Read V. Rasputin's preface to one of the editions of the story “French Lessons,” published in 1982 by the Children's Literature publishing house.

Lessons in Kindness

This story, when it first appeared in the book, helped me find my teacher Lydia Mikhailovna. She bought my book, recognized me in the author, and recognized herself in the heroine of the story, and wrote to me.

Surprisingly, Lidia Mikhailovna, it turns out, does not remember that she sent me a parcel with pasta in the same way as in the story. I remember this very well and I cannot be mistaken: it was. At first I was amazed, how could it be that he doesn’t remember?! How can you forget this?! But, upon reflection, I realized that, in essence, there is nothing surprising here: true goodness on the part of the one who creates it has less memory than on the part of the one who receives it. That's how it should be. That is why it is good, so as not to seek direct return (I helped you - if you please, you too), but to be selfless and confident in your quiet miraculous power. And if, having left a person, good returns to him after many years from a completely different side, the more it means that it has bypassed people and the wider the circle of its action.

And so it happened that, more than twenty years later, I sat down at the table and began to remember what once happened to me, a fifth-grader, a boy from a remote Siberian village. Or rather, I began to write down what was never forgotten, what people constantly asked me to do. I wrote this story in the hope that the lessons taught to me at one time will fall on the soul of both young and adult readers.

Questions and tasks

1. The main character of the story is not called V, Rasputin, but by name. Why do you think?
2. How do you understand the teacher’s words: “A person grows old not when he reaches old age, but when he ceases to be a child”?
3. You are offered several theses related to the content of the story “French Lessons”. Read them. For each of the theses, select the necessary factual material from the text of the story.
   1. The autobiographical nature of the story is indicated by both the time and a number of everyday details surrounding the hero.
   2. For a boy, playing money is not entertainment or an attempt to make money by deception. In the game he is prudent and reasonable, persistent. With persistence, he tries to comprehend all its patterns and secrets. For him, play is one of the few means of survival visible to a child.
   3. The story “French Lessons” is psychologically reliable.
   4. Having sent the boy alone to study in the region, his native village expressed special trust in him and placed special hopes on him. And he remembers this and tries not to let any of his fellow villagers down.
   5. Lidia Mikhailovna commits extraordinary, risky actions in relation to the boy both because she is trying to help him survive, and because she guessed in him the ability to learn.
   6. The character of the main character develops in natural communication with those PEOPLE whom life has sent him - peers, relatives of the owners, the owners of the apartment themselves, Lydia Mikhailovna and the school director. This world is complicated. But it is he who develops in the boy a feeling of rejection of evil, officialdom, indifference, and cruelty. Under his influence, an understanding arises that good is not advertised and does not require anything in return.
4. What other points could you formulate based on the story “French Lessons”? Write them down.

Living word

A feature film was made based on the story “French Lessons”. Watch it and write a detailed review or short review.

For you, curious ones

Get acquainted with the main facts related to the publications of V. Rasputin's works. What do they indicate?

“Money for Maria” is the first story by V. Rasputin, which brought its author unprecedented fame in the country and the world. First published in 1967, reprinted several times. “Money for Maria” was published in Bulgaria, Czechoslovakia, Portugal, Finland, Japan... A play was created based on the work, staged in Moscow and Germany.

The story “The Last Term” was first published in 1970 in the magazine “Our Contemporary” and was immediately published in several Soviet publishing houses. The play “The Deadline” was staged on the stage of the Moscow Art Theater (Moscow) and in Bulgaria. The story was published in many cities around the world - Prague, Bucharest, Milan, Budapest, Stuttgart, Sofia.

The story “Live and Remember” was first published in the magazine “Our Contemporary” in 1974; in 1975 it was published twice as a separate book, after which it was reprinted many times both in Russian and in the languages ​​of the peoples of the USSR. Published in Bulgaria, Germany, Hungary, Poland, Finland, Czechoslovakia, Norway, England. In 1977, V. Rasputin was awarded the title of laureate of the USSR State Prize for the story “Live and Remember”.

The story “Farewell to Matera” was published in the magazine “Our Contemporary” (1976), then repeatedly published in Russian and the languages ​​of the peoples of the USSR. Published in Prague, Munich, Sofia, Oslo, Helsinki, Barcelona, ​​Warsaw, Bratislava, Berlin. In 1982, directors Larisa Shepitko and Elem Klimov created the film “Farewell” based on the story; in 1983 the film appeared on the screens of the country.

The story “Fire” was first published in the magazine “Our Contemporary” in 1985, then as a separate publication in the library of the magazine “Ogonyok”; repeatedly included in collections of stories and short stories by V. Rasputin; translated into many languages ​​of the world. In 1987, V. Rasputin was awarded the USSR State Prize for the story “Fire”.

In 1987, the writer was awarded the title of Hero of Socialist Labor.

After lessons

Prepare and conduct a debate “Life Lessons” (based on V. Rasputin’s story “French Lessons” and other works of the writer). Prepare questions for discussion. Select material and organize a book exhibition.

Invite not only peers, but also adults to participate in the discussion - many of them will have different points of view on the same issues and problems. Look for arguments and try to hear each other.

“It’s strange: why do we, just like before our parents, always feel guilty before our teachers? And not for what happened at school, no, but for what happened to us after.”

I went to fifth grade in 1948. In our village there was only a junior school, and in order to study further, I had to move to the regional center 50 kilometers from home. At that time we lived very hungry. Of three children in the family, I was the eldest. We grew up without a father. I studied well in elementary school. In the village I was considered literate, and everyone told my mother that I should study. Mom decided that it wouldn’t be worse and hungrier than at home anyway, and she placed me in the regional center with her friend.

I also studied well here. The exception was French. I easily remembered words and figures of speech, but I had trouble with pronunciation. “I sputtered in French in the manner of our village tongue twisters,” which made the young teacher wince.

I had the best time at school, among my peers, but at home I felt homesick for my native village. Besides, I was severely undernourished. From time to time, my mother sent me bread and potatoes, but these products very quickly disappeared somewhere. “Who was dragging - Aunt Nadya, a loud, worn-out 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.” Unlike the village, in the city it was impossible to catch fish or dig up edible roots in the meadow. Often for dinner I only got a mug of boiling water.

Fedka brought me to a company that played chica for money. The leader there was Vadik, a tall seventh grader. Of my classmates, only Tishkin, “a fussy little boy with blinking eyes,” appeared there. The game was simple. The coins were stacked heads up. You had to hit them with the cue ball so that the coins would turn over. Those that turned out to be heads up became a win.

Gradually I mastered all the techniques of the game and began to win. Occasionally my mother would send me 50 kopecks for milk, and I would play with them. I never won more than a ruble a day, but my life became much easier. However, the rest of the company did not like my moderation in the game at all. Vadik started cheating, and when I tried to catch him, I was severely beaten.

In the morning I had to go to school with a broken face. The first lesson was French, and the teacher Lidia Mikhailovna, who was our classmate, asked what happened to me. I tried to lie, but then Tishkin stuck his head out and gave me away. When Lydia Mikhailovna left me after class, I was very afraid that she would take me to the director. Our director Vasily Andreevich had the habit of “torturing” those who were guilty on the line in front of the whole school. In this case, I could be expelled and sent home.

However, Lidia Mikhailovna did not take me to the director. She began to ask why I needed money, and was very surprised when she found out that I bought milk with it. In the end, I promised her that I would do without gambling, and I lied. In those days I was especially hungry, I again came to Vadik’s company, and was soon beaten again. Seeing fresh bruises on my face, Lidia Mikhailovna announced that she would work with me individually, after school.

“Thus began painful and awkward days for me.” Soon Lidia Mikhailovna decided that “we have little time left at school until the second shift, and she told me to come to her apartment in the evenings.” For me it was real torture. Timid and shy, I was completely lost in the teacher’s clean apartment. “Lidiya Mikhailovna was probably twenty-five years old at that time.” She was beautiful, already married, a woman with regular features and slightly slanted eyes. Hiding this flaw, she constantly squinted. The teacher asked me a lot about my family and constantly invited me to dinner, but I could not bear this test and ran away.

One day they sent me a strange package. She came to the school address. The wooden box contained pasta, two large lumps of sugar and several hematogen bars. I immediately realized who sent me this parcel - the mother had nowhere to get pasta. I returned the box to Lydia Mikhailovna and flatly refused to take the food.

The French lessons didn't end there. One day Lydia Mikhailovna amazed me with a new invention: she wanted to play with me for money. Lidia Mikhailovna taught me the game of her childhood, “the wall.” You had to throw coins against the wall, and then try to reach with your fingers from your coin to someone else’s. If you get it, the winnings are yours. From then on, we played every evening, trying to argue in a whisper - the school director lived in the next apartment.

One day I noticed that Lydia Mikhailovna was trying to cheat, and not in her favor. In the heat of the argument, we did not notice how the director entered the apartment, having heard loud voices. Lidia Mikhailovna calmly admitted to him that she was playing for money with the student. A few days later she went to her place in Kuban. In winter, after the holidays, I received another package in which “tubes of pasta lay in neat, dense rows,” and under them were three red apples. “Before, I only saw apples in pictures, but I guessed that this was them.”

"French lessons" analysis of the work - theme, idea, genre, plot, composition, characters, issues and other issues are discussed in this article.

In 1973, one of Rasputin’s best stories, “French Lessons,” was published. 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 to get the prototype. I needed to return to people the good that they did for me in their time.”

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

The story is autobiographical. Lydia Mikhailovna is named in the work by her own name (her last name is Molokova). In 1997, the writer, in a conversation with a correspondent of the magazine “Literature at School,” talked about meetings with her: “I recently visited me, and she and I long and desperately remembered our school, and the Angarsk village of Ust-Uda almost half a century ago, and a lot from that difficult and happy time.”

Genre, genre, creative method

The work “French Lessons” is written in the short story genre. The heyday of the Russian Soviet story occurred in the twenties (Babel, Ivanov, Zoshchenko) and then the sixties and seventies (Kazakov, Shukshin, etc.) years. The story reacts more quickly to changes in social life than other prose genres, since it is written faster.

The story can be considered the oldest and first of the literary genres. A brief retelling of an event - a hunting incident, a duel with an enemy, etc. - is already an oral history. Unlike other kinds and types of art, which are conventional in their essence, storytelling is inherent in humanity, having arisen simultaneously with speech and being not only the transfer of information, but also a means of social memory. The story is the original form of literary organization of language. A story is considered to be a completed prose work of 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” is a realistic work written in the first person. It can fully be considered an autobiographical story.

Subjects

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

Idea

From a pedagogical point of view, a teacher playing for money with her student is an immoral act. But what is behind this action? - asks the writer. Seeing that the schoolboy (during the hungry post-war years) was malnourished, the French teacher, under the guise of additional 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, naturally, “loses” so that the boy can buy milk for himself with these pennies. And she’s happy that she succeeds in this deception.

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

Main characters

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

Lydia 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, and appreciated his determination. She recognized her student's remarkable learning abilities and was ready to help them develop in any way possible. Lydia Mikhailovna is endowed with an extraordinary capacity for compassion and kindness, for which she suffered, losing her job.

The boy amazes with his determination and desire to learn and get 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 regional center.”
2. “I studied well here too... in all subjects except French, I got straight A’s.”
3. “I felt so bad, so bitter and hateful! “worse than any disease.”
4. “Having received it (the ruble), ... I bought a jar of milk at the market.”
5. “They beat me in turns... there was no more unhappy person that day than me.”
6. “I was scared and lost... she seemed to me like an extraordinary person, not like everyone else.”

Plot and composition

“I went to fifth grade in 1948. It would be more correct to say, I went: in our village there was only an elementary school, so in order to study further, I had to travel from home fifty kilometers to the regional center.” For the first time, due to circumstances, an eleven-year-old boy is torn away from his family, torn from his usual surroundings. However, the little hero understands that the hopes of not only his relatives, but also the entire village are placed on him: after all, according to the unanimous opinion of his fellow villagers, he is called to be a “learned man.” The hero makes every effort, overcoming hunger and homesickness, so as not to let his fellow 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 a stranger. Lydia Mikhailovna’s idea with the parcel was not crowned with success. The teacher filled it with “city” products and thereby gave herself away. Looking for a way to help the boy, the teacher invites him to play wall game for money.

The climax of the story comes after the teacher begins to play wall games with the boy. The paradoxical nature 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 trouble did happen, he began to understand the teacher’s behavior more deeply. And this led him to realize some aspects of life at that time.

The ending of the story is almost melodramatic. The package with Antonov apples, which he, a resident of Siberia, had never tried, seemed to echo the first, unsuccessful package with city food - pasta. More and more new touches are preparing this ending, which turned out to be not at all unexpected. In the story, the heart of a distrustful village boy opens up to 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 narrative flows slowly, with everyday details, but its rhythm imperceptibly captures it.

The language of the narrative is simple and at the same time expressive. The writer skillfully used phraseological units, achieving expressiveness and imagery of the work. Phraseologisms in the story “French Lessons” mostly express one concept and are characterized by a certain meaning, which is often equal to the meaning of the word:

“I studied well here too. What was left for me? Then I came here, I had no other business here, and I didn’t yet know how to take care of what was entrusted to me” (lazyly).

“I had never seen a bird at school before, but looking ahead, I’ll say that in the third quarter it suddenly fell on our class out of the blue” (unexpectedly).

“Hunging and knowing that my grub would not last long, no matter how much I saved it, I ate until I was full, until my stomach hurt, and then after a day or two I put my teeth back on the shelf” (fast).

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

One of the features of the story’s language is the presence of regional words and outdated vocabulary characteristic of the time the story takes place. For example:

Lodge - rent an apartment.
One and a half truck - a truck with a lifting capacity of 1.5 tons.
Teahouse - a type of public canteen where visitors are offered tea and snacks.
Toss - sip.
Naked boiling water - pure, without impurities.
Blather - chat, talk.
Bale - hit lightly.
Hlyuzda - rogue, deceiver, cheater.
Pritaika - what is hidden.

Meaning of the work

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

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 more acutely. But difficulties strengthen character, so the main character often displays such qualities as willpower, pride, a sense of proportion, endurance, and determination.

Many years later, Rasputin will again turn to the events of long ago. “Now that quite a 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 my former teacher, a French teacher. Yes, decades later I remember her as a true friend, the only person who understood me while studying at school. And even years later, when we met, she showed me a gesture of attention, sending me apples and pasta, as before. And no matter who 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 upon herself, left school, and at parting she said 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 good person should act. It’s not for nothing that they say: a school teacher is a teacher of life.”

Baich S.V., teacher of Russian language and literature at the gymnasium named after. A. Platonova

Literature lesson technological map

Lesson 42. Analysis of V. Rasputin’s story “French Lessons”

Section 2. "Me and others"

Working title of the lesson:Sometimes people are difficult to help, sometimes people are difficult to understand.

Lesson steps

Content

Expected results

Lesson purpose and objectives

The purpose of the lesson -involve students in solving the moral problems posed in the work, study the concepts: theme, idea and problem of a work of art.

Tasks:

To teach how to build a personal emotional and evaluative perception based on the analysis of a literary portrait of characters using productive reading of the text;

To form an idea of ​​the personality of V. Rasputin;

Expand your understanding of the system of images in the story;

Develop the ability to see and interpret artistic details, understand the subtext and general idea of ​​the work;

Help children develop critical thinking skills;

- develop students’ ability to work in groups;

Contribute to the formation of personal, communication, regulatory skills.

After the lesson, students will be able to:

Tell us about your personality

V. Rasputin and the heroes of his story “French Lessons”;

Operate with the concepts of “theme”, “idea” and “problem of a work of art”;

Use the key words of the lesson (compassion, mercy, self-interest, nobility, generosity, kindness, humanism, dignity, ethics) when analyzing other literary works and life situations.

Meta-subject results ( formation of universal learning activities (UAL).

Regulatory UUD

1. On your own

formulate the topic, problem and goals of the lesson.

Introduction to the topic.

Motivating start

Formulating the lesson topic and goals.

Formulation of the problem

One of the students reads by heart A. Yashin’s poem “Hurry to do good deeds.” Next, students get acquainted with Alexey’s diary entry dated December 19.

Question:What theme unites Alexey’s thoughts and A. Yashin’s poem? (They are talking about kindness, good deeds).

Formulation of the topic:

Lessons of kindness in V. Rasputin’s story “French Lessons” (primary) Discussion of task No. 1 in the workbook(how many meanings of the word “lessons” do you know...)

Goals:

- talk about...the heroes of the story

- explain…the reasons for their actions

- describe... the time at which events occur

Let's return to Alexey's entry and think:

What is the main problematic issue that will confront us in the lesson?

Can a person commit a bad good or a good bad deed?

What moral concepts will we use today in class? ( compassion, mercy, self-interest, nobility, generosity, kindness, humanism, dignity, ethics, selfishness)

Why do you think it is necessary to understand the motives of a particular action? How do you understand the expression “The road to hell is paved with good intentions”?

2. Updating knowledge.

2. Problem dialogue

3. Working with the concepts of “topic”, “idea”, “main problems”

4. Creative task

5. Lesson summary

The essence of human character and certain actions is especially clearly manifested in difficult critical life situations.

Students read V. Rasputin’s thoughts about his childhood and concisely convey the main idea. (Educational disk materials)

Valentin Grigorievich Rasputin was born on March 15, 1937 in the Irkutsk village of Atalanka and still lives in Siberia. Rasputin is one of those who continues the traditions of Russian classical prose from the point of view of moral problems. The key words of his work are CONSCIENCE AND MEMORY. All his works are about this.

Here is an excerpt from the thoughts of the writer Alexei Varlamov about his friend and his work:“Valentin Rasputin does not like to describe harmony. As an artist, he is drawn to human disorder, to grief, to misfortune, to catastrophe... And at this point he is close to the most brilliant Russian writerXX century to Andrei Platonov. They are united by that soulful, philosophical attitude towards life and death that Platonov always had. And Rasputin himself felt this kinship, giving Platonov one of the most accurate definitions - “the guardian of the original Russian soul”. We can rightfully apply this same definition to V.A. Rasputin.

What did you learn from the textbook article about the history of the story?

Childhood memories formed the basis of the story “French Lessons.” The prototype of the main character was Rasputin's teacher Lidiya Mikhailovna Molokova. The author of the book was friends with her all his life. And he dedicated the story to teacher Anastasia Prokopyevna Kopylova, mother of playwright Alexander Vampilov.

Both the teacher Lidia Mikhailovna and the parcel with pasta are all from the author’s real life. Can the story be called autobiographical?

Stills from the documentary film “In the depths of Siberia. V. Rasputin"

Conversation on d.z. from a printed notebook. The class is divided into three groups, students write down details that characterize the subject of their observations.

The critic I. Rosenfeld wrote that Rasputin has an amazing ability to “find and present a detail that is absolutely piercing and, despite its incredibleness, very substantial and convincing.”

Three directions for observation:

The real world of war;

The inner world of the narrator (child);

The inner world of teacher Lydia Mikhailovna.

Questions for problematic dialogue

Why did the boy, the hero of the story, play for money, although this was strictly prohibited?

Why did the hero of the story refuse to take the parcel and did not want to have lunch with the teacher?

How old is the hero? What traits of his character have already developed? Can we say that this boy is a personality?

What life lessons did the hero receive from Vadik and Ptah?

What personality traits of Lydia Mikhailovna can be judged from her portrait? What goal did she set for herself? How did she achieve this goal? Why did she find it so difficult to help the hero of the story?

Watching an episode of the film “Receiving a Parcel”

Do you agree that Lidiya Mikhailovna is a person extraordinary ? (Vocabulary work is extraordinary....) What made her play for money with a student? Is it possible to say
that her kindness humiliated him? Is it easy to do good?

Lesson topic: « Sometimes people are difficult to help, sometimes people are difficult to understand."

Is the principal's decision to fire the teacher fair?

What is teacher ethics? (Vocabulary work - ethics ...) Did Lydia Mikhailovna violate it? Evaluate her actions.

Work in a printed notebook on page 38 (students at home tried to determine the theme, idea, problems of the story). Discussion.

Research work on task 3 on p. 38 (work in pairs)

Return to the formulation of the main idea of ​​the story, think:Through whose eyes did you look at the events of the story, determining the main thing in it:

Boy narrator;

Lidia Mikhailovna's teacher;

An adult remembering distant events.

Try to formulate the main thing again from everyone’s point of view.

Now imagine your thoughts assyncwine.Work in groups based on the images of a boy, a teacher, an author.Presentation of work results.

How does Rasputin begin his story? What makes a writer, speaking on behalf of many people, feel guilty and ashamed? What meaning does he put into the title of his story?

You begin to appreciate goodness not immediately, but after time. You don’t immediately understand those who cared about you, tried to guide you on the first path, who turned their lessons into lessons of goodness, who, perhaps, made mistakes, were mistaken, but tried to help you from the bottom of their hearts. What “happened to us after”? Our souls have grown cold, we have learned to forget those who cannot be forgotten. The writer wants to awaken ourConscience and Memory .

Lidia Mikhailovna opened a new world to the boy, showed him “another life” where people can trust each other, support and help, and relieve loneliness. The boy also recognized red apples, which he had never dreamed of. Now he has learned that he is not alone, that there is kindness, compassion, and love in the world. In the story, the author talks about the “laws” of kindness:true good does not require reward, does not seek direct return, it is selfless. Rasputin's workabout childhood and responsibility to your teachers. Teachers who give children awareness of themselves as individuals, an important part of society, bearers of culture and morality.

Appeal to the statement of A. Platonov “ The love of one person can bring to life the talent in another person, or at least awaken him to action."What kind of love are we talking about in the statement?

Explain why before V. Rasputin’s story in the textbook (p. 95) there is a reproduction of one of the details of Michelangelo’s fresco “The Creation of Man”.

The tense, energetic hand of God the Father will now touch a finger on the weak, weak-willed hand of man, and man will gain the power of life.

Cognitive UUD

1. Independently read all types of text information: factual, subtextual, conceptual.

2. Use a learning type of reading.

3. Extract information presented in different forms (solid text; non-solid text: illustration, table, diagram).

4. Use introductory and screening reading.

5. State the content of the read (listened to) text in detail, concisely, selectively.

6. Use dictionaries and reference books.

7. Carry out analysis and synthesis.

8. Establish cause-and-effect relationships.

9. Build reasoning.

Communication

UUD

1. Take into account different opinions and strive to coordinate different positions in cooperation.

2. Formulate your own opinion and position, give reasons for it.

3. Ask questions necessary to organize your own activities.

4. Recognize the importance of communication skills in a person’s life.

5. Formulate your thoughts orally and in writing, taking into account the speech situation; create texts of various types, styles, genres.

6. Express and justify your point of view.

7. Listen and hear others, try to accept a different point of view, be ready to adjust your point of view.

8. Present messages to an audience of peers.

Personal results

1. Formation of an emotional-evaluative attitude towards what you read.

2. Formation of perception of the text as a work of art.

Regulatory UUD

1. Correlate the goals and results of your activities.

2. Develop evaluation criteria and determine the degree of success of the work.

TOUU

6. Reflection

This lesson helped me understand...

In this lesson I became convinced that...

During the lesson I was... because...

7. Homework

8. Assessment

Page 119-127

V. M. Shukshin. The story "A Strong Man"

Assignments in the printed notebook on pp. 40-41

Valentin Rasputin belongs to the galaxy of talented modern writers. His work is so multifaceted that every reader, regardless of age, will find in it something especially important for themselves.

His heroes are characterized by such qualities as justice, mercy, kindness, self-sacrifice, sincerity and honesty. The author continues to inherit the humanistic traditions of twentieth-century literature in his work.

One of the works that proclaims eternal human values ​​and virtues is the story “French Lessons.”

The history of the creation of the story “French Lessons”

The story is based on the autobiographical story of the author. The prototype of the image of Lydia Mikhailovna is V. Rasputin’s teacher, who occupied a very important place in his life.

According to Rasputin, it is precisely such a woman who has the power to change what is beyond the control of an ordinary person. It was the teacher who helped the author set the right life priorities and understand what is good and what is evil.

In the story “French Lessons” we see an ordinary rural boy and his teacher. The child has purity and a kind soul, but difficult living conditions, eternal poverty, hunger, pushes him onto the wrong path. In order to earn authority among a group of boys, the child begins to play “chika” with them so that they will accept him faster.

But still this does not help, and the boy is forced to endure constant humiliation and even assault from the older guys. This situation was noticed in time by the French teacher, Lidia Mikhailovna. She tries to find out from the child what prompted him to play for money.

The boy, who is not used to kind attitude and ordinary human participation, begins to tell the teacher that he plays in order to have friends and earn money for food, since he is constantly hungry due to his parents’ poverty.

The problem of awakening conscience

Lidia Mikhailovna sincerely wants to help him and, under the pretext of studying French, invites him to her home. The teacher always tried to feed the child, but pride and self-esteem did not allow him to accept food.

Lydia Mikhailovna finally found a way to help the boy; she invited him to play an already well-known game for money. The teacher often gave in, thus providing her student with money for a hearty lunch every day.

Helping the boy, the teacher cunningly led him away from the dubious company, and also did not go against his principles. The heroine of Lidia Mikhailovna is the ray of goodness that disadvantaged people so need. She did not remain indifferent to the little man’s misfortune, but willingly began to help him, risking losing her job.

The author in his story, as is typical for him, glorifies human kindness and noble impulses. After all, both the boy and the teacher were honest people, with a humanistic value system. The story also acutely raises the topic of social vulnerability of young children who are forced to earn money on their own for the most basic food needs.