Cruelty in the work of French lessons. French lessons - analysis of the work

The subject of literature research is always a person with his passions, joys and sorrows. But in portraying him, the writer is pursuing some main goal, the idea, the idea for which he writes a book.

One of the main themes in the work of V. Rasputin, in my opinion, is the theme of “human morality”. Therefore, his works are very topical and relevant. After all, it is not for nothing that high school students are looking for answers to " eternal questions': 'What's wrong? What well? What is to be loved? And what is there to hate?

The work of Valentin Rasputin attracts readers different ages. Next to the ordinary, everyday in the works of the writer there are always spiritual values, moral laws. Unique characters, complex, sometimes contradictory inner world heroes, the author's thoughts about life, about man, about nature not only help the young reader to discover in himself and in the world around him inexhaustible reserves of goodness and beauty, but also warn: the life of man and nature is fragile, you need to protect it.

Reading the stories of V. Rasputin, it is difficult to find exact words and it is impossible to fully express the impression of real prose, which at all times is directly occupied by the human essence, the human soul. It is difficult, because such prose is never perceived as a text that has become cold and frozen, 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. The stories of V. Rasputin 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 labor of reading, presupposes sympathy, co-creation. You need to live everything that is written in the stories - to live it 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 is difficult to read, but after reading, you will not throw away the book, gradually or immediately forgetting what you have read, but you will still feel, think, and, if possible, your soul will wake up, begin to live in the world of these stories, it will see these people and they will turn out to be acquaintances, relatives. And finally, surprise. But you will surely understand that everything. What V. Rasputin wrote about, it was with you, it happened in your life. And if not sometime before, then now, now, in the hours of reading, in the minutes of the concordant sound of this prose and your life ...

The stories of V. Rasputin are united by the necessary constant, painful, bright, inevitable, desirable and strange movement a person who is trying to break through and get close to that highest, eternal and only definite thing that is inherent in him by the Nature that created him, to what he is. as an insight, realizes only in moments of living contact with the consubstantial, all-constituting, infinitely comprehended Life - all-being. This world comes into a person, and a person sees the shores, his channel, sees the roads of goodness, the roads of the eternal movement of his spirit. This man sees not beside himself. And in himself, he seems to remembers banks, channels, roads, remembers its purpose and the direction of its life movement.

A person in the stories of V. Rasputin "comes to his senses", and his soul turns out to be the only way out into the real world.

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

The theme of "human morality" is solved in a particularly original and sharp 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.

So, for example, the dictionary of S. I. Ozhegov gives the following definition: “morality is the rules that determine behavior, spiritual and spiritual qualities necessary for a person in society, as well as the implementation of these rules of behavior.” IN philosophical dictionary given the following definition: “morality is a form public consciousness which reflects and reinforces ethical qualities social reality(good, kindness, justice, etc.) Morality is a set of rules, norms of community life, people's behavior that determine their duties 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 relationship of children with each other and with the teacher, to coordinate their actions, actions, desires. Pedagogical morality has no written laws, does not rely on the power of state, administrative coercion, it determines the rules of the teacher's behavior, his spiritual qualities, judgments.

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

V. Rasputin has an extremely enviable literary fate.

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 Irkutsk University, dreaming of the profession of a teacher, "he was glad that he was proud and seriously prepared for this business." Once he wrote an essay for the Irkutsk youth newspaper. The editor drew attention to the story elements in the essay. In 1961, this essay, under the title "I forgot to ask Lyoshka," appeared on the pages of the literary almanac "Angara". Four years later, V. Rasputin showed several stories to Chivilikhin, who came to Chita and became the godfather of the beginning prose writer. The stories were the first book of V. Rasputin - "A Man from This World." And ten lay down later he - all over the world famous author four stories: "Money for Mary" (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. Its action takes place three years after the end of the Great Patriotic War, in 1948, in a 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. A mother with three children had a very difficult life. Since there was only an elementary school in the village, and a capable and hardworking boy wanted to study, his mother took him to district center. The teenager was here alone with almost no means and was starving. Bad peers taught him to play for money in the so-called "chika". In order 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 big soul: she tried to "feed" the boy, but he stubbornly refused, believing that it was a shame to take someone else's. Soon the teacher realized that a teenager would not take anything from her for free. Then she decided to “cheat” by offering him to play “chika” now with her, and, deliberately losing, gave the boy the opportunity to purchase “legitimate” pennies for bread and milk. The director of the school, Vasily Alekseevich, a representative of imaginary humanity, learns about this game between a teacher and a student. The teacher had to leave the school and go "to her place in the 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 is - a big heart in a seemingly completely 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, only she does not remember how she sent me a package with pasta. 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 why it’s good, so as not to seek direct returns ... "

The dedication that precedes the story: to Anastasia Prokopyevna Kopylova and the introduction: “Strange: why do we, just like before our parents, every time feel guilty before our teachers? And not for what happened at school at all - no, but for what happened to us after”, as if pushing the boundaries of the narrative, giving it a deeper, generalizing meaning, helping us to understand that the story, outwardly simple in composition, concludes in itself, in essence, three planes: the real world, the features of its reflection in the children's consciousness, the memories of an adult about his difficult, hungry, but in his own way wonderful childhood.

The story of V. Rasputin is not easy to read, as the author tells about a difficult time, about loneliness, about hunger. V. Rasputin is a writer of the post-war generation and the echo of the war in his soul. The writer recalls himself, an eleven-year-old boy who survived the war, the post-war hardships of life. The image of memory that realizes in modern socio-philosophical prose the idea of ​​the relationship between man and time, the spiritual continuity of generations, in art system V. Rasputin is of fundamental importance. In search of supports protecting morality from losses, 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, saving the wealth of the Russian word, "memory" of his social and civic duty.

In the text of the story there are signs of a difficult post-war period. We penetrate into the world of feelings and experiences of the hero, more fully represent the author's position, reading the following passage: You don't have to think about food all the time.

Was it only one boy who was hard and hungry? And we find these numerous sad signs that create the background of the narrative: “Hunger that year has not yet let go”, “the collective farmer in those years was happy with any penny”, “we lived without a father, we lived very badly”, “we had three mothers , I am the eldest”, “Aunt Nadya, a noisy, wrapped up woman, hung around alone with three children”, “they didn’t keep a cow”, “we didn’t have any money”, “the famine here did not at all resemble the famine in the village”, “I all the time I wanted to eat, even in a dream I felt convulsive waves rolling through my stomach”, pasta for a boy “wealth with a squeak”, the radio in Lidia Mikhailovna’s room does seem to be an “unprecedented miracle”.

Let's see how the conditions harsh life folds thin and tender 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, went to school with pleasure”, “I studied well here ... I didn’t have anything else to do here”, “I always learned all the lessons; in his village he “recognized as a literate person: he wrote for an old woman and wrote letters”, he checked bonds, the first from the village goes to the region to study. Who laid the wonderful seeds of kindness in the boy? Why does he have such a desire to learn, to understand the life of adults, a desire to help do something to make life easier?

The boy has a mother who is loving, sensitive, kind, 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 to temper his will and courage.

For the first time, the pride of the boy's character appears, 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 mother and in front of his village, because he is the first of native village went on to study, he must justify the hopes.

The second friend of the boy is the French teacher Lydia Mikhailovna. She wanted to help the boy endure 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 headmaster, who does not like children and acts only according to instructions, formally.

In the story of V. Rasputin, a young teacher attracts a hungry and stubborn boy to her, playing with him in the "wall", or "zameryashki". 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 who lives hard, but honest and noble, and a teacher who extended a helping hand to him. And although the forms of offering were varied, but always within the framework of pedagogical rules. In the story of V. Rasputin, the act of Lydia Mikhailovna at first glance can be regarded as non-pedagogical. Her student, who had previously stubbornly taken nothing, 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 inflexible, 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 this forever. French lessons have become life lessons, morality lessons, humanity lessons that a young teacher does not give according to the rules.

Not only by the actions of the teacher, by her attitude towards those students, class teacher whom she appeared, we recognize that we have a person of great heart, but also by the language with which the author, as if invading the thoughts of a teenager, describes the teacher. Readers will learn that Lydia Mikhailovna had “the correct and therefore not too living face with squinted eyes to hide a pigtail in them”; a tight smile that rarely opens to the end and completely black, short-cropped hair. You can't ignore this That's why. A subtle observation of life is stylistically conveyed here very simply: indeed " right faces are rarely beautiful enough. At the same time, the writer speaks of the correct, and not of beautiful faces. And the liveliness of the face, which gives it charm, at the same time makes it a little bit wrong, a little bit asymmetrical. The whole appearance of Lidia Mikhailovna confirms the validity of the author's observation: the teacher loves her students and at the same time she is strict, she is preoccupied with them. life destinies. The correct features of her face are not alive enough, despite the kindness and goodwill of the teacher. This is how the seemingly “dry” adverb is stylistically comprehended That's why. At the same time, “not too much” does not exclude the possibility that such a person would be alive in certain situations.

At first, the teacher's voice seems to the boy not sounding enough "to your heart's content ... so you had to listen to it." The teenager explains this to himself by the fact that Lidia Mikhailovna, a teacher of a non-native language, needs to “adapt to someone else’s speech,” which is why “the voice without freedom sat down, weakened, like a bird in a cage, now wait for it to disperse again and get stronger.” The transition from direct to indirect speech, here barely perceptible, gives the reader the impression that the boy, although he sees the “flaws” of the teacher, at the same time loves her, regretting her, as he sees it as an ungrateful profession (“adapting to someone else’s speech”) .

But when later the teenager is convinced of the nobility of the teacher, her voice ceases to seem to him the voice of a "bird in a cage." Furthermore, now the little boy thinks like this: “to tomorrow I will learn the whole French language by heart ... ". By this he seeks to bring joy to the already beloved teacher. At the same time, the boy's views on a foreign language also change. The image of an unfamiliar language approaches the image of a teacher who wishes the boy well, so a foreign language becomes worthy of learning. Soon, Lidia Mikhailovna also begins to seem to the teenager an “extraordinary, unlike everyone else” person.

The writer tells 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 principal of the school does nothing directly wrong, but when he finds out about the games of his student, he only "raised his hands above his head." And this uplift (one word) completes the characterization of the “correct” director.

I remember the final dialogue, reproduced by the boy, between the principal of the school and the French teacher.

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

Right.

• Well, you know... - The director was suffocating, he did not have enough air. - I'm at a loss to immediately name your act. It is a crime. Corruption. Seduction. And more, more ... I've been working at school for twenty years, I've seen everything, but this ...

The soulless director did not even have a name for the child: “You are playing for money with this ?..” A rude, callous man with a twenty-year-old pedagogical 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 not, 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 it is completely useless: she will not be understood here anyway. Answering a question with only one Right, Lidia Mikhailovna, as it were, agrees with the director, as if she was engaged in "corruption" of the boy. Meanwhile, she sought to help the child, to give him the opportunity to live and learn.

The act of the teacher cannot be called pedagogically immoral. She did exactly what she was told to do. sensitive heart, sympathetic soul, conscience.

And how good are the generalizations of the teacher, based on her everyday experience: "A person grows old not when he lives to old age, but when he ceases to be a child." And this aphorism is remembered by the fact that it follows the actions of a kind person: a teacher can directly frolic with children, forgetting about her age, but not forgetting her duty, the duty of a teacher.

The influence of the teacher and the boy's mother is very great on the emerging personality before our eyes, from a quiet, inconspicuous little boy, a person grows up who has his own views, beliefs, knows how to prove and defend them. In actions, in reasoning, the character of the boy is revealed.

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. Checked - it is: it was - no. The same thing happened with potatoes. Who was dragging - whether Aunt Nadia, a noisy, wrapped up woman who hung around alone with three children, one of her older girls, or her youngest, Fedka - I did not know, I was afraid to even think about it, let alone follow ... »

Here pride, nobility, dignity, delicacy are manifested. The boy, living with Aunt Nadia, understands how hard it is for her: "a wrapped up woman who hung around with three kids." He understands that life is hard for a mother, sister, brother, all adults and children.

He thinks in an adult way about the misfortunes, 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. Bad boys do not seem to force our hero to play for money, but they create an environment that forces him to “earn” a living in this way.

Characterizing the players in "chika", we note that Vadik and Ptah did not play because of hunger, like a boy. “Vadim was driven by a sense of greed and his own superiority over the younger ones. He always considered himself smarter, more cunning, above all. “Bird is the shadow of Vadik, his henchman, own opinion doesn’t have, but just as mean.” "Tishkin is an upstart, fussy, fawning over the elders and the strong." Vadik and Ptakha beat the boy because they don’t like that he is serious, that he is almost an excellent student: “Whoever needs to do homework doesn’t come here.” Vadik feels the superiority of the boy and is afraid that other guys who are dependent on him might understand this.

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

Thus, we see how little man Man awakens!

The episodes associated with Lidia Mikhailovna are interesting in the story. In communicating with her, the pride, inflexibility, and nobility of a teenager are again manifested: 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 upbringing of the boy, for from the very early childhood it rotates in the working environment, close to the ground. He understands what work is, and that nothing in life is given for free. And then there's pasta!

In the “duel” with the French language, which was unyielding at the beginning, the writer shows his diligence, perseverance, desire to learn, desire to overcome difficulties. We can trace how the comprehension of life takes place in a small person, deprived of life experience. And the boy accepts it not lightly - superficially, but in all its depth.

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

Valentin Rasputin talks about the courage of a boy who has preserved the purity of his soul, the inviolability of his moral laws, bearing fearlessly and bravely, like a soldier, his duties and his bruises. The boy attracts with clarity, integrity, fearlessness of the 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 side, he is constantly hungry, but still he will never bow to either Vadim or Ptah who beat him bloody, nor in front of Lidia Mikhailovna, who wants him well.

The reasoning of the boy, who distinguishes between the possibility of an honest and unfair win, is also true: “Accepting money from Lidia Mikhailovna, I felt embarrassed, but each time I was reassured by the fact that this was an honest win.”

The boy organically combines light, cheerful, childhood carelessness, love of the game, faith in the kindness of people around and not childish serious reflections on the troubles brought by the war.

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

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

Bibliography

1. Budagov R. A. How the story of Valentin Rasputin "French Lessons" was written. - Russian speech, No. b (p. 37-41), 1982.

Title page

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

"French Lessons" (research methodical work, in

Help the teacher for the lesson of literature)

Surname, name, patronymic Danilova Lyubov Evgenievna

Position teacher of Russian language and literature

The name of the institution MOUSOSH No. 2 of the Kopeysky urban district of the Chelyabinsk region.

Subject name, Literature class, Grade 6

Bibliography

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

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

In his work, Valentin Rasputin touches upon the problems moral choice a sense of responsibility for one's actions; themes of indifference and human kindness. This story can be called autobiographical, as it was based on real events(real heroes).

The main character of the story is a 5th grade student. On his life path met many people who influenced the formation of his character. But most of all, the author pays attention to the French teacher Lidia Mikhailovna, who played important role in the life of our hero.

She was a kind, generous and caring person. These character traits were manifested in her actions.

Knowing that main character plays for money for only one purpose, in order to buy milk, Lidia Mikhailovna tried in every possible way to help a hungry child. She sent him parcels, offered to dine at her house, but our hero did not want to accept the teacher's help. I have already said that Lidia Mikhailovna tried to help the boy. By this, she taught him the lessons of human kindness and human warmth. Speaking about how the teacher played with the main character for money (trying to help him at least in this way), and how it all ended, we can say with confidence that she is a person who can do anything to help the needy.

Also, Lydia Mikhailovna has a sense of responsibility for her actions. I believe that our hero remembered these lessons.

At the beginning of the story, the author says that every time we feel guilty before the teachers. What is it (guilt) is? Teachers put their hopes on us, they believe that we can become worthy people, give a helping hand at the right time. Sometimes we make them sad. As adults, we begin to realize our guilt and regret that we can no longer change anything.

The meaning of the title of the work "French Lessons" lies in the fact that these lessons of kindness, Lidia Mikhailovna's indifference played an important role in the boy's life. I hope that our hero, looking at the actions of the teacher, will be the same kind-hearted, sympathetic and caring person.

Updated: 2017-04-07

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History of creation

“I am sure that a person’s writer is made by his childhood, his ability to early age see and feel everything that then gives him the right to take up the pen. Education, books, life experience educate and strengthen this gift in the future, but it should be born in childhood, ”wrote Valentin Grigorievich Rasputin in 1974 in Irkutsk newspaper"Soviet youth". In 1973, one of the best stories Rasputin "French Lessons". The writer himself singles it out among his works: “I didn’t have to invent anything there. Everything happened to me. I didn't have to go far for the prototype. I needed to return to people the good that they once did for me.

Rasputin's story "French Lessons" is dedicated to Anastasia Prokopievna Kopylova, the mother of his friend, the famous playwright Alexander Vampilov, who worked at school all her life. The story was based on the memory of a child's life, it, according to the writer, "was one of those that warm even with a slight touch to them."

The story is autobiographical. Lidia Mikhailovna is named in the work as her own name(her last name is Molokova). In 1997, the writer, in an interview with a correspondent for the Literature at School magazine, spoke about meetings with her: “Recently she was visiting me, and we long and desperately remembered our school, and the Angarsk village of Ust-Uda almost half a century ago, and much of that difficult and happy time."

Genus, genre, creative method

The work "French Lessons" is written in the genre of the story. Rise of the Russian Soviet story falls on the twenties (Babel, Ivanov, Zoshchenko) and then the sixties and seventies (Kazakov, Shukshin, etc.) years. More quickly than other prose genres, the story reacts to changes in public life, as it is written faster.

The story can be considered the oldest and the first of literary genres. Brief retelling events - a hunting incident, a duel with an enemy, and the like - is already oral story. Unlike other kinds and types of art, conditional in its essence, the story is inherent in humanity, having arisen simultaneously with speech and being not only the transmission of information, but also a means of social memory. The story is the original form of the literary organization of language. The story is considered to be finished prose work up to forty-five pages. This is an approximate value - two author's sheets. Such a thing is read "in one breath."

Rasputin's story "French Lessons" - realistic work written in the first person. It can be fully considered an autobiographical story.

Subject

“It’s strange: why do we, just like before our parents, every time feel guilty before our teachers? And not for what happened at school, no, but for what happened to us later. So the writer begins his story "French Lessons". Thus, he defines the main themes of the work: the relationship between the teacher and the student, the image of life illuminated by the spiritual and moral sense, the formation of a hero, his acquisition of spiritual experience in communication with Lidia Mikhailovna. French lessons, communication with Lydia Mikhailovna became life lessons for the hero, education of feelings.

Idea

Playing for money a teacher with her student, from the point of view of pedagogy, is an immoral act. But what is behind this act? - asks the writer. Seeing that the schoolboy (when hungry post-war years) is malnourished, a French teacher disguised as extra classes invites him to her home and tries to feed him. She sends him packages, as if from her mother. But the boy refuses. The teacher offers to play for money and, of course, "loses" so that the boy can buy milk for these pennies. And she is happy that she succeeds in this deception.

The idea of ​​the story lies in the words of Rasputin: “The reader learns from books not about life, but about feelings. Literature, in my opinion, is primarily the education of feelings. And above all, kindness, purity, nobility. These words are directly related to the story "French Lessons".

Main heroes

The main characters of the story are an eleven-year-old boy and French teacher Lidia Mikhailovna.

Lidia Mikhailovna was no more than twenty-five years old and "there was no cruelty in her face." She treated the boy with understanding and sympathy, appreciated his determination. She saw remarkable learning abilities in her student and is ready to help them develop in any way. Lidia Mikhailovna is endowed with an extraordinary ability for compassion and kindness, for which she suffered, having lost her job.

The boy impresses with his purposefulness, desire to learn and go out into the world under any circumstances. The story about the boy can be presented in the form of a quotation plan:

1. "In order to study further ... and I had to equip myself in the district center."
2. “I studied well here ... in all subjects, except French, I kept fives.”
3. “I felt so bad, so bitter and disgusted! - worse than any disease.
4. "Having received it (ruble), ... I bought a jar of milk at the market."
5. "They took turns beating me ... that day there was no person more unfortunate than me."
6. "I was frightened and lost ... she seemed to me an extraordinary person, not like everyone else."

Plot and composition

“I went to the fifth grade in forty-eight. It would be more correct to say, I went: in our village there was only an elementary school, therefore, in order to study further, I had to equip myself from a house fifty kilometers away to the regional center. For the first time, an eleven-year-old boy, by the will of circumstances, is cut off from his family, torn from his usual environment. However little hero understands that the hopes of not only relatives, but of the whole village are laid on him: after all, according to the unanimous opinion of his fellow villagers, he is called to be “ learned man". The hero makes every effort, overcoming hunger and homesickness, so as not to let his countrymen down.

A young teacher approached the boy with special understanding. She began to additionally study French with the hero, hoping to feed him at home. Pride did not allow the boy to accept help from stranger. The idea of ​​Lidia Mikhailovna with the parcel was not crowned with success. The teacher filled it with "urban" products and thereby gave herself away. In search of a way to help the boy, the teacher invites him to play for money in the "wall".

The climax of the story comes after the teacher began to play with the boy in the wall. The paradox of the situation sharpens the story to the limit. The teacher could not help but know that at that time such a relationship between a teacher and a student could lead not only to dismissal from work, but also to criminal liability. The boy did not fully understand this. But when the trouble did happen, he began to understand the behavior of the teacher more deeply. And this led him to realize some aspects of the life of that time.

The ending of the story is almost melodramatic. Parcel with Antonov apples, which he, a resident of Siberia, has never tried, seems to echo the first, unsuccessful package with urban food - pasta. More and more strokes are preparing this finale, which turned out to be not at all unexpected. In the story, the heart of an incredulous village boy opens before the purity of a young teacher. The story is surprisingly modern. It contains the great courage of a little woman, the insight of a closed, ignorant child, and the lessons of humanity.

Artistic originality

With wise humor, kindness, humanity, and most importantly, with complete psychological accuracy, the writer describes the relationship between a hungry student and a young teacher. The narration flows slowly, with everyday details, but the rhythm imperceptibly captures it.

The language of the story is simple and at the same time expressive. The writer skillfully used phraseological turns, achieving expressiveness and figurativeness of the work. Phraseologisms in the story "French Lessons" for the most part express one concept and are characterized by a certain meaning, which is often equal to the meaning of the word:

“I studied here and it’s good. What was left for me? Then I came here, I didn’t have anything else to do here, and I didn’t know how to treat everything that was entrusted to me in a slipshod way” (lazily).

“At school, I had not seen a bird before, but, looking ahead, I’ll say that in the third quarter, he suddenly, like snow on his head, fell on our class” (unexpectedly).

“Hungry and knowing that my grub would not last long, no matter how much I saved it, I ate to satiety, to pain in my stomach, and then after a day or two I again planted my teeth on the shelf” (starve).

“But there was no point in locking myself up, Tishkin managed to sell me with giblets” (betray).

One of the features of the language of the story is the presence of regional words and obsolete vocabulary, characteristic of the time of the story. For example:

Lodge - rent an apartment.
Lorry - a truck with a carrying capacity of 1.5 tons.
Tea room - a kind of public dining room, where tea and snacks are offered to visitors.
toss - sip.
Naked boiling water - pure, without impurities.
Blather - talk, speak.
bale - hit hard.
Hluzda - a swindler, a deceiver, a trickster.
pritaika - what is hidden.

The meaning of the work

The work of V. Rasputin invariably attracts readers, because next to the ordinary, everyday in the works of the writer there are always spiritual values, moral laws, unique characters, a complex, sometimes contradictory, inner world of heroes. The author's thoughts about life, about man, about nature help us to discover in ourselves and in the world around us inexhaustible reserves of goodness and beauty.

In difficult times, the main character of the story had to learn. The post-war years were a kind of test not only for adults, but also for children, because both good and bad in childhood are perceived much brighter and sharper. But difficulties temper character, so the main character often shows such qualities as willpower, pride, sense of proportion, endurance, determination.

Many years later, Rasputin will again turn to the events of bygone years. “Now that a fairly large part of my life has been lived, I want to comprehend and understand how correctly and usefully I spent it. I have many friends who are always ready to help, I have something to remember. Now I understand that my closest friend is mine former teacher, French teacher. Yes, decades later, I remember her as a true friend, the only person who understood me while I was at school. And even years later, when we met with her, she showed me a gesture of attention, sending apples and pasta, as before. And whoever I am, no matter what depends on me, she will always treat me only as a student, because for her I was, am and will always remain a student. Now I remember how then she, taking the blame on herself, left the school, and said goodbye to me: “Study well and don’t blame yourself for anything!” By doing this, she taught me a lesson and showed me how a real kind person should act. After all, they often say: school teacher is a teacher of life.

Students get acquainted with some personality traits of the writer, the main themes of his work, the history of the creation of the story, spiritual values ​​are revealed that make a person richer and kinder, are indicated moral issues.

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MKOU "Borkovskaya basic comprehensive school"

Outline plan

lesson on the topic

“Moral problems of V.G. Rasputin "French Lessons".

Teacher Shalimanova S.V.

year 2012

Lesson topic: Moral problems of V. G. Rasputin's story "French Lessons".

Lesson Objectives:

1. Introduce students to:

some personality traits of the writer,

the main themes of his work,

history of the story.

2. Help to reveal spiritual values ​​that make a person richer and kinder.

3. To cultivate observation, responsiveness, kindness.

Equipment: portrait of V.G. Rasputin, Dictionary edited by S. I. Ozhegov (the meaning of the word "autobiography").

Board design: epigraph: “The smarter and kinder a person is, the more he notices goodness in people” (L.N. Tolstoy)

During the classes.

1. introduction teachers.

Guys, today at the literature lesson we will get acquainted with the work of V. G. Rasputin, learn the history of the creation of the story "French Lessons" and what lessons of kindness the main character received from his teacher, and also try to reveal the moral problems of the story.

Valentin Grigorievich Rasputin was born into a peasant family. Mother - Rasputina Nina Ivanovna, father - Rasputin Grigory Nikitich. Childhood future writer spent in the village of Atalanca. “My childhood fell on the war and the hungry post-war years,” the writer recalls. - It was not easy, but, as I now understand, it was happy. After graduating from local primary school, was forced to leave alone fifty kilometers from the house where she was high school. After school, he entered the Faculty of History and Philology of the Irkutsk state university. Lives and works inIrkutsk and Moscow. IN student years was a freelance correspondent for a youth newspaper. One of his essays caught the attention of the editor. In the 1980s he was a member editorial board magazine "Roman newspaper ". The first story “I forgot to ask Leshka...” was published in 1961.

Rasputin V. G. notes that “childhood makes a person a writer, the ability at an early age to see and feel everything that then gives him the right to take up a pen. Education, books, life experience educate and strengthen this gift in the future, but it should be born in childhood.

2. The main words in the writer's work- conscience and memory.

Valentin Grigorievich called his article about the history of the creation of the story “French Lessons” “Lessons of Kindness”. Let's read it.

Why is the word lessons used in the title of the article and story?(student answers)

3. Work with an epigraph.

“The smarter and kinder a person is, the more he notices goodness in people” (L.N. Tolstoy).

What is the meaning of the epigraph?(student answers)

4. The story "French Lessons" is an autobiographical work.

What is an autobiography?(student answers).

An autobiography is a description of one's life.

- Today we will meet new literary concept autobiographical story. Let's go to the dictionary.

5 . Questions session.

What feelings and thoughts did the story “French Lessons” evoke?(student answers).

Why is the story called "French Lessons"?(student answers)

What two parts can the story be divided into?

Who is the main character in the first part of the story? ( Narrator) .

Who is at the center of the story? (teacher Lidia Mikhailovna).

Find in the text a description of the portrait of Lydia Mikhailovna and write down the key words. (“She sat 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 ...” “Lidia Mikhailovna then was probably about 25 years old or so; I remember well her correct and therefore not too lively face with her eyes screwed up to hide a pigtail in them ... "). Keywords and the phrases “squinting attentive eyes”, “beautiful”, “carefully examined the class”, etc.).

What technique does the author use in describing Lidia Mikhailovna?(In the description of Lidia Mikhailovna, opposition is used. The antithesis of the description of the teacher is the description of the hero himself. Lidia Mikhailovna is opposed to the principal, and not only to the description of appearance.).

What does she have in common with the main character of the story?

And now, guys, let's find the passage that begins with the words: “- Not to the warehouse! - Vadik announced, "and we will read it by roles.

Why did our hero have to put up with it?(because he couldn't prove himself right).

Why did the boy start playing "chika"?

(The boy began to play "chika" because at first he did not understand the dishonest nature of the game, in the foreground there was only the desire to show dexterity. He also realized that, with practice, he would be able to win money and spend it on milk. So he did: “ I did not allow myself to get too carried away with the game ... I only needed a ruble.")

- Why did Vadik and Ptakha beat the hero?(The hero quickly realized that Vadik was cheating in the game, getting most money. And our hero, after long trainings, achieved good results in the game, he does not cheat like Vadik, but plays honestly. But gambling cannot be fair. She does not accept honest ones.)

Guys, we left our hero in a very difficult situation: he was brutally and vilely beaten. Let's find the passage that begins with the words: "they beat me ..." and read it expressively.

How does the hero behave in the fight and after it?(Courageously. The hero knows that no one will stand up for him. He almost does not defend himself, he only shouts: “He turned it over!”, Upholding justice).

- What kind of person did our hero show himself in this episode? (Honest and principled.)

- Why did the boy trust Lidia Mikhailovna and tell the whole truth?(Lidiya Mikhailovna tries to find out everything with a joke. The hero lies clumsily. If it came to the principal, the hero would be threatened with expulsion from school. He is afraid of shame, afraid of seeming an unreliable person.)

Have you met teachers like Lidia Mikhailovna?(student answers).

Why can't every teacher be trusted?(student answers).

Why did Lidiya Mikhailovna decide to play "zameryashki" with her student?(Lidiya Mikhailovna realized that the boy would not accept help, and

decided to use the means known to him - a game for money. She

specially adapts to him, asks not to extradite Vasily

Andreevich. The teacher encourages the boy with trouble-free tricks: “Are you really afraid”; succumbs to it, and when he exposes foul play. then he pretends to shamelessly deceive the hero. So she got it

the boy began to win money and buy milk for himself.)

Was she a teacher? (No. She wanted to help the boy endure the trials of hunger, and she understood that this unusual student would not accept help from her in any other form.)

What is your attitude to the act of the teacher?(student answers).

- How did the director behave?(The director accused the teacher of the worst sins and kicked her out of school. In this episode, kindness, sensitivity, responsiveness, trusting, respectful attitude towards the children of Lidia Mikhailovna and the callousness, inattention, callousness of the director are contrasted. He should have known about the plight of the boy.)

Why did Lidia Mikhailovna make the hero do extra work? And why were these painful days for the boy?

(She decided in this way to distract the hero from playing with money, to save him from bullying and beatings. The boy did not understand this. And the narrator, already an adult, remembering the events of his childhood, understands that the teacher saved him, helped him).

How do you evaluate this act?(kindness, responsiveness).

How is Lydia Mikhailovna behaving? Why didn't she explain her action to the director?(She responds to the director’s indignation calmly, does not get out, does not make excuses. Her confusion is betrayed by the first seconds after the “exposure”: she “slowly, very slowly got up from her knees, flushed and disheveled ...”)

What actions of Lydia Mikhailovna indicate that there is good in her?(She tries to feed the boy, sends a package, plays a game with him, finally gets her way, and the boy can buy milk again).

What is the meaning of the end of the story?(She emphasizes the responsibility, kindness, sensitivity of the teacher).

What do you think the hero experienced when he received this package?(Following meeting his teacher, the author found out that she did not remember this premise).

Why do you think?(student answers).

How does this fact help us understand main idea story?(Good is disinterested, it does not require a reward, it is transmitted from person to person and returns to those from whom it came).

6. The result of the lesson.

Did Rasputin, using the example of a story from his childhood, manage to tell what the laws of kindness are, that they exist in the same way as real ones? good people? (student answers).

7. Homework.

Write an essay on the topic: "My attitude to the act of the teacher Lidia Mikhailovna"