Actual stuff:
V. G. Rasputin "French Lessons".
"French Lessons" 1978 director Yevgeny Tashkov
Task of the lesson: to form the skill of analyzing a work of art, the motives of the behavior of the main characters as part of universal educational activities:
1) personal - moral and ethical assessment of the content being learned, providing a personal moral choice based on social and personal values;
2) cognitive - extracting the necessary information from the provided material; building a logical chain of reasoning; establishing causal relationships;
3) communicative - taking into account the position of other people, the ability to listen and enter into a dialogue, express their point of view on events, actions.
Planned results:
subject: analyze a work of art from the point of view of ideological content and moral issues, express their own attitude to the work, characters, answer questions about the read text, enter into a dialogue, create oral monologues.
Metasubject: understand the problem, select arguments to support their own position, formulate conclusions.
Lesson type: generalization and systematization of knowledge.
Technology: development of critical thinking.
Lesson form: reflection lesson.
DURING THE CLASSES
Literature, in my opinion, is, first of all, the education of feelings, and, above all, kindness, purity, nobility.
V.G. Rasputin
Orgmoment
human kindness- the most amazing phenomenon in the world. Try to convey your mood with a smile. I see you are in a good, businesslike mood, so let's get to work.
- Guys, real kindness ... What is it like? (Answers guys: not looking for rewards, disinterested)
- Guys, today we will turn to the best story by V. G. Rasputin "French Lessons". You have workbooks on your desks, in which we will work. Our lesson is called "French Lessons" - life lessons.
- Read the epigraph to the lesson. Do you agree with the writer's words? (Answers guys).
- Did you like the story?
Let's take a look at the title of the story. Why lessons? What associations does this word evoke in you? Write association words in your workbook. (school, subject, knowledge, education).
Stage I: Challenge
- Look carefully at the epigraph and the title of our lesson and think about what we have to figure out? (We formulate the purpose of the lesson)
Who? To whom? For what?
Stage II: comprehension
Who do you think is the main character of the story? Maybe there are several?
Let's read the quotes from the story, determine to whom they refer:
"In order to study further ... I had to equip myself in the district center."
“But as soon as I was left alone, melancholy immediately piled up ...”.
“There wasn’t a person more unfortunate than me that day.”
"I needed a ruble ... for bread."
"I went there as though I was being tortured."
Did you recognize the hero from the story? What do these quotes indicate?
(Children name the character traits of the hero)
What time is shown in the story? (1948)
- It was the post-war period. What do you know about him?
(The war brought a lot of grief, deprived children of their childhood, destroyed cities and villages, famine).
- Turn over the page of your workbook, select from the column those qualities of the boy that he possesses, and underline them.
(We read out the qualities of the hero).
- Who plays an important role in the fate of the boy?
Let's read the description of Lydia Mikhailovna:
“She sat in front of me, all neat, smart and beautiful, beautiful in clothes, and in her feminine young pore ... Her eyes squinted and looked as if past, but by that time we had already learned to recognize where they were looking ... Lydia Mikhailovna was then probably twenty-five years or so; I remember well her correct and therefore not too lively face with narrowed eyes, a tight smile that rarely opens to the end, and completely black, short-cropped hair. But with all this, cruelty was not visible in her face ... but there was some kind of cautious, cunning, bewilderment related to herself and as if saying: I wonder how I ended up here and what I'm doing here?
- Underline in this passage the expressions that characterize Lydia Mikhailovna.
- What character traits of the teacher did you see? (Kindness, outward modesty, inconspicuousness, neat - fill out the table).
This story is autobiographical. Rasputin dedicated it to Anastasia Prokopievna Kopylova. In 1973, Rasputin wrote one of his best stories, French Lessons. “There I didn’t have to invent anything. All this happened to me. The prototype did not have to go far. I needed to return to people the good that they once did for me.
In the image of Lidia Mikhailovna, the author expressed his ideal of a teacher. The personality of the teacher is best revealed in relation to his students.
Watching Episode #1
Let's see excerpt No. 1 from the film based on the story of V. G. Rasputin "French Lessons".
- What did you notice in the image of Lidia Mikhailovna, what kind of teacher is she?
- Did you see the character as the director created him? Is that how you imagined him?
Let's read an excerpt:
“At first, for a long time I could not get used to Lidia Mikhailovna’s voice, it confused me ... it was somehow small and light, so I had to listen to it ... Her voice began to have a lulling effect on me ..”
“Lydia Mikhailovna ... was interested in us more than other teachers, and it was difficult to hide anything from her. She had a habit of carefully examining almost every one of us."
- What character traits did we see in the image of Lidia Mikhailovna? Underline the most important thing in the text that characterizes the teacher. (Child care, motherhood, mindfulness).
How did the main character feel about the teacher?
- Why did Lidia Mikhailovna choose the main character to study French? (feed the baby).
–
Choose from the column those qualities that Lidia Mikhailovna possesses and underline them.
(The guys read out the qualities of Lydia Mikhailovna).
Trap reception
- Why didn't you emphasize the interest in gambling?
- We all know what act a teacher does to help a child - he decides on a forbidden game. Gambling, for the money of a teacher with a student, has always been considered an immoral act.
View episode #2
Why does Lidia Mikhailovna decide on a forbidden game? Did she have a choice not to play? (The teacher set a goal - to help the child by any means, so that the boy could buy milk and bread for himself).
- Why did Lidia Mikhailovna not explain her act to the director?
Let's read the end of the story:
“And I never saw her again.
In the middle of winter, after the January holidays, a package arrived at school by mail. When I opened it, taking out the ax again from under the stairs, there were tubes of pasta in neat, dense rows. And below, in a thick cotton wrapper, I found three red apples.
Before, I only saw apples in pictures, but I guessed that they were.
What do you think the apples in this story symbolize? (A symbol of spiritual generosity. The boy learned that he was not alone, that there is kindness, responsiveness, love in the world).
– The hero of the story, despite his eleven years, felt the lessons of life. Who taught life lessons, to whom and why?
- What are the lessons of life?
Guys answers:
1. Separation from loved ones and loneliness.
2. Hunger.
3. Unfair fight.
4. Difficulties with French.
5. Parting with a teacher who became a friend.
- What is the main lesson taught by Lidia Mikhailovna?
- What feelings does the story "French Lessons" bring up? (Kindness, unselfishness, sincere generosity, unselfishness).
How can you describe these feelings in one word? (Moral).
Morality is the rules of behavior, the qualities necessary for a person in society.
"French Lessons" - lessons of life, courage, kindness.
Kindness, love, sympathy, mercy, attention are the spiritual values of mankind. People who have these qualities are people with spiritual beauty.
A person receives spiritual beauty from others. So the hero of the story remembered that the young teacher saved him from hunger and shame.
III stage: reflection
Filling the Soul Tree
On the Tree of the Soul, you need to grow only beautiful fruits (we fill the tree with those qualities that a person needs).
Continue suggestions:
- I learned (learned)...
- I've been thinking about...
- I discovered (discovered) for myself ...
- What do I want to learn?
Homework
1. Draw the cover of the book by V. G. Rasputin "French Lessons".
2. Write a message "I advise you to read" French Lessons ".
“The story, the heroine of which was Lidia Mikhailovna, I dedicated to another teacher - Anastasia Prokopyevna Kopylova. When I got to know her, she had already worked at the school for many years, but neither then nor later did I see in her eyes that harsh expression, for which the time had already come. The story was first published in 1973. in our Irkutsk Komsomol newspaper "Soviet Youth" in the issue dedicated to the memory of Alexander Vampilov. Anastasia Prokopyevna is his mother. Looking into the face of this amazing woman, ageless, kind and wise, more than once I remembered my teacher and knew that the children were fine with both of them.
"Lydia Mikhailovna, as in the story, always aroused in me both surprise and reverence ...
She seemed to me a sublime, almost unearthly being. There was in our teacher that inner independence that protects from hypocrisy.
Still a young, recent student, she did not think that she was educating us by her own example, but the actions that were self-evident for her became the most important lessons for us. Kindness lessons.
She sat in front of me neat all over, smart and beautiful, beautiful in her clothes, and in her young pore, which I vaguely felt, the smell of perfume from her reached me ....; besides, she was not a teacher of some kind of arithmetic, not of history, but of the mysterious French language, from which something special, fabulous, beyond the control of anyone, everyone, like me, for example, came.
Of course, there was something to look at: in front of her, a scrawny, wild boy with a broken face, untidy without a mother and alone, in an old, washed-out jacket on sagging shoulders, which was just right on his chest, but from which his arms protruded far, was crouching on the desk; in branded light green trousers sewn from his father's riding breeches and tucked into teal with traces of yesterday's fight.
Surprisingly, Lidia Mikhailovna, it turns out, did not remember that she sent me a parcel with pasta in the same way as in the story .... But, on reflection, I realized that there was nothing surprising in essence: true goodness on the part of someone who creates it, has less memory than on the part of the one who receives it ...
Goodness is selfless, and this is its miraculous power.
Lesson. Moral problems of V. G. Rasputin's story "French Lessons".
The role of the teacher Lidia Mikhailovna in the boy's life. (Slide 1).
Goals:
To reveal the ideological content of the work of V. G. Rasputin "French Lessons", to identify the moral and philosophical problems raised by the author.
Develop literary analysis skills.
To educate moral qualities, artistic perception of the world. (Slide 2).
During the classes.
1. Org. moment.
2. Introductory conversation.
Guys, how do you understand what kindness is?
Who is a good person for you?
Children give real life examples. We draw conclusions that good can be different, for each its own: cheerful, random, heroic ...
Today we will talk again about the work of V. G. Rasputin "French Lessons" and try to find out how he sees good and, in addition, highlights its basic laws. In many ways, his worldview was influenced by a difficult childhood.
We listen to a prepared student with a brief biographical note:
His conscious childhood (V. G. Rasputin), that very “preschool and school period”, which gives a person almost more for life than all the remaining years and decades, partially coincided with the war: in the first grade of the Atalan elementary school, the future the writer came in 1944. And although there were no battles here, life, as elsewhere in those years, was difficult. “The bread of childhood was very difficult for our generation,” the writer notes decades later. But about those same years, he will also say more important, generalizing: “It was a time of extreme manifestation of human community, when people held together against big and small troubles.”
During the war, Rasputin also felt the relationship of people to each other and understood their relationship to society. It also left its mark on the young soul of the future writer. And later in his work, Rasputin will put in stories and novels the moral problems of society, which he will try to solve himself.
3. The word of the teacher. Kindness lessons.(Slide 3).
If we turn to the epigraph before the article by V.G. Rasputin "Lessons of Kindness", then we read the words of L.N. Tolstoy: "The smarter and kinder a person is, the more he notices goodness in people." This epigraph was not chosen by chance. It is correlated with those events and those people who surrounded the main character. Some of them passed without leaving any positive memories in the boy’s soul (only bitterness and resentment), while others were remembered for their kindness and participation for a lifetime. These kind, sympathetic people include, first of all, the boy's teacher Lidia Mikhailovna. Assessing what Lidia Mikhailovna did for him, Rasputin writes: "... goodness must be disinterested and confident in its quiet miraculous power."
So who was Lydia Mikhailovna and what did she do that would later receive the author's definition of "lessons of kindness."
4 . Conversation with the class(Slide 4).
What was Lidia Mikhailovna like? What was the first time the hero saw her? Find and read the portrait of Lydia Mikhailovna (p. 127).
Why did she invite Valya to study French? (Noticing traces of beatings on Valya's face and after the storyTishkin that Valya plays for money, the teacher found out
that Valya needs money, he is starving. Lidia Mikhailovnathought of a way to help.)
How did the boy behave when visiting Lydia Mikhailovna? (Valyawas a timid and shy boy, and therefore everyonecoming to the teacher's house turned into torture for him.)
He was lost, could not repeat familiar words. But the worst thing was when Lidia Mikhailovna invited him to dinner. Then he jumped up and, muttering that he was full, that he did not want to, backed away to the exit.
"... Lidia Mikhailovna, in despair, stopped inviting me to the table."
What did the teacher come up with to support the starving boy? (Lydia Mikhailovna decided to secretly sendsend him a parcel of pasta to the address of the school.)
At first, Valya thought that the package was from his mother, and he was very happy, he even began to nibble on this pasta, but on reflection, he realized that the package could not be from his mother ("there were no pasta in the village"). So, this is only Lidia Mikhailovna - there is no one else. Without hesitation, he takes the package to the teacher and leaves it.
What qualities did the boy show when he refused Lidia Mikhailovna's help? (Self-esteem did not allow him to accept help. It seemed to him that the humiliatornym to accept help from the teacher, to abuse her good attitude.)
Why did Lidia Mikhailovna decide to play "measuring" with her student? Did she understand what this game for money with a student was fraught with for her? (Realizing that the boywill not accept any help from her, Lidia Mikhailovna decidela create the same situation when Valya will be forcedtake money as a prize.)
What did the director do when he discovered Lidia Mikhailovna at the scene of the "crime"? Did he want to deal with the situation? (The director showed strictness and decisiveness. His
was not interested in the reason that pushed Lidia Mikhailovnafor this action.)
In the very fact of the teacher's game for money with her student, he saw a gross violation of the intra-school charter. From his point of view, the behavior of the teacher was immoral. And he took all measures to kick her out of school.
How does Lidia Mikhailovna behave in this scene? (Exemplaryanswer. She responds calmly to the director's indignation, does not get out and does not justify herself. She did not explain anything to the director, because he would not have understood anything - the wrong person.)
What role does the afterword play? (An exemplary answer. Having briefly told about subsequent events, the author concludes his story with a message about the parcel he received from the Kuban. It contained macaroni and three red apples. Valya kept the memory of these apples for the rest of his life.)
Conclusion: Imbued with a sense of compassion for the starving boy, the teacher makes several fruitless attempts to help him: homework with an invitation to the table, a parcel of pasta. She has to go to the trick so that, without offending her pity, to help the student. Only a truly kind, sensitive and noble person is capable of such an act.
Are all the characters in the story kind and noble?
5. Literary characteristics of the characters. (Slide 5).
Valentin Grigoryevich Rasputin is a master of literary portraits, a few sentences are enough for him to accurately describe a person.
“A noisy, overwrought woman who was alone with three children” (Aunt Nadya)
“With a quick movement of his head, he threw the bangs that had gone down, casually spat to the side, showing that the deed was done, and with a lazy, deliberately slow step stepped towards the money.” (Vadik)
“He paced in front of the ruler, throwing his hands behind his back, moving his shoulders forward in time with his broad steps, so that it seemed as if a tightly buttoned, protruding dark jacket was moving independently a little ahead of the director” (Director)
“She sat in front of me neat, all smart and beautiful, beautiful in clothes, and in her feminine young pore, which I vaguely felt, the smell of perfume from her reached me, which I took for my very breath; besides, she was not a teacher of some kind of arithmetic, not of history, but of the mysterious French language, from which something special, fabulous, beyond the control of anyone, everyone, like, for example, me ”(Lidiya Mikhailovna)
“... in front of her, a skinny, wild boy with a broken face, untidy without a mother and alone, in an old, washed-out jacket on sagging shoulders, which was just right on his chest, but from which his arms protruded far, was hunched over on a desk; in branded light green trousers altered from his father's riding breeches and tucked into teal with traces of yesterday's fight. (hero)
Conclusion: in the text, Rasputin placed the description of the boy and the teacher side by side, in adjacent paragraphs. In order to most accurately and vividly reveal these images, he used the antithesis. (Individual task)
6. Generalization of knowledge. (Slide 6).
So, the main device of the literary characterization of the hero and the world around V. G. Rasputin is the antithesis.
Nobility coexists with cowardice, greed with disinterestedness, industriousness with laziness, sensitivity with callousness.
We bring into the system all the oppositions that arise in the story with the help of a diagram.
Scheme. (Slide 7).
The author is opposed to the hero, and the images of the student and the teacher are also opposite. On the other hand, the hero has antipodes in the children's environment - Ptah and Vadik, they choose the side of evil. Lydia Mikhailovna is opposed by the director of the school, who is not able to understand the child and empathize with him, for him only the appearance of honesty and justice is important. The people surrounding the hero (the outside world) can be divided into two groups: kind, sympathetic, empathetic, disinterested (this is the boy’s mother, Uncle Vanya, villagers) and indifferent, envious, vicious (residents of the regional center, Aunt Nadia and her children, classmates) . The inner world of the hero is tormented by other contradictions: pride, craving for knowledge, kindness and self-sacrifice struggle with hunger, need, deceit, greed and loneliness.
Conclusion: The work reflects the eternal struggle between good and evil, the most painful battles of which take place not in the outside world, but in the heart of every person in the decisive, critical years of his life. It is here, during the period of growing up, entering adulthood, that the main question is solved: on which side, light or dark, will a person remain, will he not be pulled into the abyss by his inability to resist the cruel world? The outcome of this struggle can be decided by a kind person (the embodiment of kindness), who will lend a helping hand, show mercy and love. We see the victory of good over evil in the heart of a single child in the story “French Lessons”.
Guys, think about the meaning of the title of the work. What do you think is the most important word in the title?
We read in the explanatory dictionary the meaning of the word lesson. (Slide 8).
LESSON.
An academic hour (in secondary educational institutions) dedicated to a particular subject.
Educational work assigned to the student at home.
Something instructive, something from which we can draw a conclusion for the future.
Teaching school subjects privately to individuals.
Work set to be completed within a specific time frame (obsolete).
The third meaning of the word comes to the fore, it is not for nothing that the article preceding the story is called “Lessons of Kindness”. Let's turn to this article. It contains the main idea: only by following the laws of kindness can evil be defeated. We select from the article the laws of kindness of Rasputin: (Slide 9).
“True goodness on the part of the one who does it has less memory than on the part of the one who receives it”
“That’s what it’s good for, so as not to seek direct return (I helped you - if you please, help me too), but to be disinterested and confident in your quiet miraculous power”
“And if, having left a person, goodness returns to him after many years from a completely different side, the more it bypassed people, and the wider was the circle of its action”
Conclusion: In his article “Lessons of Kindness”, Valentin Rasputin explained what made him write the story “French Lessons”: “I wrote this story in the hope that the lessons taught to me in due time will fall on the soul of both the small and adult reader.” Such a lesson of kindness was given to the fifth grader Valya from a distant Siberian town by the teacher Lidia Mikhailovna. The kindness, sensitivity, responsiveness of Lidia Mikhailovna are opposed to the callousness, callousness and formalism of the director. Lidia Mikhailovna not only did an effective good: she helped the boy survive in the difficult post-war years, but she also took all the "blame" on herself. Lidia Mikhailovna opened a new world for the boy, showed a different life, where people can trust each other, support and help, share grief. The boy realized that he was not alone, that there was kindness, responsiveness, love in the world. These are spiritual values.
7. The result of the lesson.
What is the meaning of the story's title? (Slide 10).
"French lessons" turn out to be "lessons of kindness" that the future writer took into his adult life. Remembering his beloved teacher, Rasputin writes that kindness is always disinterested, it does not require a reward, it does not seek direct return. It is selfless, and therefore priceless.
How good that kindness
Lives in the world with us.
Without kindness, you are an orphan
Without kindness, you are a gray stone.
8. Homework
Answer in writing the question: “How did I know (a) what kindness is?” (Slide 11).
9. Test.
1. Genre of the work:
b) story;
c) story.
2. The title of the work is related to:
a) with a story about additional classes in French;
b) with the lessons of morality and kindness that the French teacher taught the boy;
c) with the story of the young hero about his favorite French lessons.
3. The action in the work takes place:
a) before the Great Patriotic War;
b) during the Great Patriotic War;
c) after the Great Patriotic War.
4. The reason for the loneliness of the narrator is:
a) pride
b) homesickness;
c) his stinginess.
5. The narrator played "chika" to:
a) save money and send it to the village;
c) buy milk every day.
6. The character of the work, about which the narrator says: “They were all about the same age as me, except for one - tall and strong, noticeable for his strength and power, a guy with a long red bang” is:
c) Fedka.
7. The narrator believed that the French words:
a) invented for punishment;
b) surprisingly harmonious;
c) are not at all similar to Russian words.
8. The scene of playing "chika" and fighting:
a) does not play a major role in the work;
b) is the climax;
c) reveals the character of the protagonist.
9. In the sentence: “Here I was adamant, stubbornness in me was enough for ten” - there is:
a) hyperbole;
b) metaphor;
c) irony.
10. According to Lidia Mikhailovna, a person grows old when:
a) ceases to be surprised by miracles;
b) ceases to be a child;
c) live to a ripe old age.
11. Speaking about the characteristic features of the teacher’s voice and the voices of fellow villagers (“In our village they spoke, wrapping their voice deep in the inside, and therefore it sounded to their heart’s content, but with Lydia Mikhailovna it was somehow small and light”; “... for now studied, adapted to someone else's speech, her voice sat down without freedom, weakened ... "), the narrator used:
a) antithesis;
b) comparison;
c) allegory.
a) allegory;
b) comparison;
c) antithesis.
13. Images of a teacher and a student (“She was sitting in front of me, all neat, smart and beautiful, beautiful both in clothes and in her feminine young pore, which I vaguely felt, the smell of perfume from her reached me, which I took for the very breath ... "; "... in front of her, a skinny, wild boy with a broken face, untidy without a mother and alone, in an old, washed-out jacket on sagging shoulders crouched on a desk ...") represent:
a) description;
b) reasoning;
c) storytelling.
14. The true purpose of the game of "freeze":
a) the desire of the teacher to remember childhood;
b) help a capable but hungry student;
c) the desire of the teacher to interest the hero in learning French.
l5. After the incident when the director caught the heroes playing "zameryashki", Lidia Mikhailovna:
a) moved to another school;
b) went home
c) no longer played "squash" with the student.
I get to Adolf in the afternoon. The gate creaks. A dog barks in a kennel. I quickly walk down the fruit alley. Adolf at home. And the wife is right there. When I enter and offer my hand to him, she comes out. I sit down. After a pause, Adolf asks:
“Are you surprised, Ernst, eh?
What, Adolf?
Because she's here.
- Not at all. You know better.
He pushes a fruit platter towards me.
- Do you want apples?
I choose an apple and hand Adolf a cigar. He bites off the tip and says:
“You see, Ernst, I kept sitting here and sitting, and almost went crazy from this sitting. One in such a house is downright torture. You pass through the rooms - her blouse hangs here, there is a basket with needles and threads, here is a chair on which she always sat when she sewed; and at night - this white bed nearby, empty; every minute you look there, and toss and turn, and you can’t sleep ... At such moments, Ernst, you change your mind a lot ...
- Imagine, Adolf!
“And then you run out of the house and get drunk and do all kinds of nonsense…”
I nod. The clock is ticking. Firewood crackles in the stove. The woman silently enters, puts bread and butter on the table, and exits again. Bethke smoothes the tablecloth:
- Yes, Ernst, and she, of course, also suffered so much, she also sat and sat like that all these years ... Going to bed, she was always afraid of something, frightened of the unknown, thought about everything endlessly, listened to every rustle. So, in the end, this is what happened. I am sure that at first she did not want to at all, and when it happened, she could not cope with herself. And so it went.
The woman brings coffee. I want to say hello to her, but she doesn't look at me.
"Why don't you put down a cup for yourself?" Adolf asks her.
“I still have something to do in the kitchen,” she says. Her voice is quiet and deep.
“I sat here and said to myself: you guarded your honor and drove your wife out. But from this honor you are neither warm nor cold, you are alone, and with honor or without honor it does not make you feel any better. And I told her: stay. Who, in fact, needs all this rubbish, because you are tired to hell and you live, after all, for some ten or two years, and if I had not found out what was, everything would remain the same. Who knows what people would do if they always knew everything.
Adolf taps nervously on the back of his chair.
“Drink coffee, Ernst, and take the oil.
I pour myself and him a cup, and we drink.
“You understand, Ernst,” Bethke says quietly, “it’s easier for you: you have your books, your education and all that, but I have nothing and no one in the whole world except my wife.
I don't answer - he still won't understand me now: he's not the same as at the front, and I have changed.
– What does she say? I ask after a pause.
Adolf helplessly drops his hand:
“She doesn’t talk much, it’s hard to get anything from her, she just sits, is silent and looks at me. Unless he pays. He puts down his cup. “Sometimes she says that it all happened because she wanted someone to be around. And another time she says that she does not understand herself, she did not think that she was harming me, it seemed to her that it was me. All this is not very clear, Ernst; You have to be able to figure out things like this. In general, she is thoughtful.
I'm thinking.
“Maybe, Adolf, she wants to say that all these years she was like she was not herself, she lived like in a dream?
“Perhaps,” Adolf answers, “but I don’t understand it. Yes, that's right, it didn't last that long.
“And she doesn’t want to know now, does she?” I ask.
She says her home is here.
I'm thinking again. What else to ask?
“So you feel better, Adolf?”
He is looking at me:
“I wouldn’t say, Ernst! Not yet. But I think it will get better. What do you think?
He looks like he's not very sure about it.
"Of course it'll work out," I say, and put some of the cigars I've saved for him on the table. We talk for a while. Finally I'm going home. In the hallway I run into Maria. She tries to sneak past unnoticed.
“Goodbye, Frau Bethke,” I say, holding out my hand to her.
“Goodbye,” she says, turning away and shaking my hand.
Adolf is coming with me to the station. The wind howls. I look askance at Adolf and remember his smile when we used to talk about peace in the trenches. What did it all come down to!
The train is moving.
“Adolf,” I hurriedly say from the window, “Adolf, believe me, I understand you very well, you don’t even know how well ...
Lonely he wanders through the field home.
Ten o'clock. Call for a big change. I just finished my high school class. And now fourteen-year-old guys are rapidly running past me into the wild. I watch them from the window. Within a few seconds, they are completely transformed, shake off the yoke of the school and regain the freshness and spontaneity characteristic of their age.
When they sit in front of me on their benches, they are not real. They are either quiet and toadies, or hypocrites, or rebels. Seven years of school made them that way. They came here uncorrupted, sincere, knowing nothing, straight from their meadows, games, dreams. They were still governed by a simple law of all living things: the most alive, the strongest became their leader, led the rest. But weekly portions of education gradually instilled in them another, artificial law: the one who sipped them more carefully than anyone else was awarded distinctions, declared the best. His comrades were encouraged to follow his example. Not surprisingly, the liveliest children resisted. But they were forced to submit, for a good student is once and for all the ideal of the school. But what a pitiful ideal! What good students turn into over the years! In the greenhouse atmosphere of the school, they bloomed with a short flowering of an empty flower and, moreover, mired in a swamp of mediocrity and servile mediocrity. The world owes its progress only to bad students.
I look at the players. The leader is a strong and dexterous boy, curly-haired Damholt; with his energy, he holds the entire site in his hands. His eyes sparkle with militant enthusiasm and pleasure, all the muscles are tense, and the guys unquestioningly obey him. And in ten minutes on the school bench, this very little boy will turn into a stubborn, obstinate student who never knows the assigned lessons, and in the spring he will probably be left for the second year. When I look at him, he will make a lean face, and as soon as I turn away, he will make a grimace; he will lie without hesitation if you ask if he copied the composition, and at the first opportunity he will spit on my trousers or insert a pin in the seat of a chair. And the First Student (in the wild, a very pitiful figure) here, in the classroom, immediately grows up; when Damholt fails to answer and, bitterly, reluctantly, waits for his usual deuce, the first student will self-confidently raise his hand. The first disciple knows everything, he knows this too. But Damholt, who, in fact, should have been punished, is a thousand times dearer to me than the pale, exemplary student.
Option 1
1) V.G. Rasputin2) A.S. Pushkin3) M.M. Prishvin4) A.P. Platonov
a) "Unknown Flower" b) "French Lessons" c) "Dubrovsky" d) "Pantry of the Sun"
Find the correspondence between the literary hero and the title of the work:
1) Lydia Mikhailovna
2) Mitrasha
3) Cossack chieftain Platov
4) Troyekurov
a) "Dubrovsky"
b) "Lefty"
c) "Pantry of the sun"
d) "French Lessons"
Determine the description of the literary hero, indicate the author and the title of the work.
1) "... was brought up in the Cadet Corps and was released as a cornet in the guard; his father spared nothing for his decent maintenance, and the young man received from the house more than he should have expected. Being extravagant and ambitious, he allowed himself luxurious whims; played cards and went into debt, not worrying about the future, and foreseeing sooner or later a rich bride, the dream of a poor youth...»
2) “He was only ten years old with a ponytail. He was short, but very dense, with foreheads, the back of his head was wide. He was a stubborn and strong boy.
"The little man in the pouch", smiling, called him among themselves teachers at school.
3) “He is wearing what he was: in shawls, one leg is in a boot, the other is dangled, and the ozyamchik is old, the hooks do not fasten, they are lost, and the collar is torn ...”
4. Fill in the missing words in the poem:
The last rays....
They lie on a field of compressed rye.
A rosy nap is embraced
Grass of uncut border.
No breeze, no ... birds,
Above the grove is the red disk of the moon,
And the song of the reaper fades
Among ... silence.
Near the forest like a soft bed,
You can sleep - peace and space ...... (N.A. Nekrasov)
What artistic technique does
Evening, do you remember the blizzard was angry,
In the cloudy sky, darkness hovered ..... (A.S. Pushkin)
What artistic technique does
glorious autumn! frosty nights,
clear, quiet days .... (N.A. Nekrasov)
The last rays of sunset
They lie on a field of compressed rye.
A rosy nap is embraced
Grass of uncut border. (A. Blok)
6th grade. Final control work on literature.
Option 2
1) A.S. Pushkin
2) I.A. Krylov
3) N.S. Leskov
4) V.P. Astafiev
a) "Cabin"
b) "Dubrovsky"
c) "Horse with a pink mane"
d) "Lefty"
2. Find the correspondence between the literary hero and the title of the work:
1) Nastya and Mitrasha
2) Cossack chieftain Platov
4) Marya Kirilovna
a) Lefty
b) "Pantry of the sun"
c) "Horse with a pink mane"
d) "Dubrovsky"
3. Determine the description of the literary hero, indicate the author and title of the work.
1) “... was like a golden hen on high legs. Hair ...... shimmered with gold, freckles all over the face were large, like gold coins .... "
2) “She sat in front of me, neat, all smart and beautiful, beautiful in clothes, and in her feminine young pore, which I vaguely felt, the smell of perfume from her reached me, which I took for my very breath ..”
3) “His wealth, noble family and connections gave him great weight in the provinces where his estate was located. The neighbors were glad to cater to his slightest whims; provincial officials trembled at his name... Spoiled by everything that only surrounded him, he was accustomed to give full rein to all the impulses of his ardent disposition and all the undertakings of a rather limited mind.»
4. Insert the missing words in the poem:
The last rays of sunset
They lie on a field of compressed rye.
A rosy nap is embraced
Grass uncut….
Not a breeze, not a bird's cry,
Above the grove - a red disk ...,
And freezes ... reapers
In the middle of the evening silence.
5. What artistic technique does he use
The ice is fragile on the icy river
As if melting sugar lies... (N.A. Nekrasov)
6. What artistic technique does
Clouds are rushing, pouring rain,
And the wind howls, dying! (A. Blok)
7. What artistic technique does
Terrible night! On a night like this
I feel sorry for people deprived of shelter... (A. Blok)
What type of rhyme is used in this passage?
Small forests. Steppe and gave.
Moonlight all the way.
Here again they suddenly sobbed
Draft bells. (S. Yesenin)
a) cross b) adjacent c) girdle
Answers to the control work on literature for grade 6A.
Evaluation
From 1 to 8 - "2".
9 - 14 - "3"
15 - 19 - "4"
