does Pierre respond to the brutal demand of the sentry not to leave the ranks of prisoners?("And he spoke aloud to himself:" The soldiers did not let me in. They caught me, locked me up. They are holding me captive. Who am I? Me? Me - my immortal soul! ").

 Feeling inner freedom, becoming indifferent to the outer flow of life. Pierre is in an unusually joyful mood, the mood of a man who has finally discovered the truth.

IV ... Conclusion.

 Prince Andrew was close to this truth on Austerlitz("Endless high sky"). "Endless distances" opened up to Nikolai Rostov, but they remained alien to him. And now Pierre, who has cognized the truth, not only sees this distance, but feels himself a particle of the world.(« High there was a full month in the bright sky. Forests and fields previously unseen outside the camp were now opening up. in the distance ... And further farther these forests and fields could be seen a bright, hesitant, calling into itself endless distance ... Pierre looked into the sky, into the depths of the departing, playing stars. "And all this is mine, and all this is in me, and all this is me!" - thought Pierre ").

 This is how Tolstoy expressed the idea that, as he wrote to Pogodin, was most dear to him in the novel. We may disagree with Tolstoy's views on the boundaries of human freedom and dependence, but we must understand them.

In continuation of the lesson, the main provisions are introduced into the reference scheme:

"Thought about the boundaries of freedom and dependence"

vol. 4, part 1, ch. XII

One of the best works of Russian classical literature is undoubtedly the epic novel by L. Tolstoy "War and Peace", in which the author from the first pages emphasizes the unnaturalness of all conflicts. This is facilitated by scenes describing a peaceful life in the circle of relatives and friends, who are always ready to understand and come to the rescue. And to understand which people attracted the writer most of all, the analysis of the episode "The Rostovs' Name Day" will help.

Place of the scene in the epic novel

Almost the entire 1 part of the first volume is devoted to acquaintance with the heroes and the foundations prevailing in their homes and society as a whole.

After describing the nobility gathered in the Scherer salon, L. Tolstoy shows how the name day is celebrated in the Rostovs' house. A very important idea for the writer is connected with this family in the work - a family thought, as he himself designated it. And the acquaintance with the Rostovs begins and the story of their further fate begins from the stage in which relatives and friends come together. Throughout the day, a joyful, benevolent atmosphere reigns here, emphasizing that the owners are glad to everyone who crosses their threshold. And although the Countess, tired of the visits, says: "That's enough," her words are not perceived as unwillingness to see guests. To a greater extent, this is a manifestation of sincerity and simplicity - the main advantages of all family members, with the exception of the eldest daughter Vera. This is precisely the main difference between the Rostovs and other "noble nests" presented in the novel.

Morning reception

The count's house was known all over Moscow, including hospitality and cordiality, which will be proved by the analysis of the episode “The Rostovs' Name Day”. On this day, from the very morning, guests began to drive up to congratulate the mother and daughter. The Countess, a woman of about forty-five, received everyone in the drawing-room. Vera, who had already matured, was sitting next to her. Young people, including the birthday girl, thirteen-year-old Natasha, considered this occupation rather boring and therefore went about their own, more interesting things.

All those who arrived with a friendly smile and warm words - here, by the way, instead of fashionable French they preferred their native Russian - were met by the count himself. He took them to his wife, and when he saw off, he invited each guest to be sure to be at the festive evening dinner, which was arranged according to tradition, even in spite of financial difficulties.

The story with Pierre

The scene in which one of the guests tells a story that happened the day before with the illegitimate son of Count Bezukhov, who in a drunken revelry tied a police officer to the back of a bear, can be considered indicative. This caused general laughter and genuine amusement. The count was especially amused by the picturesque presentation of the entire scene described. It is worth noting that with Scherer, for example, the guests would certainly try to give a moral assessment of Pierre's such stupid behavior and even hang appropriate labels on him.

Thus, the Rostovs' name day - the analysis of the episode emphasizes this - speaks of simplicity, naturalness, the absence of pretense and ostentatious hospitality in this family.

The beginning of the evening

The count always, even at such a difficult time for them, tried to arrange everything according to the rules - money was never treated here as the most important value in life. The women who arrived gathered in the living room, and the men went to the master's office: there they were to admire his wonderful collection of pipes and, of course, discuss political news, the main one of which was the war. Each of the guests expressed their opinion on the current political situation, but this was done somehow unobtrusively and without unnecessary discussions. The young lieutenant Berg, who did not accidentally come to the birthday of Natasha Rostova (daughter) and the countess herself, stood out especially: he was predicted to be Vera's bridegroom. Often he preferred to be silent, observing what was happening and assessing the situation. Now Berg carried away the audience with a story about what an advantageous position he occupied in the guard and how quickly he advanced in the service. At the same time, he did not notice at all that interest in him was rather caused by the manifestation of boasting and narcissism, which were little accepted in such a circle and were quite appropriate for Anna Pavlovna. This was emphasized by the closing phrase of one of the guests that with such an approach to life, Berg will go everywhere. However, even here everything happened naturally, without any claims to superiority on the part of any of the guests or the count himself.

Long-awaited guest

It was time for dinner and the men returned to the living room. The hosts were all looking at the door, which eloquently spoke of one thing: not all the guests had arrived yet. Finally, there was a noise into the living room, one might say, burst in, fifty-year-old Marya Dmitrievna, due to whose absence they still did not begin to celebrate the name day at the Rostovs'. An analysis of the episode, when all the guests, without exception, stood up when the lady appeared, immediately emphasizes her importance in this circle. Somewhat rude, but exclusively in Russian, she turned to the count who met her and to her beloved goddaughter, Natasha, the "Cossack", making a couple of remarks to Pierre Bezukhov, who was present here, along the way. But it was precisely for this directness and ease of communication that she was respected and even somewhat feared in both capitals. Although it must be said that if, as the analysis shows, the Rostovs' name days did not begin without her, then in a salon like Scherer, the appearance of Akhrosimova would be impossible in principle - she was very different from the high society nobility with their "high" manners, arrogance and pretense.

Only now, when the yacht earrings were presented to the goddaughter, and the young Count Bezukhov was reprimanded by the guest for the story with the bear, everyone went to the table.

Dinner description

An analysis of the episode "The Rostovs' Name Day" shows that at dinner everything went as it should - that is, in general, the accepted decency was respected. Women sat at one end of the table, men at the other. It is interesting to note the author's remark that the owner, casting glances at the spouse sitting opposite, imperceptibly poured wine for the guests and himself, and the countess, in turn, tried not to take her eyes off her husband and noticed how his face and bald head were becoming redder and redder. This detail underscores how well the couple have learned each other over the years together.

The revived men soon started talking about the war again. But this question worried them more due to the fact that they had to send their sons to the front. For example, the son of the Rostovs, Nikolai, was soon to leave the house. The guests are quite sincerely surprised: "And why did this Bonaparte decide to fight?" Gradually, young Nikolai, ready to win or die for Russia, and Marya Dmitrievna, who noted that everything is God's will (she herself had four sons at the front), intervenes in the conversation. Thus, the war was perceived here as a terrible event, participation in which was not a way to achieve titles and awards, but a necessity and duty of every patriot.

Bold prank

The episode "The Rostovs' Name Day" emphasizes that the whole family has gathered at a common table, including its younger members. Between them, their own, special relationship was established, at which Vera, who already felt like an adult, looked with irony. Young people were more worried about mutual sympathies and hobbies. So the hushed Sonya, a poor relative of the Rostovs, watched Nikolai all evening, with whom she was soon to part. The birthday girl Natasha exchanged glances with Boris, who was also preparing to go to the front. Sometimes a large and clumsy Pierre attracted her attention with his unusual appearance.

And suddenly, when the dispute about the war gradually subsided and the guests on each half of the table started talking about their own, Natasha's sonorous voice rang out. Her address to her mother at this moment looked bold and contrary to the norms of etiquette. Having argued with her younger brother, she decided by all means to find out what would be served for dessert. At first, her question shocked everyone, but the incredible courage of the girl, who then dared to enter into a dialogue with Marya Dmitrievna herself, greatly amused everyone. And the birthday girl felt like a real heroine, and the whole evening she was in an ecstatic state.

After-dinner entertainment

The birthday of Natasha Rostova and her mother continues with a description of a game of cards, in which men and Marya Dmitrievna herself participated, singing to the accompaniment and, of course, dancing. Natasha took another liberty here, inviting Pierre, whom she did not know. And then she sat in his company and, fanning herself, imitated small talk, arousing admiration from her godmother: "What is it?" But the real event was the dance performed by the count and Marya Dmitrievna. There was so much simplicity, naturalness, sincerity in their joy coming from the depths of their souls and, albeit not always dexterous, but natural movements, that it was impossible not to admire them.

This is how L. Tolstoy emphasizes the truly popular character of his favorite heroes in the epic novel War and Peace.

Birthday of the Rostovs: conclusions

As already noted, in the first part of the work, the main storylines are tied and the reader gets acquainted with the heroes, whose fate will subsequently pass before his eyes. In this regard, it is indicative that the descriptions of the reception in the Scherer salon and the Rostovs' house are next to each other. Their contrasting image helps to better understand the dignity of Russian people, whose soul has not been tainted by the light, to see the author and determine what is the role of the family, where everything is built on mutual love, cordiality, sincerity, in

An analysis of the episode “The Rostovs' Name Day” also confirms the main idea of ​​the novel: a person is born to live in harmony with the world and with himself, and any war is destructive in its essence.

Unprecedented in the history of world literature is Leo Tolstoy's classic novel War and Peace, which tells about the life of Russian society in the era of the Napoleonic wars. The grandiose work has enjoyed unwavering success with readers and literary researchers all over the world for many years. We offer for review the analysis of the novel according to a plan that will be useful to grade 10 students when writing an essay on a given topic, preparing for a lesson in literature and the upcoming USE.

Brief analysis

Year of writing- 1863-1869 years.

History of creation- Initially, Tolstoy planned to write a story about the Decembrist, who returned home with his family from exile for many years. However, in the course of the work, the writer's idea expanded significantly: new heroes appeared, the time frame moved away. As a result, an epic novel was written, the work on which took Tolstoy almost 7 years.

Theme- The central theme of the work is the historical fate of the Russian people in the Patriotic War of 1812. The author also raised the themes of love, family, life and death, duty, war.

Composition- The novel consists of 4 volumes and an epilogue, each volume corresponds to a certain time period. The composition of the novel is extremely complex and multi-layered.

genre- An epic novel.

Direction- Realism.

History of creation

In the 50s of the 19th century, Lev Nikolaevich had the idea to write a story about a Decembrist who returned with his family from Siberia. This idea captivated the writer so much that he began to penetrate deeper into the inner world of his hero, to look for the motives of one or another of his actions, to get to the bottom of the truth. As a result, it became necessary to describe the whole life of the hero, starting from early youth. So the time frame of the work was shifted almost half a century ago, and the storyline took its account from 1805.

It is not surprising that such a deep immersion in the life of the protagonist required an expansion and a significant increase in the main and secondary characters.

"Three pores" - that was the working title of the work. As conceived by Tolstoy, the first part or time described the life of the young Decembrists, the second - the Decembrist uprising, and the third - their amnesty and their return home from many years of exile. Ultimately, Lev Nikolayevich decided to direct all his efforts to describe the first pore, since even this time period required colossal efforts and time from him. So, instead of the usual story, the writer created a monumental work, a real epic, which had no analogues in all world literature.

The history of the creation of War and Peace, which took Tolstoy almost 7 years, was an example of not only painstaking work on the characters of the heroes and their relationships, but also of complete immersion in the history of Russia. Tolstoy studied the memoirs of participants and witnesses of the Napoleonic wars in the most thorough way, and spent some time in Borodino to describe the scene of the Battle of Borodino, where he personally collected reliable information.

Throughout the entire work on the novel, Lev Nikolaevich treated the work done with a great deal of criticism. So, in an effort to create a work worthy of attention, he wrote 15 different variations of the beginning of the novel.

Before publication, the author renamed his work. The meaning of the name“War and Peace” is that the author, using the example of not only different characters, but also different social strata of society, wanted to show the contrast between peaceful life and how it changed during the war years.

Theme

Among the many topics covered by the author in the novel, one of the most important is the historical fate of the entire Russian people during the war years. Lev Nikolaevich always criticized any wars, since later they became the cause of serious problems in society.

People, cut off from their usual occupations and forced to kill their own kind, forever changed their worldview. As a result, the entire nation suffered enormous, irreparable moral damage.

Military action has become an excellent background for the development of such a vital themes as true and false patriotism. The war of 1812 was of great importance in uniting the entire nation in a common patriotic impulse - to expel the enemy from their land. In this, many representatives of the nobility and the common people were in solidarity. All the heroes of the novel, one way or another, were tested in 1812, and received a moral assessment of their actions.

Lev Nikolaevich put all his aspirations and hopes into the main idea of ​​the work - each person should live in the interests of his people, strive for true harmony, forgetting about the thirst for profit or career ambitions. Love for the homeland, good thoughts, unity with the people - this is what the work teaches.

The meaning of the novel lies in "nationality", since it is the people that are the driving force and greatness of the nation.

Composition

Analyzing the work in the novel "War and Peace", it is necessary to note the complexity and multistage nature of its compositional construction. Not only the novel, but even each volume and each chapter has its own climax and denouement. The main storylines are closely intertwined in the book, many characters and episodes are opposed to each other.

The work consists of 4 volumes and an epilogue, and each part of the book corresponds to a certain time period.

• 1 volume(1805) - a description of the war and the main characters, filled with ambitious dreams.
• Volume 2(1806-1811) - a display of problems and difficult life situations in which each of the heroes of the novel finds themselves.
• Volume 3(1812) - completely dedicated to the war of 1812.
• Volume 4(1812-1813) - the onset of the long-awaited peace, with the arrival of which the main characters are enlightened.
• Epilogue(18120) - a story about the further fate of the central characters.

main characters

genre

It is quite simple to define the genre of "War and Peace" - it is epic novel... Its main differences from other literary genres are the large volume of the work, the scale of the events displayed and the problems under consideration.

In terms of genre, "War and Peace" is a very complex work, since it contains the characteristic features of historical, social, everyday, philosophical, battle novels, as well as memoirs, chronicles.

Since many historical figures are involved in the novel and descriptions of real historical events are given, the novel is usually attributed to the literary direction of realism.

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• Introduction
• 1. Ball in the history of Russian noble society
• 1.1 The history of the appearance of the ball in Russia
• 1.2 Ball as an important part of the life of the Russian nobility
• 1.3 Ballroom costume and its components
• 1.4 Ballroom dancing
• 2. Episode as a structural element of the text: theoretical and methodological aspects
• 2.1 Questions of episode study in literary criticism
• 2.2 Issues of episode study in literature teaching methodology
• 3. Analysis of the episodes of the ball in the epic novel by L.N. Tolstoy "War and Peace"
• 3.1 General characteristics of the balls. Iogel's Moscow Ball
• 3.2 The image of the "grammar" of the ball
• 3.3 Subject organization of the ball episodes
• 3.4 Spatio-temporal organization
• 3.5 Character system
• 3.6 Typology and functions of the ball episodes in the epic novel by L.N. Tolstoy "War and Peace"
• Conclusion
• List of used literature

Introduction

The epic novel War and Peace is, in our opinion, the most difficult work studied at school. The scale of creativity and personality of L.N. Tolstoy, the depth of philosophical, social and moral problems, the voluminous system of characters, the “labyrinth of linkages” of numerous events create certain difficulties for tenth-graders to read and comprehend it.

In the method of studying epic works, the traditional way is to highlight key episodes that allow readers to penetrate deeper into the artistic world of the work. This path is especially relevant when considering a large epic. On the one hand, this is due to the fact that text analysis in school practice is limited by the time of study, the number of lessons. On the other hand, in the process of studying a literary work at school, it is necessary to take into account the peculiarities of the perception of schoolchildren, their interest in the work, the level of understanding of the historical and cultural realities of the text, the complexity of the novel's problematics. Finally, a literature teacher should also bear in mind the problems associated with the reading of a large classical work by schoolchildren.

"People's Thought" in Leo Tolstoy's epic novel is a connecting idea of ​​two plans of the image, reflected in the title of the work, - showing the life of Russian society in the first quarter of the 19th century in peace and wartime. In this final qualifying work, episodes were selected for consideration, which, in our opinion, are key for the depiction of the Russian nobility in peacetime - these are episodes describing balls and holidays, in their structure close to balls.

The choice for the study of the episodes of the ball is due to the following reasons, which determine the relevance of the work:

1) the ball is an important phenomenon in the history of culture and life of Russian society in the 18th - early 20th centuries, interest in which has revived today, including among schoolchildren;

2) in the composition of the epic novel, the episodes of the ball play an important role and, in our opinion, are opposed to the episodes of battles (the opposition "war - peace");

3) the episodes of the ball are polyfunctional and allow, in the process of analysis, to go to the study of various levels of the structure of the work (character, subjective organization, plot-plot, spatio-temporal, etc.);

4) the study of the episodes of the ball can become the implementation of intra-subject connections in the course of literary education (through comparative analysis), since the image of the ball is found in the works of many Russian writers (including in other works of Leo Tolstoy);

5) these episodes are of direct interest to school readers.

The epic novel by L.N. Tolstoy is a work that has a deep tradition of study, both in literary criticism and in the methodology of teaching literature. Meanwhile, in our opinion, in scientific research, insufficient attention is paid to a comprehensive in-depth analysis of the episodes of the ball, the definition of the leading functions of these episodes. It is no coincidence, therefore, that in the methodological recommendations for the study of "War and Peace" at school, the teacher is offered a more detailed consideration of only the episode of the first adult ball of Natasha Rostova in the aspect of characterization of characters' images and plot-plot organization. In practice, the analysis of this episode is often replaced by watching a fragment of the Soviet film adaptation by S.F. Bondarchuk or well-known foreign film versions of the novel.

Of course, Natasha Rostova's first ball is not only one of the key episodes of the novel, it is already a certain symbol of the era, a symbol of Russia. But no less important for understanding the problems of the work and interesting for study are other episodes describing balls and holidays, in their structure close to balls. In the novel by L.N. We have identified three similar episodes to Tolstoy:

1.Moscow Ball at Iogel's (Volume 2, Part 1, Chapter 12)

2. Ball in St. Petersburg, Natasha Rostova's first adult ball (volume 2, part 3, chapter 14-17)

3. Ball in Vilna before the entry of French troops into Russia (volume 3, part 1, chapter 1)

The object of the research is the epic novel by L.N. Tolstoy's "War and Peace".

The subject of the research is the episodes of the image of the ball in the epic novel by L.N. Tolstoy's "War and Peace", as well as the methodology of their study in high school.

Purpose of the work: on the basis of the analysis of the episodes of the ball in the epic novel by L. N. Tolstoy "War and Peace" to determine their role and functions in the overall composition of the work.

Research objectives:

1. Analyze the scientific and methodological literature on the research topic.

2. Trace the history of the functioning of the ball in Russia, designate the structure of the ball ceremony, determine the role of the ball in the life of the Russian noble society.

3. Determine the main types and functions of an episode as a structural element of the composition of a literary work; consider the study of the episode.

4. Identify the episodes of the ball in the epic novel by LN Tolstoy "War and Peace", outline their boundaries, based on the analysis of the text, determine the ideological and artistic features of these episodes.

5. To develop methodological materials using the analysis of the ball episode in the epic novel by LN Tolstoy "War and Peace".

The main provisions of the final qualifying work were outlined at the scientific student conferences of VoSU in 2015, 2016.

The structure of the final qualifying work is determined by the objectives of the study and consists of an introduction, three chapters, a conclusion and a list of used literature.

1. Ball in the history of Russian noble society

Ball in the 19th century was an important part of the life of the noble society. As noted by Yu. M. Lotman, at the ball “the social life of a nobleman was realized: he was neither a private person in private life, nor a servant person in public service; he was a nobleman in the assembly of the nobility, a man of his class among his own. " To understand the problematic and compositional role of the ball episodes in Leo Tolstoy's novel, it is necessary to turn to the history of the appearance of balls, its role in the life of Russian society, and consider the ball ceremony.

1.1 The history of the appearance of the ball in Russia

Ball (French. Bal, Italian. Ballo, German. Ball from ballare - to dance) is a gathering of a large society of both sexes for dancing. Balls differ from other dance gatherings in their known brilliance, stricter etiquette and predetermined order. Their beginning dates back to the festivities at the French and Burgundy courts. The first ball, about which there is information in history, was given in 1385 in Amiens on the occasion of the marriage of Charles VI and Isabella of Bavaria.

Ball has captured Europe since the XIV century. Since the time of Marie de Medici, the ball has begun to be popular in France, and since the reign of Louis XIV it has become an integral part of court festivities.

Ballroom culture in Russia develops after Peter's reforms, at the beginning of the 18th century, as an element of Western European culture. The ball was artificially grafted on Russian soil, and in this regard, it came into conflict with the traditional culture of our country and thus at the beginning of its existence violated some of the foundations of its social life.

Gradually, the ballroom culture became firmly rooted in the secular gatherings of Russia. On November 26, 1718, Peter I regulated the assemblies by his decree. The emergence of assemblies has become one of the most important cultural symbols of a renewed Russia. One of the main innovations was the release of women from the captivity of the prohibitions imposed by the "terem culture". A woman at the Petrine assemblies acquires the status of "queen of the ball". At the meetings, a custom was established, reminiscent of the times of knightly tournaments: the owner presented a bouquet of flowers to one of the ladies, who became the “queen of the ball”. She gave orders at the assembly.

Such significant changes could not instantly change the consciousness of the people, therefore, for a sufficiently long period of time, there was a negative attitude towards the ballroom culture. Many openly condemned dancing, considered the ball a place of death for the soul. Unusual clothes, a large number of unfamiliar faces with whom it was necessary to behave appropriately, dances with all kinds of steps, and the presence of the sovereign brought inconvenience to the secular circle.

Already during the reign of Elizabeth Petrovna, up to three thousand people gathered at court balls. In both capitals, balls became the centerpiece of commercial garden entertainment programs, modeled after "glorious London, Paris and Viennese festivities."

The holding of the ball in Russia was different from the Western European tradition. The peculiarity of the Russian ball, according to A. V. Kolesnikova, can be expressed by the formula - "Russian in the Russian ball, more than French in the French." The European ball is political, the Russian one is nationally specific. The explanation of this phenomenon, probably, lies both in the peculiarities of the Russian national character, and in the fact that the formation of ball culture in Russia happened with a great delay.

At the secular event, the performance of Russian folk dances was preserved, which was a kind of distinctive feature of Russian secular gatherings, the maintenance of not only foreign, but also its own national. In some cases, at a social event, Russian folk dance prevailed over the solemn minuet.

Thus, we can say with confidence that in the process of the development of ball culture, European borrowings could not supplant the "Russian flavor", so we can talk about the originality of the Russian ball.

1.2 Ball as an important part of the life of the Russian nobility

By the middle of the 18th century, the ball “became the crowning public, its highest expression, dancing - a cult, the only one worthy of children

"Fun and luxury", and at the same time, almost the only cement for communication between gentlemen and ladies ... ".

For the sake of the ball, the most fashionable outfits were sewn, the most famous musicians were invited and lavish dinners were organized, because of it, the whole daily routine was rebuilt. The ball forced him to stay awake at night and rest during the day, so that he could go back to the dance meeting the next day. The ball turned into a duty, attractive but difficult.

A prominent figure in Russia N.A.Epanchin believed that being in a secular society is a life school, which should be passed in the same way as a family school and an educational school.

Aristocrats were required to hold balls to maintain their reputation as a secular person. The organization of the ball itself helped build a career: “in old Moscow, a hospitable rich man could make a good name for himself, acquire a position in society and friends, even being an insignificant and mean person,” notes E. Volskaya.

Dancing skills and secular manners contributed to career advancement. If at the ball a young man liked a high-ranking person or his wife, then the young man could soon wait for a promotion. At the balls, many issues of a diplomatic, personal, and official nature were resolved. These holidays became a place where dancing and fun became just a bright background for everything else.

“The ball was also used as a place for discussing business issues, when their solution in a normal office environment, for one reason or another, turned out to be difficult. It was a meeting place for officials divided by the hierarchy. "

The ball was a very costly event for its organizer. It was necessary to impress wealthy people accustomed to luxury and wealth, and this required a lot of material costs and moral efforts (remember Onegin's father, who "gave three balls a year / And finally squandered").

An example of a magnificent celebration was the ball given by GA Potemkin for Catherine II in the Tauride Palace on April 28, 1791 on the occasion of the capture of Ishmael and the conclusion of peace with the Turks. Prince Potemkin gave a truly royal reception: the palace was lit by 140 thousand lamps and 20 thousand candles, the orchestra consisted of 300 musicians, a sumptuous dinner was set on 42 tables and bursting with the most exquisite dishes, among which was a very original dish - baked ox eyes in a sauce of ashes of mushroom truffles. The most prominent cultural figures took part in organizing the artistic side of the holiday: Derzhavin, Le Pic, Kozlovsky. During the ball three ballets and two French comedies were shown, crowned, there was a fireworks display. The whole holiday cost the organizer 200 thousand rubles. “But the game was worth the candle,” notes the modern ball researcher A.V. Kolesnikov, - since such festivities ensured prestige and respect in society. "

The history of European ballroom dancing by the 17th century was already centuries old. In Russia, they studied dancing under the supervision of the sovereign, and this training was compulsory and not subject to discussion. At Peter's assemblies, dancing was considered as a kind of obligation, and only later, during the reign of Catherine I, the inability to dance was considered a great ignorance.

The ball turned into a cult. Every member of the secular society had to dance beautifully. It was unthinkable not to dance, especially for a lady of the time of Alexander I. Mastering this art form was an undoubted advantage.

Oddly enough, the ball had a downside: physical and emotional exhaustion. The dances, especially the incessant, fast ones, took place in a place of a large crowd of people and demanded great physical effort. Costumes and dresses, inconvenient for this type of activity, not only hampered movements, but also subjected their owner to a kind of "torture". To all this at the ball, it was necessary to follow, as it was said earlier, for your appearance, words, behavior, dances - in general, to control yourself completely, but at the same time look at ease and friendly. And all this was taught, taught for a long time, starting from an early age. Ballroom culture entered life even in childhood in the form of numerous lessons in dancing, etiquette, attending children's balls and social events.

1.3 Ballroom costume and its components

The ceremonial toilets of that time involuntarily made them admire:

“By the splendor of uniforms, by the luxury of toilets, by the wealth of liveries, by the splendor of decoration< ... >the spectacle is so magnificent that no court in the world could compare with it, "wrote the French ambassador to Russia M. Palaeologus.

Costume for a ball of the 18th - 19th centuries. was one of its important components. During the Peter's transformations, the suit of the Western European model was able to finally supplant the Russian one. The monarch becomes the trendsetter. To look like a monarch meant to show your loyal obedience. Elizaveta Petrovna set a special tone for panache at the ball.

During the reign of Catherine the Great, an attempt was made to regulate the women's ceremonial court dress in order to give it a national flavor. Contemporaries recalled that at the balls "the ladies were pleased to be in Russian dresses, but only in a special solemn cut."

A special decree of 1834 legitimized the character of the ceremonial women's dress. The color of the velvet and the pattern of gold or silver embroidery were determined by the rank of the wearer.

State ladies and chamber maids of honor were allowed to appear at balls in a top green velvet dress with gold embroidery; for the mentors of the great princesses - in blue fabrics; maids of honor of Her Majesty were supposed to appear in crimson dresses; but the maids of honor of the princesses - in light blue.

Ladies who came to the court were given a wide range of choice of dress colors and cut, but patterns intended for court ladies were prohibited. The cut at this time followed the pattern: long fold-over sleeves with an open armhole that hung almost to the knees, the vertical line of the center of the front, accentuated by the decor, as in a Russian sarafan. All ladies, both courtiers and visitors, had to have a warrior or kokoshnik with veils with them.

The colors of the ballroom dresses of the early 19th century were very diverse: blue satin dresses; a light silk dress with a cashmere shawl with colored stripes on the border; pink and pale yellow tones; pale blue and pearl gray; white at all times did not go out of fashion and occupied one of the leading places in the wardrobe of fashionistas.

By the middle of the 19th century, the ballroom costume was undergoing some changes: it began to resemble baroque clothing.

At the ball, girls were recommended to wear a crepe dress, decorated in front with a garland and flowers that formed a semicircle and ended at the knees with two bouquets of roses, from under which two ribbons emerge, skillfully framing the outfit.

In order to follow all the fashion trends of that era, it was possible to weave "enamel" headbands with pearls and diamonds into hairstyles.

For the ladies, not only fashion trends and considerations of their own taste were important, but also the creation of a unique image that made a man's heart flutter. As many contemporaries of that time emphasized, ladies' outfits changed over time, but only one thing did not change - open ball gowns. The ball was one of the few places where ladies could show themselves in all their glory.

In the 19th century, the Russian aristocracy brought costumes from Europe, in particular from Paris, or sought to meet the standards for the cut of European costumes.

The task for the fashionistas of that time was very difficult: for a start, you need to strictly follow fashion, comply with the rules of good taste, in addition to all this, the ball dress must be individual, harmonious, so that a unique charm inherent only to its owner is created. In addition, the ball gown could not be used more than 2 times.

From the second half of the 19th century, a tailcoat, black or colored, established itself as a formal, ballroom dress for men, complemented by a white vest. But it was not always so. Men, too, did not lag behind the ladies and in fashion they fully corresponded to their companions.

During the reign of Paul I, the tailcoat, which appeared in Russia at the end of the 18th century, was banned as a symbol of the ideas of revolutionary France.

During the reign of Alexander I, it was supposed to come to court balls in military and civilian uniforms. The splendor of women's outfits was matched by gold on military uniforms.

Gloves were one of the important attributes of the ball gown. Since the 17th century, they began to come into fashion, both for women and men. These are gloves with leggings - sockets tapering to the brush. They were not only of purely practical importance, but also testified to their social status. In subsequent eras, it was considered bad form to touch with bare hands.

A.V. Kolesnikova notes: “According to ballroom etiquette, ladies appeared at dance meetings in long white silk gloves above the elbow, gentlemen in suede gloves if they were wearing military uniforms, and kid gloves if they were in civilian clothes. The white ball glove acquired an important function: it hid wrinkles, flaws, it balanced youth and old age, beauty and ugliness, erased national differences, turned into a sign of the chosenness and ranked its owner among the high society. "

Ballroom shoes of that time were slippers with a semicircular toe, without a heel. Most often, they were made from dress fabrics, velvet and light-colored thin leather. Shoes were decorated with embroidery, beads, rhinestones, ribbons.

Another important companion of the lady, in addition to her beau, was a fan, which protects its owner both from the heat in the crowded hall and from the cold caused by the opening of the windows. Later, this accessory turned into an indispensable attribute of the outfit of any lady who comes to the ball. How gracefully the fans opened and closed was a whole art. The color of the fan had to match the outfit of its owner, but it was also a peculiar language of signs: for example, in order to say “I love you,” you had to put a closed fan to your heart with your right hand. Therefore, it was impossible to choose a fan thoughtlessly.

Thus, male and female attire and details of the toilet were important elements of the ballroom ceremony.

1.4 Ballroom dancing

Monotonous and insane, Like the whirlwind of a young life,

A noisy whirlwind is spinning a waltz ...

A.S. Pushkin

Dancing is the most entertaining part of the ball. At the beginning of the 19th century, "the ball is on a par with the words" shine "," noise "," whirlwind "," talk "," youth "," joy ". The ball is movement, which means youth and joy, which means the brightness of colors and sounds, ”writes E. Volskaya.

However, behind the external brightness of colors and sounds, there was a strict structure of the ball. The dances had to go in a certain sequence, which was not allowed to be broken for many decades. Yu. M. Lotman noted: “The sequence of dances during the ball formed a dynamic composition. Each dance, having its own intonation and tempo, set a certain style and not only movements, but also conversation ... The chain of dances also organized the sequence of moods. "

The ball was opened with a solemn polonaise, followed by a light, romantic waltz, followed by an exquisite mazurka and a perky polka, and the evening had to end with a relaxed cotillion.

But at the balls of the 19th century, this clear sequence of the dance program, regulated since the time of the Peter's assemblies, was often not observed. Court balls, as a rule, always opened with a polonaise, followed by a waltz, a French quadrille and a mazurka.

Representatives of the royal family, in addition to the solemn polonaise, gave special preference to quadrille and waltz.

At private balls, there was much more freedom with the dance program. The ball could open with a waltz. The most inventive dance masters made their own adjustments to the fashionable dances of that time: they combined the separate movements of various dances into one, making the show even more unforgettable.

Let's take a closer look at each dance.

“The Polonaise has been a permanent exhibition of brilliance, glory, meaning. In the 18th century, the main ceremonial dance was the polonaise. It was performed by an indefinite number of couples and looked more like a solemn procession accompanied by music. In Russia, "Polish" became known in pre-Petrine times. It is considered the first European dance to reach the court of the Moscow tsars. "

The polonaise is based on “a rhythmic graceful and light step, which was accompanied by a shallow and smooth squat in the third quarter of each bar. The dance also included curtsies and bows. There are no complicated choreographic decorations, intricate movements and poses in the polonaise. But at the same time, no dance requires such a strict posture, pride and concentration as a polonaise. "

Polonaise made it possible to get to know each other, as well as to unnoticeably join the general stream of latecomers.

Usually, during the polonaise, the host and the most distinguished guest of the ball set the tone for the ball: after them all the movements were repeated. And if the emperor and empress were present at the balls, the polonaise turned into a real sacred rite.

The most famous figures of the polonaise were “two columns”, “crosses”, “labyrinth”, “garland”, “serpentine lines”.

Gradually, the polonaise began to simplify and later it turned into only a solemn walk. But this "walk" was one of the most important parts of the ball.

As a rule, the waltz was traditionally considered the second dance, which was performed almost immediately after the completion of the polonaise, and in many cases did not even require a second invitation. The etymology of the word waltz perfectly reflects its very meaning: "circle", "rotate".

Waltz originated in the folk environment, mostly as a mixture of various European dances with numerous simplifications. This is how the dance arose, personifying the "universe" (couples spin like the movement of planets around the sun).

The waltz had many supporters and opponents. “The main reason for the attacks on the waltz was the fact that it destroyed the foundations of the salon dance aesthetics of the past centuries. The waltz was the most erotic dance of its time. The gentleman and the lady formed a pair full-face, facing each other, while the gentleman supported the lady by the waist with his hand, which was considered extremely indecent. " It was a truly intoxicating dance that was allowed to be interrupted by performing two or three rounds of dance.

The waltz had several varieties, but most often French in two steps and German in three steps were performed.

This is a dance of passion, declarations of love. It is no coincidence that the entire 19th century passed under his symbol. In addition, this is one of the few ballroom dances that managed to go through the eras, forcing the dancers to whirl in a whirlwind of passion and emotion.

The French square dance was very popular at balls and evenings in the 19th century. Oddly enough, but the birthplace of the French quadrille is England, and around the beginning of the 18th century this dance falls into France and has already undergone changes there not only in movements, but also in the name.

The square dance consisted of five figures, which bore very peculiar names: "la Pantalon" (pants), "I" Ete "(summer)," La Poule "(chicken)," La Pastourelle "(pastoral). From the point of view of choreography, this dance was quite difficult and required enormous effort and long preparation.

The French square dance was considered an etiquette dance. Gradually, the square dance underwent changes, and by the end of the 19th century it was already difficult to recognize: the ladies danced opposite their gentlemen, often there were so many pairs that they had to disperse in several columns.

The culmination of the ball was undoubtedly the mazurka. She settled in Russia since the time of Catherine the Great, but the mazurka became one of her favorite dances only at the beginning of the 19th century.

“The leading role in it belonged to the gentleman, it was on him that the successful performance of the dance depended: he chose figures, movements, transitions. The lady, obeying the dance pattern proposed by the gentleman, performed her part - pas couru ("light run"). "

There were two types of performance of the mazurka: bravura and exquisite. The first type resembled spasmodic movements, and the second was recognized as the only correct one. Mazurka finished the first part of the evening.

In the middle of the 19th century, the polka took over the world. The simple dance came to taste not only in aristocratic salons, but also at court balls. The main movement of the dance is half steps connected by a prefix.

Initially, the polka was performed with permanent figures, but then with the polka, as with many other dances of that time, cardinal changes began to occur: simplification of figures, their disappearance, various variations.

Cotillion is a kind of intro of all the dances, that is, it is a semblance of a dance game. It included figures of the most common dances: waltz, mazurka, polka. The first pair followed in front and initiated the figures, invented them, and the column, in turn, strictly followed the movements of the previous pairs.

The number of figures of this dance could not be counted, and the dance masters, who tried to surprise the dancers and give them pleasure, continued to invent new ones.

The most common of them were "wine and love", "extra gentleman", "names". There were also figures with all kinds of objects that were available in every house, the dancers put on masks to play in the "Zoological Garden".

Thus, the ball was the spirit of the era, its style. It had to comply with all the rules and regulations. Society dictated ballroom manners, a culture of behavior, and all this had to be strictly observed.

The organization of the ball was of great importance. The ball determined the type of social behavior within the noble culture.

"This is not just dances, in which, like at a feast, everyone lives for his own pleasure, but something exactly the opposite - one of the culminating points of the ceremonial ceremony, this is a duty, more often a class duty, but not entertainment for one's own pleasure."

This festival was a ritualized procession: a strict sequence of parts, stable and obligatory components, etiquette features. A special "grammar" of the ball arose. However, strict adherence to all the rules and regulations began to bring the ball closer to a theatrical performance, where each participant had a set of certain emotions and styles of behavior.

The study of the grammar of the ball makes it possible to understand the features of the historical and cultural era depicted in a literary work, to identify the features of the image of the ball, and makes the author's intention more understandable.

2. Episode as a structural element of the text: theoretical and methodological aspects

2.1 Questions of episode study in literary criticism

In the composition of a literary work, all elements are interconnected and subordinate to the author's intention. Epic fiction is a sequence of episodes that are determined by the development of the plot.

An episode is usually understood as part of the plot organization of a literary work. The term goes back to ancient Greek culture (gr. Epeisodion - insert), is widely used in science and school literary education, is included in all special dictionaries. Meanwhile, the analysis of the studies showed that the development of this concept has not been completed, in particular, the question of the criteria for isolating an episode remains controversial.

V.E. Khalizev defines the episode as “a relatively independent unit of action of epic, lyroepic and dramatic works, fixing what happened in the closed boundaries of space and time. Episodes can correspond to the main links of the plot; but sometimes the plot component is not developed into an episode, or, on the contrary, is presented in several episodes. The location of the episodes in the text is an important aspect of the composition of the work ”.

An episode is viewed as a microtext, which, on the one hand, has an independent semantic significance and a complete composition, on the other hand, it is characterized by external incompleteness in relation to the entire text of the work.

Each episode has its own internal logic, internal plot, microcomposition. The location of the episodes in the text plays an important role in the overall composition of the work. According to EE Sergeeva, “the division into episodes may or may not coincide with the external composition of the work, that is, with the division of the text into chapters, actions (acts), scenes, phenomena, etc. The isolation of episodes is an act of interpreting the work as a whole; in the light of this or that interpretation, various variants of division into episodes are possible ”.

There are several classifications of episodes in the scientific literature. One of the latter belongs to L.M. Krupchanov and is associated with the way of narration in the episodes.

1. Specific narrative episodes are a narration about specific events, actions of characters, their actions, etc. These episodes can only be scenic, as they depict only what is happening in front of the reader's eyes.

2. Summary-narrative episodes narrate about the events in general terms, taking place both in the present plot time, and with large digressions and excursions into the past, together with the author's comments and accompanying characteristics.

3. Descriptive episodes almost entirely consist of descriptions of a very different nature: a landscape, an interior, a scene, certain circumstances and situations.

4. Psychological episodes depict internal experiences, processes of psychological experiences of the characters.

HER. Sergeeva also distinguishes scenic episodes, where the speech of the characters predominates.

There is also a classification in which episodes are considered according to the degree of importance in the entire composition of the work.

1. Out-of-the-box episodes, or they are also called plug-in episodes. Episodes of this kind do not relate to the composition of the work, but at the same time they are very important, since they carry an ideological load. Such episodes help to reveal the author's position, help to highlight the main idea.

2. Minor episodes. Such episodes are directly related to the composition of the work, but, as a rule, they are not directly related to the main conflict. Undoubtedly, episodes of this kind have other functions.

3. Key episodes. These episodes are directly related to the main conflict and play a decisive role in its development. Such episodes contain the main idea of ​​the work, its idea.

The problem of defining the boundaries of the episode remains relevant. It is not always possible to define with certainty the clear boundaries of an episode. This is a very complex process, since it is necessary to see clear lines, to grasp the composition of the episode, its semantic content, to build a system of characters, and the main characters here may be minor characters in relation to the entire work as a whole. It is very important to determine what role this episode plays for the previous and subsequent development of the plot, how the dominant and peripheral themes and problems of the work develop in it, and the main motives are realized. The pathos of the analyzed episode may differ from the general pathos of the work. To determine the place and role of the episode in question in the plot of the work, you need to understand the internal logic of its development - its microplot, which is decomposed into the same components as the "classical" order of parts in the composition of a work of art: exposure, setting, development of the action, culmination and denouement ... Thus, defining the boundaries of an episode is an important stage in its study, helping to determine its meaningful role in a work.

V.V. Kurilov, in the definition of an episode, points to the following positions for highlighting episodes: 1) one complete moment of action; 2) the presence of two or more characters; 3) the unity of the place; 4) a limited period of time or an act of one of the characters. The change of episodes, respectively, "is due to a change in the place and time of the action, the number of characters participating in it and a change in the connections between the characters."

HER. Sergeeva clarifies these criteria and suggests the following:

1) episode - a certain course in the development of an action or its retardation;

2) the presence of uniform space-time boundaries; 3) a certain composition of the main characters or their absence in the epic, when there is, for example, a description of nature.

E.L. Beznosov notes: “An event contained in a specific episode most often contains a certain motive: a meeting of heroes, their argument, a quarrel, and the like. The content function of episodes, therefore, can be very different. "

Thus, in a literary work, each episode has a specific function. Let's highlight the main functions of the episode:

1) Characterological

The episode reveals the character of one or several characters, their worldview, and offers a portrait of the heroes. Often an important role for the implementation of this function is played by the indirect characteristics of the characters - the landscape, the interior.

2) Psychological

This function is related to the disclosure of the internal state of the characters.

3) Plot-forming

As a rule, these episodes are key in the development of the plot and plot. They can create intrigue, herald a new turn in the relations of the heroes, change or slow down the course of the development of the action (using the techniques of retrospection and retardation).

Note that most often we can talk about the polyfunctionality of a particular episode, that is, about the performance of two or more functions by it, which enhances its semantic significance.

Thus, "an episode is a link in the development of a plot, but it is also a part of the composition of a work, that is, an episode is not a simple message about an event, but its image, more or less detailed."

2.2 Issues of episode study in literature teaching methodology

The theoretical characteristics of the episode are the basis for the development of methodological models for the analysis of the episode, ways and techniques of its study. In the process of preparing lessons for the analysis of an episode, a language teacher is faced with a set of important questions, including:

1) What is the purpose of the episode analysis?

2) What episode is it advisable to choose for analysis?

3) How does this episode relate to previous and subsequent episodes?

4) Which way to analyze the episode to choose? What techniques are appropriate to use to study it?

5) What theoretical concepts are needed to analyze this episode?

6) What knowledge and skills of schoolchildren are formed in the process of analyzing the episode?

7) What role does an episode analysis lesson play in a work study lesson system?

The analysis of the episode in the lesson should be carried out in stages. First, you need to clearly define its boundaries. So that this episode is not taken out of the context of the work, it is necessary to give a brief description of the previous episodes, to establish the relationship of the characters that can be traced earlier. From this it will already be possible to draw a conclusion about what this scene gives for understanding the characters of the characters, their state of mind, and experiences. It is also necessary to analyze techniques that help to reveal the characters of the characters. After that, certain conclusions can be drawn about character traits, moral guidelines, life values ​​of the characters, in general - the author's idea. It is very important to determine the place of the episode, its role in the development of the action of the work, its semantic load, to draw certain conclusions. The analysis of the episode helps to understand the significance of the analyzed episode in revealing the ideological content of the entire work.

It is very important to teach children to develop the ability to notice details, to highlight what at first glance seems simple and unimportant. Much in revealing the functions of an episode depends on the nuances that are contained in the details. As a rule, many details carry a semantic load. When analyzing an episode, it is also worth following the change in moods, feelings of the character, and his feelings. Extra-plot elements, such as: portrait, landscape, interior, inserted episodes, lyrical digressions - always help to reach the semantic content of the episode.

O.V. Tsvetkova identifies two main ways of analyzing the episode:

2. Choose one of the aspects of the analysis: problems, a system of images, the relationship of parts, ways of expressing the author's position, etc. - and focus on it, subordinating other aspects of the text to this one.

These ways of analysis determine the choice of the method of episode analysis. The first path reveals in detail the meaning of the episode, its functions, role, and the subsequent meaning for the entire work. It is incredibly interesting to follow the author: significant details are revealed that could not have been revealed with a cursory, introductory analysis of the episode; the author's intention becomes visible, all the lines of the plot appear. But this kind of analysis requires a lot of time, which teachers do not always have in class.

In the practice of teaching, as a rule, the second way of analyzing the episode is frequent. Teachers choose the most revealing episodes that can reveal one of the aspects. Thus, the analysis of the work turns into a step-by-step analysis of all aspects using the example of different episodes. Of course, when analyzing each episode, even if it is indicative of one of the aspects, it is necessary to cover a number of other aspects, which in general can form certain conclusions that help to reach the problematic and ideological component of the work.

As a rule, students are offered a plan (outline) of the episode analysis in advance, which is the basis for independent individual work at home or group work in the classroom. The analysis of the methodological literature allowed us to develop the following plan for a comprehensive analysis of the epic work:

1. Determine the boundaries of the episode, the place of the episode in the plot. Give the episode a title.

2. Describe the event underlying the episode. Determine the type of episode.

3. Formulate the problem in focus:

Characters (especially in stage scenes where dialogue is the basis);

4. Determine the central conflict of the episode (micro-conflict in relation to the episode or an element of the development of the conflict in relation to the entire text); indicate the type of conflict.

5. Describe the structure of the episode: what micro-episodes are included in it. Highlight the elements of the plot-plot organization. Determine the role of the beginning and ending of the episode.

6. Define the character system of the episode:

List the participants in the episode;

Determine their role in the character system: major, minor; characters-circumstances and characters-characters;

Compare their role in the character system of the episode and the overall composition of the work.

7. Describe the main characters of the episode: naming method; portrait; speech; details; behavior, attitude of characters, etc.

8. Reveal the presence of artistic descriptions: portrait, landscape, interior; describe the features and significance of these elements of the episode.

9. Reveal the role of the artistic detail in the episode, determine the type of detail and its significance.

10. Analyze the linguistic means used by the author to portray characters and express the author's position, to determine their role.

12. Determine the general pathos of the episode. Does it change as the action develops?

13. Formulate the main idea (idea) of the episode.

14. Determine the functions of the episode in the overall composition of the work.

Such schemes for the analysis of episodes are designed to organize the student's thought, but not to constrain his analytical creativity. Of course, in the course of work, a violation of the proposed order of actions is possible, the student's own observations are necessary, which are not provided for by the plan, but the deputy arises during the analysis of the text. In any case, the attitude to the plan must be creative, otherwise, in the process of studying the episode, the problem of the destruction of the reader's emotional perception due to excessive schematization will arise. To avoid this, it is necessary, firstly, to choose exactly the key episodes, and secondly, to constantly connect the part and the whole, the episode and the whole work in order to preserve the integrity of perception; third, to vary the methods of analysis.

Methodologists and teachers are actively developing techniques for working with an episode in a lesson. It is very important to provide for such questions and tasks that create an attitude for an emotional response and help to manifest the reader's experience. Among the techniques for analyzing an episode, the following stand out:

Heuristic (analytical) conversation;

Reading commenting;

Episode planning;

Compilation of the episode dictionary;

Writing a commentary for the episode;

Using modern reading strategies ("Question tree", "Reading with stops", "Brainstorming", "Fishbone", etc.);

Drawing up a film script;

Oral verbal drawing, etc.

The main thing in the choice of techniques is to take into account the specifics of the literary work, the ideological and artistic features of the episodes. It is also important to take into account the level of reading and age development of schoolchildren. The nature of the tasks and the choice of methods for analysis will vary depending on the age and fitness of the students. The degree of independence of students in the process of studying the text also depends on this: the older the class and the higher the literary development of students, the greater the degree of their independence. Thus, when choosing the ways and methods of analyzing the episode, one must remember that the main task of the teacher is to teach his students to understand the laws of a literary work, to determine the ways of implementing the author's intention, thereby educating a qualified reader.

In the whole process of analyzing an episode, it is necessary to form the following reading skills of schoolchildren:

1. The ability to correctly divide the text into its constituent elements, to see the boundaries of these parts, to be able to determine the main theme of the microtext. In the process of analyzing an episode, the student acquires the ability to highlight key episodes in a work of fiction, while pointing out their relationship.

2. Ability to give clear arguments that help to strengthen your opinion, make it more detailed and evidence-based. Pupils master the ability to identify artistic details that are key to understanding a work.

3. Ability to correctly make logical-comparative analysis. The episode undoubtedly presupposes some independence, but nevertheless it is erroneous to consider it separately from all other episodes of the text. Therefore, it is most important when analyzing an episode to compare different parts of the text, to consider them in two ways: on the one hand, as a kind of independent part; on the other hand, as a single indissoluble whole.

4. Ability to highlight an idea, meaning. In the process of analyzing an episode, the author's position is always determined, which has a close relationship with the entire meaning of the work. Students also develop the ability to recognize ways of expressing an author's position. There is an immersion in the writer's creative laboratory.

The key skill that a student must possess is the ability to perceive an episode in a holistic manner, to see in a separate episode an expression of the author's concept of the world and man. This is the most difficult and most creative moment in a reader's work. All these skills help to transfer already acquired knowledge and skills into a new situation, because the knowledge gained in literature lessons is the foundation for all other disciplines. In the process of analyzing an episode, the main thing must be remembered - this is the path of educating a reader capable of co-creation.

3. Analysis of the episodes of the ball in the epic novel by L.N. Tolstoy "War and Peace"

The ball was an important aspect of the life of the noble society. It is no coincidence that many works of Russian literature describing the life of the nobility include episodes describing balls. In Leo Tolstoy's epic novel War and Peace, there are three episodes describing the ball: Iogel's Moscow ball (volume II, part 1, chapter XII), a ball in St. Petersburg (Natasha Rostova's first adult ball - volume II, part 3, chapters XIV - XVII)), a ball in Vilna before the entry of French troops into Russia (volume III, part 1, chapter I).

All episodes of the ball are important both in the development of the plot of the entire work and in the fate of an individual character.

In our opinion, these episodes, not only closely related to the situation of the ball itself, are built according to the same model, but also implement various models of the life of a noble society: family - society; Moscow nobility - St. Petersburg high society - the army.

3.1 General characteristics of balls Moscow ball at Iogel

These were special balls for teenagers at which they honed their newly learned steps. But this was also the best fun that both adult girls and young people looked at, who noted the ease and lightness of this event. This kind of festivities were organized by Pyotr Andreevich Iogel - Moscow dance master, dance teacher at Moscow University, organizer of balls. He was invited to Russia by G.I. Bibikov in 1798 and began his work with ballet performances at the Grebnevo estate. And in January 1800, Pyotr Andreevich began to give his first lessons in Moscow. And he immediately became a fashionable teacher. He held children's masquerades, parents took their sons and daughters to Iogel, sewed costumes according to his advice. A few years later, Iogel began to organize not only children's parties, but also public balls, "the most fun in Moscow."

The peculiarity of these balls was that only those who really wanted to have fun and, of course, dance, dance with that mischief and ease that thirteen- and fourteen-year-old girls who put on long dresses for the first time can afford, came to them.

This ball did not fit into the foundations of a typical secular ball of that time. Firstly, there was no hostess and host of the ball, and secondly, they danced only what they wanted, such as: dance with a shawl, Ecossaises (an old Scottish folk dance), Angles (collective name for dances widespread in Europe in the XVII - XIX centuries (French, Hornipe, Country Dance, etc.) and, of course, the Mazurka.

The hall where the celebration took place was taken from Count Bezukhov. This ball was attended by Natasha, Sonya, Nikolai Dolokhov, Denisov. By right, Natasha's first ball should be considered the Moscow ball at Iogel's, but this is just a "teenage" ball, and the ball, corresponding to secular canons and customs, took place in Natasha's life a little later.

Ball in St. Petersburg.

The long-awaited ball for Natasha, at the mention of which her heart fluttered with incredible force and a captivating feeling of celebration arose, was scheduled for December 31, on the eve of the new year of 1810, for a ball at Catherine's grandee. This ball is a very important ball, since the diplomatic corps and the sovereign himself were present at it. The ball was appointed strictly according to the canons: at half past ten. The Promenade des Anglais, the famous house of a nobleman, the gloss of celebration, countless illumination lights. There was a host and hostess of the celebration. This ball was attended by a large number of guests, such as: the sovereign, the Dutch envoy, the queen of Petersburg - Countess Bezukhova, millionaire daughters-in-law, Anatol Kuragin, Drubetskoy, Marya Antonovna, Peronskaya, Pierre Bezukhov, the Rostov family, Andrei Bolkonsky and many others. The main characters of the episode are Natasha Rostova, Andrei Bolkonsky, Pierre Bezukhov. The holiday was distinguished by a special scale, extravaganza.

Ball in Vilna before the entry of French troops into Russia.

This ball was scheduled for June 13, 1812. It included lunch, boating, fireworks and the ball itself at Zakret, Count Bennigsen's country house, in Poland. The ball was given by the adjutant general. On this very day, Napoleon gave the order to cross the Niemen, and the advanced troops of the French army crossed the border. It was a cheerful, brilliant holiday that brought together a myriad of beauties. The guests at this ball were Countess Bezukhova, Boris Drubetskoy, Adjutant General Balashev, Arakcheev and, of course, the Emperor himself. But the main characters in this episode were Countess Bezukhova and Boris Drubetskoy.

The feast was on the day of the beginning of the war, and meanwhile it was a ball, where all the formal traditions of holding balls were observed.

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The four-volume epic novel by Leo Tolstoy "War and Peace" has been known to everyone since school. Someone liked this work, and he read it from the first volume to the last; someone was horrified by the volume of the novel that needed to be mastered; and some simply ignored the teacher's request to read the novel. Nevertheless, "War and Peace" is a truly worthwhile and great work of Russian literature, which is still studied in school. This article is intended to help schoolchildren understand the novel, understand its meaning and main ideas. So, we present to you a condensed analysis of the novel "War and Peace". Let's pay attention to the most important points.

When analyzing the novel "War and Peace", three main ideas can be distinguished, which Leo Tolstoy reveals. This is a family thought, a folk thought and a spiritual thought.

Family thought in the novel "War and Peace"

It is convenient to trace it in how Tolstoy portrays three families in the novel - the Bolkonsky, Rostov and Kuragin families.

The Bolkonsky family

Let's start our analysis of the work "War and Peace" with the Bolkonsky family. The Bolkonsky family is the old prince Bolkonsky and his children, Andrei and Marya. The main features of this family are adherence to reason, severity, pride, decency, a strong sense of patriotism. They are very restrained in showing their feelings, only Marya sometimes openly shows them.

The old prince is a representative of the ancient aristocracy, very strict, has power both among the servants and in his family. He is very proud of his ancestry and intelligence, wants his children to be the same. Therefore, the prince takes up teaching geometry and algebra to his daughter at a time when such knowledge was not required from the ladies.

Prince Andrew is a representative of the progressive noble youth. He is a very strong-willed, persistent man of high moral principles, he does not accept human weakness. Many trials await him in life, but he will always find the right way out thanks to his morality. His love for Natasha Rostova will change a lot in his life, which will be like a breath of fresh air for him, a symbol of real life. But Natasha's betrayal will kill hope for the best in him. However, the life of Andrei Bolkonsky will not end there, he will nevertheless find his own meaning in life.

For Princess Marya, the main thing in life is self-sacrifice, she is always ready to help another, even to the detriment of herself. This is a very meek, kind, sweet soul and submissive girl. She is religious, dreams of simple human happiness. However, she is not so soft, she can be firm and stand her ground when her self-esteem is humiliated.

The Rostov family

The Rostov family was masterfully portrayed in the novel by Leo Tolstoy. "War and Peace", the analysis of this work will continue with a story about this family.

The Rostov family is in meaning opposed to the Bolkonskys family in that the main thing for the Bolkonskys is reason, and for the Rostovs it is feelings. The main features of the Rostov family are kindness, generosity, nobility, moral purity, closeness to the people, generosity, openness, hospitality, friendliness. In addition to their children, Sonya, the count's niece, Boris Drubetskoy, the son of a distant relative, and Vera also live with them. In difficult times, the Rostov family sacrifices their property and helps their country to endure the war. The old count, for example, donates his carts to carry the wounded. This family is a symbol of liberation from the luxury of the material world.

The old count, father Ilya Andreevich - an innocent and kind gentleman, gullible and wasteful person, loves his family and home holidays, he has close relationships with children, he supports them in everything.

Countess Rostova is the educator and mentor of her children; she also has a trusting relationship with them.

Warm relationships based on kindred love are also present in the relationships of children. Natasha and Sonya are like best friends, in addition, Natasha loves her brother Nikolai very much, she is happy when he returns home.

Nikolay R skeleton, Natasha's older brother - simple, noble, honest, sympathetic, generous human . He is kind, romantic, like Natasha. Forgives old friends Drubetskoy their debt. However, Nikolai's interests are limited by his family and household. At the end of the novel, he creates a family with Marya Bolkonskaya, and they have a harmonious union.

Natasha Rostova, the youngest of the children, is a cheerful, lively, spontaneous girl, the soul of the Rostov family, in childhood, disregards the rules of decency, accepted in society. She is ugly outwardly, but she has a beautiful pure soul, it has many features of a naive child. The work is constructed in such a way that the closer a person is to Natasha, the purer spiritually he is. Natasha is not characterized by deep introspection and reflection on the meaning of life. She is selfish, but her selfishness is natural, in contrast to, for example, the selfishness of Helen Kuragina. Natasha lives with feelings and at the end of the novel finds her happiness, creating a family with Pierre Bezukhov.

Kuragin family

We will continue our analysis of the novel "War and Peace" with a story about the Kuragin family. Kuraginy - this is old prince Basil and his three children: Helene, Ippolit and Anatole. For this family, the most important thing is a good financial situation. and status in society , with each other they are connected only by blood relationship.

Prince Vasily is an ambitious schemer striving for wealth. He needs the inheritance of Kirill Bezukhov, so he is trying with might and main to bring his daughter Helen with Pierre.

Daughter Helene is a socialite, a "cold" beauty with impeccable manners in society, but devoid of beauty of soul and feelings. She is only interested in social events and salons.

Prince Vasily considers both of his sons to be fools. He was able to attach Hippolytus to the service, which is enough for him. More AND the politician does not strive for anything. Anatole is a secular handsome man, a rake, with him a lot of trouble. To calm him down, the old prince wants to marry him to the gentle and wealthy Marya Bolkonskaya, but this marriage did not take place due to the fact that Marya did not want to part with her father and start a family with Anatole.

Family thought is one of the most important in the novel "War and Peace". Tolstoy carefully studies the families of the Bolkonsky, Rostov and Kuragin, puts them in a situation of a turning point for the country and observes how they will behave. It is easy to conclude that the author sees the future of the country in the families of the Rostovs and Bolkonsky, highly spiritual, d obrykh and associated with the people.

Folk thought in the novel "War and Peace"

It is impossible to imagine a complete analysis of the work "War and Peace" without considering popular thought. This thought is the second major theme in War and Peace. It reflects the depth and greatness of the Russian people. Tolstoy showed the people in his novel in such a way that they do not seem like a faceless mass, his people are reasonable, it is they who change and move forward history.

There are many people like Platon Karataev among the people. This is a humble person who loves everyone equally, he accepts all the hardships that occur in his life, but he is not soft and weak-willed. Platon Karataev in the novel is a symbol of folk wisdom brought up in Russian people since ancient times. This character significantly influenced Pierre Bezukhov, his worldview. Based on the thoughts of Karataev Pierre will then decide for himself h what is good in life and what is bad.

The power and spiritual beauty of the Russian people is shown T Also many episodic characters. For example, Raevsky's artillerymen are afraid of death in battle, however you can't see it on them ... They are not used to talking a lot, they are used to proving their loyalty to the Motherland by their deeds, therefore they silently protect her .

Tikhon Shcherbaty is another prominent representative of the Russian the people , he expresses his anger, unnecessary, but still justified cruelty .

Kutuzov natural, close to the soldiers, to the people, and therefore loved by his subordinates and ordinary people. This is a wise commander who understands that he cannot change anything, therefore he is only a little old. a It is necessary to change the course of events.

Almost every character in the novel is tested by popular thought. H If a person is more distant from the people, the less chances he has for true happiness. Napoleon himself O in love, which cannot be approved by the soldiers, Kutuzov is like a father for his soldiers, in addition, he does not need loud fame, like Napoleon, therefore he is appreciated and loved.

The Russian people are imperfect, and Tolstoy does not seek to present them as such. However, all the shortcomings of the Russian people are covered by their behavior in wartime, because everyone is ready to sacrifice what he can for the good of his country in order to save it. Consideration of popular thought is one of the key issues in the analysis of the novel "War and Peace".

Spiritual thought in the novel "War and Peace"

Now let's move on to the third important issue in the analysis of the work "War and Peace". This is m spiritual thought. Concludes she in the spiritual development of the main characters. Harmony reaches those g e the swarms that develop do not stand still. They make mistakes, forget at wait, change their ideas about life, but as a result come to harmony.

So, for example, this is Andrei Bolkonsky. At the beginning of the novel, this is an educated, intelligent young man, To Someone sees all the vulgarity of the noble entourage. He wants to break out of this atmosphere, he seeks to accomplish a feat and gain glory, therefore goes to the army. On the battlefield, he sees how terrible the war is, the soldiers are fiercely trying to kill each other in order to NS themselves were not killed, patriotism is false here. Andrey is wounded, he falls on his back and sees a clear sky over his head. Contrast is created between kill soldiers and clear soft skies. At this moment, the prince A ndrei understands that there are things in life that are more important than fame and war, Napoleon ceases to be his idol. This is a turning point in the soul of Andrei Bolkonsky. Later he p e shakes, h he will live for his loved ones and himself in the family world, however, he is too active to be isolated only on this. Andrey reborn to w life, oh he wants to help people and live for them, he finally understands the meaning of Christian love, however, the bright impulses of his soul are cut off by the death of the hero on the battlefield .

Pierre Bezukhov is also looking for the meaning of his life. At the beginning of the novel, not finding what to do, Pierre leads a rampant l new life. At the same time, he realizes that such a life is not for him, but he does not yet have the strength to leave it. He is weak-willed and too trusting, so he easily falls into the networks of Helen Kuragina. However, NS the marriage did not last long, Pierre realized that he was deceived, and terminated the marriage. Having survived his grief, Pierre joined the Masonic lodge, where he found a use. However, seeing self-interest and dishonor in the Masonic lodge, Pierre leaves her. The battle on the Borodino field greatly changes Pierre's outlook, he sees a world of ordinary soldiers that he has never known before and wants to become a soldier himself. Later, Pierre is captured, where he sees a military trial and the execution of Russian soldiers. In captivity, he meets Platon Karataev, who strongly influences Pierre's ideas about good and evil. At the end of the novel, Pierre marries Natasha, together they find family happiness. Pierre is dissatisfied with the situation in the country, he does not like political oppression, and he believes that everything can be changed by uniting with honest people and starting to act at the same time with them. This is how the spiritual development of Pierre Bezukhov takes place throughout the novel, he finally understands that the best thing for him is to fight for the happiness and well-being of the Russian people.

"War and Peace": episode analysis

At school, in literature lessons, when studying the novel "War and Peace", individual episodes are very often analyzed. There are many of them, for example, we will analyze the episode of Andrei Bolkonsky's meeting with an old oak tree.

Meeting with an oak tree symbolizes the transition Andrey Bolkonsky from the old boring and dull life to the new and joyful one.

D kill its appearance with refers to internally them condition m hero. At the first meeting, the oak looks it an old gloomy tree that does not blend in with the rest of the forest. The same contrast can be easily seen in the behavior of Andrei Bolkonsky in the society of A.P. Sherer. He is not interested in small talk, bored, familiar to him for a long time people.

When Andrei meets an oak for the second time, he already looks different: the oak seems to be full of vitality and love for the world around him, there are no sores, dead and gnarled branches left on it, it is all covered with juicy young greenery. The tree was yet strong enough and strong, it had a high potential, as in Andrei Bolkonsky.

Andrey's potential manifested itself in the battle at Austerlitz, when he saw the sky; in his meeting with Pierre, when he told him about Freemasonry, about God and eternal life; at the moment when Andrei accidentally overheard the words of Natasha, who admired the beauty of the night. All these moments revived Andrey to life, he again felt the taste of life, R hell O life and happiness, like an oak, "bloomed" mentally. These changes of the hero were also led by his disappointments - in the personality of Napoleon, in the death of Lisa, etc.

All this greatly influenced Andrei Bolkonsky, led him to a new life with different ideals and principles. He realized where he was wrong before and what now he needs to strive for. Thus, the external transformation of the oak in the novel symbolizes the spiritual rebirth of Andrei Bolkonsky.

"War and Peace": an analysis of the epilogue

To present a full-fledged analysis of the novel "War and Peace", you need to pay attention to its epilogue. The epilogue is an important part of the novel. It carries a great semantic load, it summarizes the results that raise questions about the family, about the role of the individual in history .

The first thought expressed in the epilogue is the thought about the spirituality of the family. The author shows that the main thing in a family is kindness and love, spirituality, striving for mutual understanding and harmony, which is achieved through complementarity of spouses. This is the new family of Nikolai Rostov and Marya Bolkonskaya, uniting and I the families of Rostov and Bolkonsky, opposite in spirit.

Another new family is the union of Natasha Rostova and Pierre Bezukhov. Each of them remains a special person, but makes concessions to each other, in the end they form a harmonious family. In the epilogue, using the example of this family, the connection between the course of history and the relationship between individuals is traced. . After the Patriotic War of 1812, a different level of communication between people arose in Russia, many class boundaries were erased, which led to the creation of new, more complex families.

The epilogue also shows how the main characters of the novel have changed, where they eventually arrived. For example, in Natasha it is difficult to recognize the former emotional lively girl.

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