What is the problem in the story French lessons. Lesson plan (6th grade) on the topic: Lesson summary "Moral problems of the story by V.G.

Main character of this work— 22-year-old student Ivan Velikopolsky, returning home late in the evening and thinking about life. Everything around him seems gloomy, frightening and dull. He does not want to return home, and all of life and even all of history appears before him as something invariably negative. Ivan thinks that under Rurik, and under Ivan the Terrible, and under Peter, everything was the same: poverty and hopelessness. There is only darkness and bitterness in his head and soul, because “... all these horrors were, are and will be, and because another thousand years will pass, life will not get better.”

By the end of the work, the thoughts and moods of Ivan Velikopolsky change to the exact opposite. What influenced the young student so much? Maybe this was the effect of meeting two widows on him? Or a story from the Gospel? Or perhaps Vasilisa’s tears and Lukerya’s embarrassment?

The meeting with the widows Vasilisa and her daughter Lukerya is the central episode of the entire story. Ivan approaches the women to say hello and warm up a little by the fire, and at that moment he remembers an episode from the Gospel about how the Apostle Peter denied Jesus three times. He tells this to two women, and this story brings tears and pain to them. And, probably, it is these emotions that turn everything in a student’s soul.

He continues on his way and reflects. He thinks that Vasilisa was crying, and Lukerya looked embarrassed and tense because they felt sorry for Peter, because they were imbued with his fate, and perhaps she is very close to them and somehow relates to them. An event that happened nineteen centuries ago is not forgotten, and, moreover, is continuously connected with the present. Ivan realizes that one thing follows from the other, the present is a continuation of the past. And these thoughts fill him with joy, make him take a fresh look at everything around him. The world is ruled by truth and beauty, and he himself is young and full of strength, which means that unknown happiness awaits ahead.

Perhaps the realization that he is not alone, that after all he is not just a grain of sand in this huge world, fills Ivan Velikopolsky with a feeling of happiness. An understanding of the “high meaning” of existence descends upon him. A person gains inner harmony and harmony between himself and the outside world. And harmony brings peace.

The mood of the main character A.P. Chekhov conveys through description surrounding nature. The reader sees the landscape through the prism of Ivan's feelings, and it is not difficult to notice how different these pictures are at the beginning and at the end of the story. At first everything is gloomy and dull, the darkness is scary. The entire environment: forest, meadow, village is literally drowning in darkness. And this is precisely the mood that possesses the student: pessimistic and hopeless. But afterwards the surroundings are transformed - illuminated by the emerging light of a new day. The morning dawn symbolizes the renewal of the soul of Ivan Velikopolsky.

The story “The Student” is very different from the writer’s other works. Here the hero finds harmony, peace, understands that life has a huge and great meaning; The plot has a positive dynamic. It was not for nothing that critics at one time said that this story was a new turn in Chekhov’s work, and the writer himself claimed that it was his favorite piece. Most likely, “Student” was influenced by the influence of A.P.’s father. Chekhov was a pious man who forced his children to sing in the church choir at night.

"Student" is piece of art, in a direction more related to realism. In this story the author describes the change life position person and calls on everyone to follow the example of the main character - a student, the son of the sexton Ivan Velikopolsky, even whose surname hints at his acquiring a new spiritual status...

Review of Chekhov's work "Student"
The work begins with a description of the landscape. Chekhov begins his story precisely with this in order to show the internal state of mind of the main character. At first, the weather is “good, calm,” and the student’s mood is also joyful. But it got dark and a piercing wind blew, Ivan remembered how sad it was when he left home for the academy, the theme of eternity and a constantly bad life at all times excited his brain. Gloomy thoughts led to philosophical considerations, and he remembered God. My fingers were numb and my face was hot from the wind.
Winter and spring are in the balance of nature, justice and betrayal are in the soul. The cold outweighed, which meant despair and the consciousness of a meaningless existence.
Nature has been portrayed as inhospitable for many centuries, with the same prickly wind, darkness and man’s desire to warm himself by the saving fire.
Wielkopolski, wandering home, shrugged, immersed in thoughts about kings and God, the state and the horrors of severe poverty: hunger and need, even the desire to go to native home he was missing. He was irritated by ignorance, melancholy and the desert of darkness all around.
The student developed a gloomy mood of hopelessness and confidence that this would be the case in a thousand years; a feeling of detachment from the world and an indifferent perception of the world appeared in him. Ivan went to the fire in the widows’ gardens because he was frozen, and the fire burned so attractively and hotly, illuminating everything around him; besides, his neighbors were busy working there. It was Vasilisa, the mother, and Lukerya, the daughter. The mother was tall and plump, all in thought, a soft, sedate smile never left her face, she was more cultured than her daughter, because... worked as a nanny for the master's children. She was embarrassed to reveal her feelings. Lukerya had an undistinguished appearance, downtrodden by a tyrant husband, a pockmarked village woman, needed only for work. She had an expression on her face like that of a deaf-mute - detached. She, too, hid her feelings, hiding them, as if holding back severe pain.
We stop distinguishing between Vasilisa and Lukerya because... Although they are of different ages and upbringings, they still live in the same conditions and also suffer from the blows of fate, both are devout and sensitive to stories about God, for example, that their neighbor tells them.
I believe that the culmination of the entire story is tears caused by human compassion and understanding of the prophetic and holy gift of the Savior. He came to save people from suffering and grief, but he himself was tested and destroyed. Widows see that they are unhappy, perhaps even because of this. But tears, large and abundant, bashful and sincere, allow the soul to be cleansed and the vision of a mistake partially corrects it. Ivan decided to tell the story about Peter because the fire burning in the darkness reminded him of this story. He could not even imagine that he would touch the sensitive strings of the tightly slammed hearts of these women. Vasilisa is crying, I think, because she feels sorry not only for Jesus, but also for herself, for the days she has lived that are not always easy and pleasant. Their destiny is dishes, kitchen, vegetable gardens and no one needs them in this cold night and world. The student discovered the sadness of their hearts - the sadness of loneliness and melancholy. But the student’s mood changes to joyful, peaceful because he remembered that he is only twenty-two years old and the whole world is in front of him, he is full of youth and health, strength. The belief that God exists and how cruelly he was not betrayed, he forgives and helps people, gave him confidence in the future and he was overcome by a feeling of “inexpressibly sweet expectation of unknown, mysterious happiness.” Life seemed delightful, wonderful and complete to him. The awareness of his own importance delighted him. Times changed, but people's behavior was always perceived as something new, although everything was repeated and repeated. Nature also responded to his request to the heavens with a narrow, glowing crimson dawn. Having rethought everything, Wielkopolsky decided that beauty and truth guide human life. I think that's what it is the main idea story by Anton Pavlovich Chekhov. At first glance, the work is incomprehensible, but it carries deep philosophical meaning the fact that the present and the past, like two ends of a chain, sometimes interlock in events that affect the soul both in old times and today.

Analysis of Chekhov's story Student

The story The Student was written when the writer had already recovered from his lungs humorous stories, but had not yet discovered his talent as a playwright. During this period of creativity, Chekhov discovered the theme of the relationship between a person’s inner world and the outside world. Human nature shown from an unusual angle. The student, who is the main character of this story, from a feeling of pessimism comes to harmony and understanding of the highest meaning of life. Truth and beauty have always been the main thing. human life and on earth in general. The composition of the story is subordinated to this idea. Central location The work is occupied by a scene of Wielkopolski's conversation with peasants, mother and daughter, around the fire. The student tells the widows one of the most dramatic episodes of the Gospel, the story of how one of the twelve apostles, Peter, denied his teacher three times on the night when he was delivered into the hands of the Jewish high priests. The student's story takes place on the eve of Easter. IN
This is the time when a person’s soul must be cleansed of evil. Suddenly the student understands what a change has happened to him, he feels the connection of himself with the past, which represents a continuous chain of events that flowed from one another. He touched one end as the other trembled. Having reached the truth, the hero gains good mood, a range of feelings merged in his soul: and feeling
youth, health, strength, an inexpressibly sweet expectation of happiness. The depth of his feelings is shown through contrast. Chekhov describes identical landscapes, each of which mirror reflection another. Both are colored by Ivan's mood. At first he sees only darkness, melancholy, horror, ignorance around him, and it seems to him that another thousand years will pass and life will not get better. At the end of the story, he again looks at his native village, the thatched roofs, but now life seems to him delightful, wonderful and full of high meaning. A person ceases to be lonely, lost in a huge world, in the end everything
falls into place: he is Ivan Velikopolsky, a student at a theological seminary, the son of a sexton, this is a small link in a complex chain of existence, a piece of a single whole, just like Vasilisa and Lukerya, Rurik and Ivan the Terrible, the Apostle Peter and Jesus, like everyone who lived and lives on Earth. Chekhov changes colors from blue, dark green, brown to blue, orange, pink. Human life is full of hope for a colorful future. The Eternal connects these lives into one single chain. And mine, and yours, and the lives of others are only one of the links in a long chain, connected by truth and beauty.

Plot
Ivan Velikopolsky, a student at the Theological Academy, the son of a sexton, was returning home. Everything around was deserted and gloomy. The young man “thought that exactly the same wind blew under Rurik, and under Ivan the Terrible, and under Peter, and that under them there was exactly the same severe poverty, hunger, the same leaky thatched roofs, ignorance, melancholy, such the desert all around, the darkness, the feeling of oppression - all these horrors were, are and will be, and because another thousand years will pass, life will not get better. And he didn’t want to go home.”

The student approached the garden, where the old woman Vasilisa and her daughter Lukerya were burning a fire. The young man said: “In the same way, on a cold night, the Apostle Peter warmed himself by the fire. Oh, what was it? scary night, grandmother! An extremely dull, long night!” Then he remembered the Last Supper, when Peter said to Jesus: “With you I am ready to go to prison and to die.” And the Lord responded to him: “I tell you, Peter, if the rooster does not crow today, you will deny three times that you do not know me.” The student continued to tell the gospel story. Vasilisa began to cry. The young man said goodbye to them and moved on.

“The student thought about Vasilisa: if she cried, then it means that everything that happened on that terrible night with Peter has something to do with her...” The young man thought about “that if Vasilisa cried, and her daughter was embarrassed, then , obviously, what he was just talking about, what happened nineteen centuries ago, is relevant to the present - to both women and, probably, to this deserted village, to himself, to all people. If the old woman began to cry, it was not because he knew how to tell a touching story, but because Peter was close to her, and because she was interested with all her being in what was happening in Peter’s soul.” The hero reflects on the events of antiquity, on people who lived many centuries ago. The young man understands the connection between centuries and generations. He understands that everything that happened once has meaning for his contemporaries. Ivan realized that day that truth and beauty are the main things in a person’s life.

Story Analysis
1. Name the stylistic features of Chekhov’s prose.
2. The main problem of the story. The idea of the work.
3. What is the nature of the conflict in the work? How is it resolved?
4. What biblical motifs are heard in the work?
5. What means does the author use to reveal the image of the main character and the idea of the work?

The story “Student” was written by A.P. Chekhov in 1894. From the memories of the writer’s relatives and friends it is known that “The Student” was his favorite work. It reflects some of the author's childhood impressions, raised in a family that strictly observed church traditions. The story is distinguished by features characteristic late works Chekhov: deep spiritual content, philosophical. The laconicism of Chekhov’s prose is also surprising, his ability to describe in one detail the character, situation or appearance of a person, in little story the writer manages to say something big - about the meaning of human life.

“The Student” is a philosophical story; it poses a problem that can be described as follows: a person in the face of existence. The main character, from the feeling of pessimism that takes possession of him at the beginning, comes to harmony and understanding of the highest meaning of life. The composition of the story is subordinated to this idea of spiritual enlightenment

According to Chekhov's artistic principles There is no intense action or external entertainment in the story. There are few events: a student at the Theological Academy, Ivan Velikopolsky, returns home from a hunt, having met two peasant women, tells them the gospel story about Peter’s abdication, the women, touched by this story, cry. However, Chekhov's story is full deep meaning. The main thing in this work is the development internal conflict. The reader is presented with the story of the hero’s mental life, an attempt to navigate the world, to find that point of support that will allow him to live in harmony with the world. Using internal monologues, psychological landscapes, and the motif of repetition of events, the author reveals the hero’s anxious sense of time, his search for and discovery of the truth of life.

From the exposition of the story we learn that the event takes place on the eve of Easter. The work opens with a picture of gloomy spring nature: “The weather was good at first... then the forest became uncomfortable, deaf and unsociable... nature itself was eerie, and that’s why the evening darkness thickened faster than necessary. All around it was deserted and somehow especially gloomy.” The student’s dejected mood is conveyed not only by the psychological landscape, but also by the subsequent internal monologue. The hero is overcome by thoughts of “the gloom and desolation of the world around him,” “severe poverty, hunger, a sense of oppression.” A conflict is brewing in his soul, a feeling of emptiness within himself. He remembered how at home “his mother, sitting on the floor in the hallway, barefoot, was cleaning the samovar, and his father was lying on the stove and coughing; On the occasion of Good Friday, nothing was cooked at home, and I was painfully hungry.” And, shivering from the cold, he still thought that “exactly the same wind blew under Rurik, and under Ivan the Terrible, and under Peter, and that under them there was the same severe poverty, hunger, the same leaky thatched roofs, ignorance, melancholy, the same desert all around, darkness, a feeling of oppression - all these horrors were, are and will be, and because another thousand years will pass, life will not get better.”

The central place in the story is occupied by Wielkopolski's conversation with peasant women - mother and daughter around the fire. The student tells the widows one of the most dramatic episodes of the Gospel, the story of how one of the twelve apostles, Peter, denied his teacher three times on the night he was delivered into the hands of the Jewish high priests. The student’s story about Peter’s denial is not accidental. The emphasis in the story is on heavy state of mind a disciple of Christ, who saw the torment of his teacher and worried about his renunciation. The student’s words resonate in the hearts of Vasilisa and Lukerya: tears flowed down Vasilisa’s cheeks, Lukerya, too, could barely contain the pain. Lively, emotional response kind women the story about Peter struck the hero, set him up for painful thoughts, their result was spiritual insight. It does not happen immediately, but a little later, after Ivan broke up with the widows.

The climax of the story comes. Nothing has changed around the hero. It is no coincidence that the writer again returns to the theme of bad weather, bad weather: “A cruel wind was blowing, winter was actually returning, and it didn’t look like the day after tomorrow was Easter.” Chekhov thereby emphasizes that the turning point event occurs not in the surrounding world, which is still in a state of disharmony, but in the soul of the hero. Ivan is trying to establish a connection between the gospel story and the feeling that it evoked in the hearts of two women.

The reader is presented with the hero's internal monologue. The internal conflict is coming to an end. “The past,” he thought, “is connected with the present by a continuous chain of events that flowed one from the other”... The means of connecting this chain are Vasilisa’s tears, which appeared because “Peter is close to her, and because she is interested with all her being in what was happening in Peter’s soul.”

A young man discovers the most important values in life: “Truth and beauty, which guided human life there, in the garden and in the courtyard of the high priest, continued uninterrupted to this day and, apparently, always constituted the main thing in human life and in general on earth.” Having reached the truth, the hero acquires a good mood, in his soul there is a range of feelings: youth, health, strength, an inexpressibly sweet expectation of happiness: “... he was only 22 years old, and an inexpressibly sweet expectation of happiness, an unknown, mysterious happiness took possession of him little- little by little, and life seemed to him delightful, wonderful and full of high meaning.” Everything in the hero’s mind falls into place: he is Ivan Velikopolsky, a student at a theological seminary, the son of a sexton - this is a small link in a complex chain of existence, a piece of a single whole, just like Vasilisa and Lukerya, Rurik and Ivan the Terrible, the Apostle Peter and Jesus, like everyone who lived and lives on Earth.

In that a short story the author managed to lead the heroes and readers to a wise, philosophical understanding of life. Following truth, beauty, and eternal biblical values gives a person faith, perseverance, and helps him realize the meaning of his existence. A person ceases to be lonely, lost in a huge world.

Biblical motives. The student’s story falls on the eve of Easter, the holiday of the Resurrection of Christ. At this time (according to biblical beliefs) the human soul must be cleansed of evil. The hero of the story returns to understanding the meaning of life, a rebirth and resurrection of the soul occurs.

Undoubtedly, an important place in the story is occupied by a passage from the Gospel retold by Peter. Biblical motif, expands artistic time and the space of the work. Let us pay attention to the obvious parallels between the gospel realities in the student’s story and the details of the situation surrounding the narrator and his interlocutors. These are the following recurring images: “the workers, meanwhile, lit a fire in the middle of the yard, because it was cold, and warmed themselves” - sounds in the student’s story (Ivan also went to the women’s fire to warm up, “In the same way, on a cold night, the Apostle Peter warmed himself by the fire” - he says). All this causes an involuntary comparison of Ivan Velikopolsky with Peter, and the widows Vasilisa and Lukerya remind the reader of the gospel widows, of the myrrh-bearing women, of Martha and Mary - the sisters of the righteous Lazarus. The Gospel story about the suffering and torment of Christ, about the betrayal of Judas, about Peter’s denial, his weakness and tears is involuntarily associated with the state of the student himself: at some point, he, too, like Peter, succumbed to despair, lost faith in the truth of life, but regained her.

It is also necessary to mention the image-symbol, which in this story is fire. The fire mentioned at the very beginning burns in the widows' gardens, but it is unable to disperse the evening darkness. Then, the hero approaches this fire, into the light, to bask not only from the warmth of the fire, but also from human participation (Let us remember Vasilisa’s soft smile and subsequent tears). But at the same time, this fire reminds Wielkopolska of another, which is mentioned in the Gospel. The fire of the gospel fire illuminated Ivan’s soul, becoming an image-symbol of spiritual enlightenment.

Literature lesson in 9th grade

Topic: Analysis of A. P. Chekhov’s story “Student”

Lesson objectives:

1. Introduce students to the time the story was written and published, read the story expressively, influencing the feelings and emotional sphere of students; continue to develop the ability to analyze text, focusing students’ attention on the vocabulary and syntax of the work.

2. To cultivate in students such moral traits as spirituality, the ability to analyze the actions of others, as well as their own; Using this story as an example, teach children to forgive people’s weaknesses.

3. Develop speech culture skills; teach to find the main thing in the text, the common and distinctive in the phenomena described in the story of A.P. Chekhov, formulate conclusions, summarize facts, summarize; continue to instill interest in Russian literature and, in particular, in the work of Chekhov.

It was the melancholy of an exceptionally subtle, charming and sensitive soul, which suffered disproportionately from vulgarity, rudeness, boredom, idleness, violence, savagery - from all the horror and darkness of modern everyday life.

A. I. Kuprin

Chekhov captured a deeply valuable and necessary note for us - a note of cheerfulness and love for life.

M. Gorky

What kind of pessimist am I? After allOf my things, my favorite story is “Student”.

Updating knowledge. What do we know about A.P. Chekhov.

Individual message “The role of metaphor in the story “Chameleon”.

The story “The Student” was written by the already mature Chekhov, a brilliant writer. It was written in 1894 - this is almost the turn of the century. At the same time, Chekhov wrote novels and stories “Lights” (1888), “Kiss”, “Bet” (1889). When the story “Student” was published in the newspaper, it was called “Evening”. At home you read the story, what do you think, what is it about, what is its idea?

Students express their opinions.

We read the epigraphs for the lesson. Do they confirm your guesses or not?

In order to confirm or refute the hypotheses,

Let's analyze the story and understand what we read. Anyone can write a review.

Read the first paragraph. We find keywords- description of nature.

At first the weather was good, quiet, the shot sounded cheerful - day.

The night got dark - a cold, piercing wind blew inopportunely, icy needles, uncomfortable, deaf, unsociable.

In the second paragraph, find confirmation that the earth is “uncomfortable, deaf and unsociable”

“ ... this sudden cold disrupted order and harmony in everything,

...nature itself is creepy, and that’s why the evening darkness thickened faster than necessary.”

What is the mood of the main character? Confirm with text.

He didn't want to go home.

State of Nature, Good Friday.

What is Good Friday?

This is the day Jesus Christ was crucified; the wind blew from the east and brought news of this event; the world is worried.

- The church day begins in the evening, in our opinion on Thursday, for believers it is already Friday. Student Ivan Velikopolsky comes from woodcock hunting, which happens in the morning or evening dawn. He reflects on life and comes to the conclusion: as it was thousands of years ago, so it will be, nothing will change, an unbroken circle of life.

2) what's in this gloomy picture does the student notice, highlight? Where is it going? Why

going there?

“Only in the widows’ gardens did the fire glow.”

"The fire burned hot"

Who does the student see by the fire? Find portraits of women in the text. What is their beauty?

These women whom Ivan met are probably spiritually beautiful, they are faithful

God, these women are similar to both the sufferers at the cross of Jesus and the myrrh-bearing women who came with the joyful news of the resurrection of Christ.

What is the student telling these women? Why does he start a story about

Apostle Peter and his denial of Christ?

“In the same way, on a cold night, the Apostle Peter warmed himself by the fire,” said the student, stretching out his hands to the fire. “So it was cold then too.” This is nothing more than preparation for a very important observation that the student will make later. Now we are warming ourselves by the fire, then Peter was warming himself, now it is cold, and then it was cold. And then the student says words that bring together not only the external signs of two nights, between which no less or more, but nineteen centuries have passed, but also the moods of people.
“Oh, what a terrible night it was, grandma! An extremely dull, long night!”
The student felt as if he was no longer in this night, but in that night, imbued with the horror of that night.
“He looked around at the darkness, shook his head convulsively and asked...”
This phrase was not in the first edition of the story. Why did Chekhov insert it? This question can be answered if you pay attention to just one thing small word in this phrase - on the preposition standing before the worddarkness . It is said: noV looked in the darkness" and "on darkness." In the preposition here makes a lot of sense. If it were saidin the dark , then, that means into those darknesses into which he will then have to go, moving away from the warmth and light of the fire. So to speak, I looked at it for a business purpose. Ain the dark - this is already as if detached, because the young and ardent imagination of the student has already taken him far, far away, into the depths of centuries. He is no longer only there with his thoughts, but with all his feelings. And these darknesses now, which he is looking at, seem to confirm his phrase about the dull and long night then. And the obsession is so strong that he even shakes his head to free himself from it. In addition, the future preacher automatically wonders whether what he is saying is clear. dark women. And he clarifies:
“I suppose you were at the Twelve Gospels?”

What are the twelve gospels?

passages from the Gospel - a description of the “passion of Christ”, which

read in Orthodox Church on Holy Thursday.

What do you know from the Bible about Peter's denial? Why does Peter deny his Teacher?

Individual task. Reading passages from the Children's Bible.

“That Peter was willing to die for Jesus was very moving, but he did not know his own heart when he said this. He thought himself stronger than he really was. Because of this, the Lord warned Peter that he was making a mistake.
Peter could not imagine that he would decide to deny his Lord. Therefore, he said even more insistently: “Lord! I am ready to go with You to prison and to death.” The other disciples told Jesus the same thing.
...Peter had every opportunity to hide from the people who possessed Jesus, but he wanted to prove his readiness to suffer with Jesus and therefore remained with him.
...It was cold in the courtyard, and the servants lit a fire here and warmed themselves near it. Peter also went to warm himself by the fire. He wanted to know quickly what had happened to his Lord, and he hoped that no one would recognize him, because he was afraid that he would also be detained as a disciple of Jesus. He had already completely forgotten about his readiness to suffer with his Teacher.
...Peter, fearing to fall into the hands of the servants, pretended that he did not know Jesus at all, although in his soul he loved Him deeply.
The look of Jesus was filled with love and deep sorrow and penetrated into the soul of Peter. He could not bear this look, so he went out, weeping bitterly, realizing how ungratefully he had acted in denying his Savior.”

What does Ivan call Peter? Why?

Poor; Ivan feels sorry for Peter, because Peter is closer to himself and his listeners. “... Peter stood near the fire and also warmed himself, just like I am now.”

Why did Vasilisa cry? How does the student explain this?

The story of Peter is the story of all people livingnineteen centuriesago and living today. Maybe these women remembered something they had done - betrayal, apostasy, in a word, something bad, known not only to them, but to the entire village. Here the student realizes that, probably, he is not without some kind of sin, and each of the people keeps in his memory some act that is ashamed to remember.

3) How does Ivan’s mood change? What is this connected with? Reading the text from the words

“The workers were returning from the river...” to the end.

So what is the main idea, the idea of this story?

The past is inextricably linked with the future, these are linksendsone chain, and not

a vicious circle, namely a chain of events that followed one from the other. The unity of truth and beauty is indeed relevant to every person. Ivan “thought that truth and beauty... apparently have always been the main thing in human life and on earth in general...”. Ivan is only 22 years old, and he expects happiness and earthly prosperity. He is still on his way, but he will find a home (not only the parental one, where he returns from hunting, but in a higher sense, he will build his life, because there is a whole life path ahead).

1) Why did Chekhov change the title of the story? Choose an associative series

“In the evening” - sunset, darkness, old age...

“Student” - youth, future, development...

Make a chain that will help you determine the main idea of the story.

Feeling of disharmony Mental cleansing “unspeakably sweet”

(evening) (Apostle Peter) expectation of happiness"

Let's return to the epigraphs of the lesson.

How do epigraphs help reveal the main idea of a story? Has your

opinion about the story?

Those who wrote the review read their essay.

Homework(optional):

Read A.P. Chekhov's story "The Bet". Write a review about the story.

(short answers - in your notebook)

1. Name the stylistic features of Chekhov's prose. 2. The main problem of the story. The idea of the work.

3. What is the nature of the conflict in the work? How is it resolved?

4. What biblical motifs are heard in the work?

5. What means does the author use to reveal the image of the main character and the idea of the work?

Story "Student" was written by A.P. Chekhov in 1894. From the memories of the writer’s relatives and friends it is known that “The Student” was his favorite work. It reflects some of the author's childhood impressions, raised in a family that strictly observed church traditions. The story is distinguished by features characteristic of Chekhov's later works: deep spiritual content, philosophical nature. The laconicism of Chekhov's prose is also surprising, his ability to describe in one detail the character, situation or appearance of a person; in a small story the writer manages to say something big - about the meaning of human life.

According to Chekhov's artistic principles, there is no intense action or external entertainment in the story. There are few events: a student at the Theological Academy, Ivan Velikopolsky, returns home from a hunt, having met two peasant women, tells them the gospel story about Peter’s abdication, the women, touched by this story, cry. However, Chekhov's story is full of deep meaning. The main thing in this work is the development of internal conflict. The reader is presented with the story of the hero’s mental life, an attempt to navigate the world, to find that point of support that will allow him to live in harmony with the world. Using internal monologues, psychological landscapes, and the motif of repetition of events, the author reveals the hero’s anxious sense of time, his search for and discovery of the truth of life.

From the exposition of the story we learn that the event takes place on the eve of Easter. The work opens with a picture of gloomy spring nature: “The weather was good at first... then it became uncomfortable, deaf and unsociable in the forest... nature itself was eerie, and therefore the evening darkness thickened faster than necessary. All around it was deserted and somehow especially gloomy.” The student’s dejected mood is conveyed not only by the psychological landscape, but also by the subsequent internal monologue. The hero is overcome by thoughts of “the gloom and desolation of the world around him,” “severe poverty, hunger, a sense of oppression.” A conflict is brewing in his soul, a feeling of emptiness within himself. He remembered how at home “his mother, sitting on the floor in the hallway, barefoot, was cleaning the samovar, and his father was lying on the stove and coughing; On the occasion of Good Friday, nothing was cooked at home, and I was painfully hungry.” And, shivering from the cold, he still thought that “exactly the same wind blew under Rurik, and under Ivan the Terrible, and under Peter, and that under them there was the same severe poverty, hunger, the same leaky thatched roofs, ignorance, melancholy, the same desert all around, darkness, a feeling of oppression - all these horrors were, are and will be, and because another thousand years will pass, life will not get better.”

The central place in the story is occupied by Wielkopolski’s conversation with peasant women - mother and daughter around the fire. The student tells the widows one of the most dramatic episodes of the Gospel, the story of how one of the twelve apostles, Peter, denied his teacher three times on the night he was delivered into the hands of the Jewish high priests. The student’s story about Peter’s denial is not accidental. The emphasis in the story is on the difficult mental state of Christ's disciple, who saw the torment of his teacher and was worried about his renunciation. The student’s words resonate in the hearts of Vasilisa and Lukerya: tears flowed down Vasilisa’s cheeks, Lukerya, too, could barely contain the pain. The lively, emotional response of kind women to the story about Peter amazed the hero, set him up for painful thoughts, their result was spiritual insight. It does not happen immediately, but a little later, after Ivan broke up with the widows.

The young man discovers the most important values in life: “Truth and beauty, which guided human life there, in the garden and in the courtyard of the high priest, continued uninterrupted to this day and, apparently, always constituted the main thing in human life and in general on earth.” Having reached the truth, the hero acquires a good mood, in his soul there is a range of feelings: youth, health, strength, an inexpressibly sweet expectation of happiness: “... he was only 22 years old, and an inexpressibly sweet expectation of happiness, an unknown, mysterious happiness took possession of him little- little by little, and life seemed to him delightful, wonderful and full of high meaning.” Everything in the hero’s mind falls into place: he is Ivan Velikopolsky, a student at a theological seminary, the son of a sexton - this is a small link in a complex chain of existence, a piece of a single whole, just like Vasilisa and Lukerya, Rurik and Ivan the Terrible, the Apostle Peter and Jesus, like everyone who lived and lives on Earth.

In this short story, the author managed to lead the characters and readers to a wise, philosophical understanding of life. Following truth, beauty, and eternal biblical values gives a person faith, perseverance, and helps him realize the meaning of his existence. A person ceases to be lonely, lost in a huge world.

Undoubtedly, an important place in the story is occupied by a passage from the Gospel retold by Peter. The biblical motif expands the artistic time and space of the work. Let us pay attention to the obvious parallels between the gospel realities in the student’s story and the details of the situation surrounding the narrator and his interlocutors. These are the following recurring images: “the workers, meanwhile, lit a fire in the middle of the yard, because it was cold, and warmed themselves” - sounds in the student’s story (Ivan also went to the women’s fire to warm up, “In the same way, on a cold night, the Apostle Peter warmed himself by the fire” - he says). All this causes an involuntary comparison of Ivan Velikopolsky with Peter, and the widows Vasilisa and Lukerya remind the reader of the gospel widows, of the myrrh-bearing women, of Martha and Mary - the sisters of the righteous Lazarus. The Gospel story about the suffering and torment of Christ, about the betrayal of Judas, about Peter’s denial, his weakness and tears is involuntarily associated with the state of the student himself: at some point, he, too, like Peter, succumbed to despair, lost faith in the truth of life, but regained her.

It is necessary to mention the image-symbol, which in this story is fire. The fire mentioned at the very beginning burns in the widows' gardens, but it is unable to disperse the evening darkness. Then, the hero approaches this fire, into the light, to bask not only from the warmth of the fire, but also from human participation (Let us remember Vasilisa’s soft smile and subsequent tears). But at the same time, this fire reminds Wielkopolska of another, which is mentioned in the Gospel. The fire of the gospel fire illuminated Ivan’s soul, becoming an image-symbol of spiritual enlightenment.

“French Lessons” (research paper) methodological work, to help the teacher for a literature lesson)

The subject of literary research is always a person with his passions, joys and sorrows. But in depicting him, the writer pursues some of his main goals, an idea for the sake of which he writes a book.

One of the main themes in V. Rasputin’s work, in my opinion, is the theme of “human morality.” That is why his works are very topical and relevant. It’s not without reason that high school students are looking for answers to “ eternal questions": "What's wrong? What well? What should you love? And what is there to hate?

The work of Valentin Rasputin attracts readers different ages. Along with the ordinary, everyday things, spiritual values and moral laws are always present in the writer’s works. Unique characters, complex, sometimes contradictory inner world characters, the author's thoughts about life, about man, about nature not only help the young reader discover inexhaustible reserves of goodness and beauty in himself and in the world around him, but also warn: the life of man and nature is fragile, it must be protected.

Reading the stories of V. Rasputin, it is difficult to find the exact words and it is impossible to fully express the impression of real prose, which at all times is directly concerned with the human essence, the human soul. It is difficult, because such prose is never perceived as a cooled and frozen text, unchanged in its meaning, and no matter how much you turn to it, this text, it will move, live and reveal to you new and new features, feelings and thoughts. V. Rasputin's stories are difficult to read. But why is it difficult? This prose does not play with us, does not flirt, does not amuse, does not deceive, but presupposes the work of reading, presupposes sympathy, co-creation. You need to live everything that is written in the stories yourself, and besides everything, you also need to tear your consciousness away from the deceptive appearances of vanity, you need to tune in to the music, the look, the movement of the stories, to feel yourself in the world of V. Rasputin.

It’s difficult to read, but after reading, you won’t throw the book away, gradually or immediately forgetting what you read, but you will still feel, think and, if possible, your soul will awaken, live in the world of these stories, it will see these people and they will turn out to be familiar and dear to them for a long time. And finally, with surprise. But you will surely understand that that’s it. What V. Rasputin wrote about happened exactly to you, happened exactly in your life. And if not once before, then now, now, in the hours of reading, in the moments of consonant sound of this prose and your life...

V. Rasputin's stories are united by the necessary constant, painful, bright, inevitable, desirable and strange movement a person trying to break through and penetrate to that highest, eternal and only certain thing that is inherent in him by the Nature that created him, to the fact that he. as an insight, he realizes only in moments of living contact with the consubstantial, all-component, endlessly comprehended Life - all-existence. This world comes into man, and man sees the shores, his channel, he sees the roads of good, the roads of the eternal movement of his spirit. The man sees this and is not beside himself. And in himself, he seems to remembers banks, riverbeds, roads, remembers his purpose and the direction of his life movement.

The man in V. Rasputin’s stories “comes to his senses,” and his soul turns out to be the only way out into the real world.

From meeting with a truly Russian rare word, you feel how familiar, heartfelt light, music and pain it is filled with, how consonant with everything high and honest that constituted and constitutes our national spiritual wealth, that unites us around righteousness and beauty.

The theme of “human morality” is addressed in a particularly unique and poignant way in the story “French Lessons.”

Before approaching the consideration of this problem, let us pay attention to the definition of “morality” given in the reference literature.

For example, S.I. Ozhegov’s dictionary gives the following definition: “morality is the rules that determine behavior, spiritual and mental qualities, necessary for a person in society, as well as compliance with these rules of conduct.” IN philosophical dictionary given the following definition: “morality is a form public consciousness, in which the ethical qualities of social reality (goodness, kindness, justice, etc.) are reflected and consolidated. Morality is a set of rules, community norms, and people’s behavior that determine their responsibilities and relationships to each other and to society.”

But we are interested in the morality of not just any person, but the morality of the teacher, that is, the one who is engaged in teaching and educational work.

Pedagogical morality... What is it? We will not find a ready answer to this question in dictionaries. In my opinion, pedagogical morality arose from the objective need to regulate the relationships of children with each other and with the teacher, to coordinate their actions, actions, and desires. Pedagogical morality does not have written laws, does not rely on the power of state, administrative coercion, it determines the rules of behavior of the teacher, his spiritual qualities, and judgments.

Before we turn to the content of V. Rasputin’s work, I would like to dwell on the personality of the artist. Who is Valentin Grigorievich Rasputin?

V. Rasputin has a rare enviable literary destiny.

A native Siberian, he was born in Ust-Uda, on the Angara, in 1937, in peasant family. In the mid-50s, he entered the Faculty of History and Philology of Irkutsk University, dreaming of becoming a teacher, “he was happy about it, proud and seriously prepared for this business.” One day he wrote an essay for an Irkutsk youth newspaper. The editor paid attention to the story elements in the essay. In 1961, this essay entitled “I forgot to ask Lyoshka” appeared on the pages literary almanac"Angara". Four years later, V. Rasputin showed several stories to Chivilikhin, who arrived in Chita, and became the godfather of the aspiring prose writer. The stories made up V. Rasputin’s first book, “A Man from This World.” And ten years later he lay down - all over the world famous author four stories: “Money for Maria” (1967), “ Last bow"(1970), "Live and Remember" (1975), for which he was awarded State Prize and Farewell to Matera (1976). Sergei Zalygin writes about V. Rasputin that he “entered literature immediately, almost without a run and how true master words". V. Rasputin is called the “Siberian Chekhov”

In a few words it is necessary to recall the content of the story. It takes place three years after the end of the Great Patriotic War, in 1948, in distant village, fifty kilometers from the regional center. The story is told on behalf of a twelve-year-old boy who was left without a father. Life was very difficult for a mother with three children. Since in the village there was only Primary School, and the capable and hardworking boy wanted to study, his mother took him to the regional center. The teenager found himself here alone with almost no resources and was starving. Bad peers taught him to play the so-called “chica” for money. To get money for bread and milk, the boy was forced to learn this game, and he began to win. For this he was beaten, and the teenager was again left without money. teacher French local school, Lidia Mikhailovna, turned out to be a person of great soul: she tried to “feed” the boy, but he stubbornly refused, believing that it was shameful to take someone else’s. Soon the teacher realized: the teenager would not take anything from her for free. Then she decided to “cheat” by inviting him to play “chika” now with her, and, deliberately losing, gave the boy the opportunity to buy “legitimate” pennies for bread and milk. The school director, Vasily Alekseevich, a representative of imaginary humanity, learns about this game between a teacher and a student. The teacher had to leave school and go “to her place in Kuban.” But she still managed to save the teenager with her sensitivity, and the boy, in turn, although still very vaguely, began to understand what it was like to have a big heart in a seemingly complete stranger.

The story “French Lessons” is an autobiographical work. It was first published in the newspaper " Literary Russia"September 28, 1973.

“This story,” the writer recalls, “helped me find my teacher. She read it and recognized me and herself, but she doesn’t remember how she sent me a parcel with pasta. True Good on the part of the one who creates it, there is less memory than on the part of the one who receives it. That’s why it’s good, so as not to look for direct returns...”

Dedication that precedes the story: Anastasia Prokopyevna Kopylova and introduction: “It’s strange: why do we, just like before our parents, always feel guilty before our teachers? And not at all for what happened at school - no, but for what happened to us after,” as if they expand the framework of the story, give it a deeper, more general meaning, help us understand that the story, apparently simple in composition, concludes there are essentially three planes: the real world, the peculiarities of its reflection in the child’s consciousness, the memories of an adult about his difficult, hungry, but in its own way beautiful childhood.

V. Rasputin’s story is not easy to read, since the author talks about difficult times, loneliness, and hunger. V. Rasputin is a writer of the post-war generation and the echo of war in his soul. The writer recalls himself, an eleven-year-old boy who survived the war and the post-war hardships of life. An image of memory that is realized in modern socio-philosophical prose the idea of the relationship between man and time, the spiritual continuity of generations, in artistic system V. Rasputin is of fundamental importance. In search of supports that protect morality from loss, with all his works V. Rasputin affirms the active spiritual power of memory. In the writer’s interpretation, this is the highest, surpassing external expediency, a person’s attachment to his land, nature, native graves, to the people’s past, preserving the riches of the Russian word, “memory” of his social and civic duty.

The text of the story contains signs of the difficult post-war time. We penetrate into the world of the hero’s feelings and experiences, we more fully imagine author's position, reading the following passage: “In the spring, when it was especially difficult, I swallowed myself and forced my sister to swallow the eyes of sprouted potatoes and grains of oats and rye in order to spread the plantings in the stomach - then I wouldn’t have to think about food all the time.”

Was it just one boy who was having a hard time and was hungry? And we find these numerous sad signs that create the background of the story: “The hunger that year had not yet gone away,” “the collective farmer in those years was happy with any penny,” “we lived without a father, we lived very poorly,” “my mother had three of us.” , I’m the eldest”, “Aunt Nadya, a loud, tired woman, was alone with three children”, “they didn’t keep a cow”, “we didn’t have any money”, “the hunger here was not at all like the hunger in the village”, “I I wanted to eat all the time, even in my sleep I felt convulsive waves rolling through my stomach,” pasta for a boy was “wealth from the squeaks,” the radio in Lydia Mikhailovna’s room seemed like an “unprecedented miracle.”

Let's see how the conditions harsh life folds thin and gentle soul boy. Who influenced moral formation child?

Reading the first pages of the story, we learn the necessary facts about the boy: “I studied well, I went to school with pleasure,” “I studied well here too... I had nothing else to do here,” “I always learned all my lessons; in his village “he was recognized as a literate person: he wrote for the old woman and wrote letters,” he checked the bonds, he was the first from the village to go to the region to study. Who planted the beautiful seeds of kindness in the boy? Where does he get such a desire to learn, to understand the lives of adults, a desire to help do something to make life easier?

The boy has a mother who is loving, sensitive, kind, and gentle. It is she who becomes his first teacher, a friend for life. The mother was able to spiritually support the boy in hard time, strengthen his will and courage.

For the first time, the pride of the boy’s character is revealed, the pride of a man who knows how to overcome his weakness after a meeting with his mother. He ran after the car, but “came to his senses and ran away” because “he was ashamed of his weakness in front of his mother and in front of his village, because he is the first of native village went on to study, he must live up to expectations.”

The boy's second friend becomes the French teacher Lidia Mikhailovna. She wanted to help the boy withstand the test of hunger and understood that this unusual student would not accept help from her in any other form. Lidia Mikhailovna understands her students very subtly, unlike the school principal, who does not like the children and acts only according to instructions, formally.

In V. Rasputin’s story, a young teacher attracts a hungry and stubborn boy by playing “wall” or “measuring” with him. This is the unusual plot of the story. Many stories about teachers have been written, warm, noble, and the same situation varies in them: a student living a difficult life, but honest and noble, and a teacher who extended a helping hand to him. And although the forms of offering were varied, they were always within the framework pedagogical rules. In V. Rasputin’s story, Lydia Mikhailovna’s act can at first glance be regarded as non-pedagogical. Her student, who had previously stubbornly not taken anything, now after the end of the game accepted money from her, because it was a “fair win,” and again ran to the market to buy milk.

An unshakable, kind of very open, very natural humanity was the most important thing, the most important thing in the lessons of the distant and refined French language, and the boy understood and, probably, remembered it forever. French lessons have become life lessons, moral lessons, lessons of humanity, which the young teacher gives in a completely different way.

Not only by the actions of the teacher, but by her attitude towards those students, class teacher whom she appeared, we recognize that in front of us is a person big heart, but also by the language with which the author, as if invading the thoughts of a teenager, describes the teacher. Readers learn that Lydia Mikhailovna had “a regular and therefore not too lively face with eyes narrowed to hide the braid”; a tight smile that rarely opens to the end and completely black, short-cropped hair.” You can't help but pay attention to this That's why. A subtle life observation is stylistically conveyed here very simply: indeed, “correct faces” are rarely beautiful enough. At the same time, the writer speaks about the correct ones, and not about beautiful faces. And the liveliness of his face, which gives him charm, at the same time makes him a little irregular, a little asymmetrical. The whole appearance of Lydia Mikhailovna confirms the validity of the author’s observation: the teacher loves her students and at the same time she is strict, she is concerned about their destinies in life. The correct features of her face are not lively enough, despite the kindness and benevolence of the teacher. This is how a seemingly “dry” adverb is interpreted stylistically That's why. At the same time, “not too much” does not exclude the possibility that such a person in certain situations would be alive.

At first, the boy thought the teacher’s voice did not sound “full enough..., so he had to listen to it carefully.” The teenager explains this to himself by saying that Lidia Mikhailovna, a teacher of a non-native language, needs to “adapt to someone else’s speech,” which is why “his voice has sank without freedom, weakened, like a bird’s in a cage, now wait until it opens up and gets stronger again.” The transition from direct speech to indirect speech, here barely perceptible, gives the reader the impression that the boy, although he sees the “shortcomings” of the teacher, at the same time loves her, regretting her, as it seems to him, a thankless profession (“adapting to someone else’s speech”) .

But when the teenager later becomes convinced of the nobility of the teacher, her voice ceases to seem to him like the voice of a “bird in cages.” Furthermore, now the boy is thinking like this: “by tomorrow I will learn the entire French language by heart...”. By doing this, he strives to bring joy to his already beloved teacher. At the same time, the boy’s views on a foreign language also change. The image of an unfamiliar language becomes closer to the image of a teacher who wishes the boy well, so the foreign language becomes worthy of study. Soon, Lydia Mikhailovna begins to seem to the teenager “an extraordinary person, unlike everyone else.”

The writer talks not only about the lessons of humanity of the young teacher, but also about the courage of Lydia Mikhailovna, who was not afraid of the formidable director. The cruel and soulless school principal does nothing directly wrong, but when he finds out about his student’s games, he only “raises his hands above his head.” And this elevation (one word) complements the characteristics of the “correct” director.

The final dialogue, reproduced by the boy, between the school principal and the French teacher is memorable.

Are you playing for money with this?.. - Vasily Andreevich pointed his finger at me, and out of fear I crawled behind the partition to hide in the room. - Playing with a student?! Did I understand you correctly?

Right.

Well, you know... - The director was choking, he didn’t have enough air. - I’m at a loss to immediately name your action. It is a crime. Molestation. Seduction. And again, again... I’ve been working at school for twenty years, I’ve seen all sorts of things, but this...

The soulless director didn’t even have a name for the child: “You’re playing for money with this ?..” A rude, callous man with a twenty-year-old background behind him teaching experience work at school. But one can hardly call such a person a teacher who causes only disgust. As a teacher, this man died, only his shadow remained, gray and terrible, which children and teachers are afraid of. The director resembles a robot who knows what is good and what is bad, what is right and what is wrong, but does not want to listen, understand, understand and help. And the teacher does not try to explain anything to the director. She understands that this is completely useless: they won’t understand her here anyway. Answering the question with only one Right, Lidia Mikhailovna seems to agree with the director that she was “molesting” the boy. Meanwhile, she sought to help the child, to give him the opportunity to live and study.

The teacher’s act cannot be called pedagogically immoral. She acted exactly as her sensitive heart, sympathetic soul, and conscience told her.

And how good are the teacher’s generalizations, based on her everyday experience: “A person ages not when he reaches old age, but when he ceases to be a child.” And this aphorism is memorable because it follows the actions of a kind person: a teacher can directly frolic with children, forgetting about her age, but not forgetting about her duty, the duty of a teacher.

The influence of the teacher and the boy’s mother is very great on the developing personality. Before our eyes, a quiet, inconspicuous boy grows into a man who has his own views, convictions, and knows how to prove and defend them. The boy's character is revealed in his actions and reasoning.

For example, let’s take a fragment about the loss of food: “...I was constantly undernourished... I very soon began to notice that a good half of my bread was disappearing somewhere in the most mysterious way. I checked - it’s true: it was there - it’s not there. The same thing happened with potatoes. Who was dragging - Aunt Nadya, a loud, exhausted woman who was alone with three children, one of her older girls, or the youngest, Fedka - I didn’t know, I was afraid to even think about it, let alone follow... »

Pride, nobility, dignity, and delicacy are manifested here. The boy, living with Aunt Nadya, understands how hard it is for her: “a wounded woman who was hanging around with three kids.” He understands that life is hard for his mother, sister, brother, all adults and children.

He thinks like an adult about the misfortunes and troubles that the war brought.

Rasputin confronts his hero with negative characters. They are condemned not by words, but by the description of their actions and deeds. The bad boys do not seem to force our hero to play for money, but create an environment that forces him to “earn” his living in this way.

When characterizing the chiku players, we note that Vadik and Ptah did not play out of hunger, like the boy. “Vadim was driven by a sense of greed and his own superiority over his juniors. He always considered himself smarter, more cunning, and superior to everyone else.” “Bird is Vadik’s shadow, his henchman, own opinion doesn’t have one, but is just as vile.” “Tishkin is an upstart, fussy, curry favor with the elders and the powerful.” Vadik and Ptah beat the boy because they don’t like that he’s serious, that he’s almost an excellent student: “Whoever needs to do homework doesn’t come here.” Vadik feels the boy’s superiority and is afraid that other guys who depend on him may understand this.

During the beating, the boy behaves courageously; even under blows from fists, he stubbornly repeats his truth: “He turned it over!” Weak, sick, anemic, he tries not to humiliate himself: “I only tried not to fall, never to fall again, even in those moments it seemed to me a shame.”

Thus we see how in little man Man is awakening!

The episodes related to Lydia Mikhailovna are interesting in the story. In communicating with her, the teenager’s pride, inflexibility, and nobility again manifests itself: he is very hungry, but refuses to eat at the teacher’s house, politely but resolutely refuses to accept a parcel of pasta. Where do these sources of nobility and pride come from! In my opinion, they lie in the boy’s upbringing, because from the very early childhood it rotates in a working environment, close to the ground. He understands what work is and that nothing in life comes for free. And suddenly pasta!

In a “duel” with the French language, which was initially difficult to master, the writer shows his hard work, perseverance, desire to learn, and desire to overcome difficulties. We can trace how in a little man, deprived life experience, comprehension of life occurs. And the boy accepts it not lightly - superficially, but in all its depth.

What attracts us most to a boy? What is the main thing in his character? And how to show this to children?

Valentin Rasputin talks about the courage of a boy who preserved the purity of his soul and the inviolability of his moral laws, carrying his duties and his bruises fearlessly and bravely, like a soldier. The boy is attracted by his clarity, integrity, and fearlessness of soul, but it is more difficult for him to live, much more difficult to resist than for the teacher: he is small, he is alone in a strange place, he is constantly hungry, but still he will never bow to either Vadim or Ptah , who beat him bloody, not in front of Lydia Mikhailovna, who wants the best for him.

The boy’s reasoning, distinguishing between the possibility of an honest and dishonest win, is also true: “Accepting money from Lydia Mikhailovna, I felt awkward, but every time I was reassured by the fact that it was an honest win.”

The boy organically combines the bright, cheerful carefree nature of childhood, a love of play, faith in the kindness of people around him, and non-childish serious thoughts about the troubles brought by the war.

Joining the difficult, but wonderful fate boy, we, empathizing with him with the help of the writer, reflect on good and evil, experience “good feelings”, look more carefully at those around us, at our loved ones, at ourselves. The writer raises in the story the problem of pedagogical morality, an important question about true and imaginary humanity.

This simple story makes a big impression. Its general ideological concept is strong, and the strength of its emotional impact is also undeniable: big people are found not only in large, but also in “small” matters, just as bad people They manifest themselves in actions that seem outwardly “correct,” but are essentially callous and cruel. In V. Rasputin’s story there are no “beauties of language” and, nevertheless, or rather precisely because of this, the entire narrative is based on carefully thought out and carefully selected resources of the language. The critic I. Rosenfeld writes: “the special position of Rasputin’s stories is the ability to find and present a detail that is absolutely piercing and, despite its incredibleness, very material and convincing,” which is what we saw when analyzing the story “French Lessons.” In V. Rasputin's author's narration and in the speech of the hero-narrator, colloquial, everyday vocabulary predominates, but even in an ordinary phrase there are often words that convey a complex range of feelings and experiences. After all, a writer’s skill is determined not only by his general talent, his ability to see the reality around us in his own way, his worldview, but also by his language and style. And Valentin Rasputin can be confidently attributed to outstanding writers, master artistic word, a writer-psychologist who so deeply comprehended the child’s soul.

Bibliography

Budagov R. A. How Valentin Rasputin’s story “French Lessons” was written. - Russian speech, No. b (p. 37-41), 1982.

Title page

Title The problem of pedagogical morality in the story by V. Rasputin

“French Lessons” (research methodological work, in

Help the teacher for a literature lesson)

Last name, first name, patronymic Danilova Lyubov Evgenievna

Position teacher of Russian language and literature

Name of the institution MOUSOSH No. 2 of the Kopeisk urban district of the Chelyabinsk region.

Name of the subject, class literature, 6th grade

Bibliography

1. Budagov R. A. How Valentin Rasputin’s story “French Lessons” was written. - Russian speech, No. b (p. 37-41), 1982.

Vashurin A. Valentin Rasputin. Stories. Our contemporary. - Siberian Lights, No. 7 (p. 161-163), 1982.
Lapchenko A.F. “memory” in the stories of V. Rasputin. - Bulletin of Leningrad University, No. 14 (50-54), 1983.
Mshilimovich M. Ya. Lessons of courage and kindness. - Literature at school, No. 6 (p.43-46), 1985.
Ozhegov S.I. Dictionary of the Russian language. - Publishing house " Soviet encyclopedia", M., 1968.
Rasputin V.G. Selected works in two volumes. - Publishing house "Young Guard", volume 1, 1984.
Philosophical Dictionary edited by M. M. Rosenthal and P. F. Yudin. - Publishing House of Political Literature, M., 1963.

What moral issues are raised in the story "French Lessons"?

The problems of morality and ethics that the author draws attention to can be called eternal. But where is the line, crossing which an action becomes moral and/or immoral? In the example of the story French Lessons, this is especially obvious: take, for example, a game for money, is it moral or immoral? At first glance, the answer is obvious. But not everything is so simple in life, says Rasputin. Even seemingly immoral actions can bring goodness if they are caused by noble feelings, and Lydia Mikhailovna’s act is proof of this. Sympathy and compassion, the ability to empathize - rare qualities, which are sometimes so lacking in life.

The moral problem of Rasputin's story French Lessons is the search for an answer to the question of what morality is. The plot of events shows that conscience and morality are on the side of the school director: he fires the French teacher for gambling for money with the student, while quite sincerely expressing extreme indignation at such behavior. But this person, blindly following ready-made norms, directives sent down from above, is not able to understand that love for a child, the desire to save him, is sometimes more important than dogma. Lidia Mikhailovna realized that the half-starved boy, out of pride, would not accept help from her directly, so she invites him to play a game that has long become a source of income for the hero. The behavior of the teacher gives an understanding that morality often goes beyond the boundaries of generally accepted norms, and sometimes crosses out these norms in the name of saving a person.

The main moral problem of this story is the question of how to remain human if everything in life is not as simple and beautiful as we would like. Heavy post-war years, the boy, having gone to study in the city, sometimes finds himself completely without money and has nothing to even buy milk with. Out of despair, he begins to gamble for money and is faced with the cruelty of his peers, envy, meanness and betrayal. This negative side the life that the hero had to learn.

And as a counterbalance, a kind and understanding teacher is shown, who feels unusually sorry for the hungry and ragged boy and who cannot help him openly - because out of pride the boy does not accept her help. But sympathy is a wonderful feeling and the teacher finds a way out; she herself begins to play with the student for money. Is this immoral, or is this another lesson that a teacher wise beyond her years gives to her student? It seems to me that it is the second. Hardly main character I was so naive that I didn’t understand that the teacher didn’t decide to play chica out of passion. He saw that they were trying to help him, but they were trying to arrange this help in such a way as not to hurt his youthful pride and maximalism.

And of course, the good turned out to be punishable - the teacher was fired. And this is another moral problem - if you strive to help others selflessly, you must be prepared for the fact that you will have to pay for it yourself. And only for real a kind person can make such a sacrifice.