The main problem of the story is French lessons. Summary of the lesson "Moral problems of the story of V.G.

"French Lessons" (research methodical work, to help the teacher to the lesson of literature)

The subject of literature research is always a person with his passions, joys and sorrows. But, depicting him, the writer pursues some of his main goal, the idea, the thought for which he writes the 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 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, start living 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 necessarily united by the constant, painful, bright, inevitable, desirable and strange movement of a person who is trying to break through and get close to that higher, 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 true Russian rare word you feel how dear, hearty light, music and pain it is filled with, 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.” The philosophical dictionary gives the following definition: “morality is a form public consciousness, which reflects and consolidates the ethical qualities of social reality (goodness, 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, into a peasant family. In the mid-1950s, he entered the Faculty of History and Philology of Irkutsk University, dreaming of becoming a teacher, "he was glad of 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-up and as a true master of the word." 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 in the village there was only Primary School, and a capable and hardworking boy wanted to study, his mother took him to the regional 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. The French teacher of the local school, Lidia Mikhailovna, turned out to be a person of great soul: she tried to “feed” the boy, but he stubbornly refused, believing that it was shameful to take someone else's. Soon the teacher realized 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 complete stranger.

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

“This story,” the writer recalls, “helped me find my teacher. She read it and recognized me and herself, 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, no, but for what happened to us after”, as if they push the boundaries of the narrative, give it a deeper, generalizing meaning, help us understand that the story, outwardly simple in composition, concludes in itself, in essence, there are 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 author's position, reading the following passage: “In the spring, when it was especially hard, I swallowed myself and made my sister swallow the eyes of sprouted potatoes and grains of oats and rye to dilute the plantings in the stomach - then you won’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 the boy" wealth from the squeaks, the radio in Lidia Mikhailovna's room does seem to be an "unprecedented miracle."

Let's see how the subtle and tender soul of a boy develops in the conditions of a harsh life. 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 had no other business 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 was the first from his native village to go further 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 was, we learn that before us is a person big heart, but also in the language with which the author, as if invading the thoughts of a teenager, describes the teacher. Readers will learn that Lidia Mikhailovna had “a regular and therefore not too lively face with eyes screwed up 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 in a very simple way: really “correct 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 their 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 to sound insufficiently "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." Moreover, now the little boy thinks like this: "by 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 have been working at school for twenty years, I have 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 who has twenty years of teaching experience in a school behind him. 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 principal. 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 acted exactly as her sensitive heart, sympathetic soul, and conscience prompted her.

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 malnourished ... 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 didn’t 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, has no opinion of his own, but is just as vile.” "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 honest and not fair win: "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 wonderful fate of the 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, an important question about true and imaginary humanity.

This simple story makes a big impression. Its general strength ideological concept, and its power is undeniable emotional impact: great people are found not only in big, 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." V. Rasputin in the author's narrative and in the speech of the hero-narrator is dominated by 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

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.

Vashurin A. Valentin Rasputin. Stories. Our contemporary. - Siberian Lights, No. 7 (p. 161-163), 1982.

Lapchenko A.F. "memory" in the stories of V. Rasputin. - Bulletin of the Leningrad University, No. 14 (50-54), 1983.

Mshilimovich M. Ya. Lessons of courage and kindness. - Literature at school, No. 6 (p. 43-46), 1985.

Ozhegov S.I. Dictionary of the Russian language. - Publishing house " Soviet Encyclopedia”, M., 1968.

Rasputin V.G. Selected works in two volumes. - Publishing house "Young Guard", volume 1, 1984.

Philosophical Dictionary edited by M. M. Rosenthal and P. F. Yudin. - Publishing house of political literature, M., 1963.

Moral problems of the story by V.G. Rasputin "French Lessons". The role of the teacher Lidia Mikhailovna in the life of a boy

The purpose of the lesson:

• to uncover peace of mind the hero of the story;
• show autobiographical character the story "French Lessons";
• designate moral issues raised by the writer in the story;
• show the originality of the teacher;
• to cultivate a sense of respect for the older generation, moral qualities in the students.

Equipment: portrait and photographs of V. Rasputin; book exhibition; explanatory dictionary edited by Ozhegov (the meaning of the word "morality"); recording of the song "Where Childhood Goes", computer, projector.

Methodical methods: conversation on questions vocabulary work, student messages, demonstration, game moment, listening to music, , expressive reading poems.

Good heart and right
the soul is so lacking for us that the more
our heroes and we will live the better
will be for us.
V.G. Rasputin

The reader learns from books not of life, but
feelings. Literature, in my opinion, -
it is first of all the education of the senses. And before
all kindness, purity, nobility.
V.G. Rasputin

During the classes

• Organizing time.
• Teacher's word.

In the last lesson, we got acquainted with the work of the wonderful Russian writer V.G. Rasputin and his story "French Lessons". Today we are conducting a final lesson on the study of his story. During the lesson, we will discuss several aspects of this story: we will talk about the state of mind of the protagonist, then we will talk about an “extraordinary person” - a French teacher, and we will end the conversation with a discussion of the main, moral, problems posed by the author in the story. And about the life of V.G. Rasputin we learn from a small press conference presented by journalists, researchers and readers.

(listening to the verse of the song "Where does childhood go")

• Word to the members of the press conference (element of role-playing game).

Included in the lesson electronic educational resources, V this case is shown on the screen

Journalist: Now we have listened to an excerpt from the song. Tell me, how did childhood affect the work of V.G. Rasputin?

Researcher: V. Rasputin wrote in 1974 in the Irkutsk newspaper: “I am sure that a person’s childhood makes him a writer, his ability to early age to see and feel what 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. Nature, which became close to the writer in childhood, comes to life again on the pages of his works and speaks to us in a unique, Rasputin language. The people of the Irkutsk Territory have become literary heroes. Truly, as V. Hugo said, “the beginnings laid down in a person’s childhood are similar to those carved on the bark young tree letters growing, expanding with it, forming an integral part of it. And these beginnings, in relation to V. Rasputin, are inconceivable without the influence of Siberia itself - the taiga, the Angara, without the native village, of which he was a part and which for the first time made me think about the relationship between people; without a pure, uncomplicated vernacular.

Teacher: Guys, tell us about V. Rasputin's childhood.

Reader: V. G. Rasputin was born on March 15, 1937 in the Irkutsk region in the village of Ust-Urda, located on the banks of the Angara. Childhood partially coincided with the war: in the first grade of the Atalan elementary school future writer went in 1944. And although there were no battles here, life was difficult, at times half-starved. Here, in Atalanka, having learned to read, Rasputin fell in love with the book forever. The elementary school library was very small, only two shelves of books. “I started my acquaintance with books with theft. A friend and I often went to the library one summer. They took out the glass, climbed into the room and took the books. Then they came, returned what they had read and took new ones, ”the author recalled.

After graduating from the 4th grade in Atalanka, Rasputin wanted to continue his studies. But the school, which had the fifth and subsequent classes, was located 50 km from his native village. It was necessary to move there to live, and alone.

Journalist: Yes, Rasputin's childhood was difficult. Not everyone who studies well is able to evaluate the actions of their own and others, but for Valentin Grigorievich, study has become a moral work. Why?

Researcher: It was difficult to study: you had to overcome hunger (his mother gave him bread and potatoes once a week, but there was never enough of them). Rasputin did everything only conscientiously. “What was left for me? - then I came here, I had no other business here .... I would hardly have dared to go to school if I had not learned at least one lesson, ”the writer recalled. His knowledge was assessed only as excellent, except perhaps French (pronunciation was not given). This was primarily a moral assessment.

Journalist: To whom was this story (“French Lessons”) dedicated and what place does it occupy in the writer’s childhood?

Researcher: The story "French Lessons" is dedicated to Anastasia Prokofievna Kopylova, the mother of his friend and 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."

This story is autobiographical. Lidia Mikhailovna is named after her. (This is Molokova L.M.). A few years ago she lived in Saransk and taught at Mordovian University. When this story was published in 1973, she immediately recognized herself in it, found Valentin Grigorievich, met him several times.

• A brief report on the main themes in the work of V.G. Rasputin (presentation).
• Questions session.

Teacher: Before discussing the problems posed by the writer in the story, let us recall its key moments. Readers, I appeal to you. You can use quote plan made at home.
- Why did the boy, the hero of the story, end up in the district center? (“In order to study further .... I had to equip myself in the district center”). (Slide 2.3).
- What were the successes of the hero of the story at school? (slide 4) (in all subjects, except French, fives were kept).
- What was it like state of mind boy? (“It was so bad for me, bitter and disgusting! - worse than any illness.”) (slide 5)
- What made the boy play "chika" for money? (I was sick, I bought a jar of milk at the market with this money).
- How did the relationship of the hero develop with the guys around him? (“They took turns beating me ... there was no one that day ... a person more unfortunate than me”). (slide 6)
- What was the attitude of the boy to the teacher? (“I was scared and lost .... She seemed to me an extraordinary person”), (slide 7)

Conclusion: So, guys, from your answers, we realized that V.G. himself is the prototype of the main character of the story. Rasputin. All the events that happened to the hero were in the life of the writer. For the first time, the eleven-year-old hero is torn away from his family by the will of circumstances, he understands that the hopes of not only relatives and the whole village are pinned on him: after all, according to the unanimous opinion of the 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. And now, turning to the image of the French teacher, let's analyze what role Lydia Mikhailovna played in the boy's life.

• What was the main character's memory of the teacher? Find in the text a description of the portrait of Lydia Mikhailovna; what is special about it? (reading the description of “Lydia Mikhailovna then it was ....”; “There was no cruelty in her face ...”) (slide 7)
• What feelings did the boy evoke in Lydia Mikhailovna? (She treated him with understanding and sympathy, appreciated his determination. In this regard, the teacher began to study with the hero additionally, hoping to feed him at home); (slide 8)
• Why did Lidia Mikhailovna decide to send a parcel to the boy, and why did this idea fail? (She wanted to help him, but filled the parcel with "city" products and thereby gave herself away. Pride did not allow the boy to accept the gift); (slide 8)
• Did the teacher manage to find a way to help the boy without hurting his pride? (She offered to play for money in the "wall"); (slide 9)
• Is the hero right, considering the teacher an extraordinary person? (Lydia Mikhailovna is endowed with the ability for compassion and kindness, for which she suffered, having lost her job). (slide 10)

Conclusion: Lidia Mikhailovna takes a risky step, playing with students for money, from human compassion: the boy is extremely exhausted, and refuses help. In addition, she considered outstanding abilities in her student and is ready to help them develop in any way.

Teacher:
- An epigraph to the lesson is written on the board: "Reader ...". And what feelings does the story "French Lessons" bring up? (Kindness and compassion).

How do you feel about the act of Lydia Mikhailovna? (children's opinion).

Today we talked a lot about morality. What is "morality"? Let's find the value of this in explanatory dictionary S. Ozhegova. (The expression is written on the blackboard).

Teacher's word. Playing for money with her student, Lidia Mikhailovna, from the point of view of pedagogy, committed an immoral act. “But what is behind this act?” the author asks. Seeing that her student was malnourished in the hungry, post-war years, she tried to help him: under the guise of additional classes, she invited him home to feed him, sent a parcel, as if from his mother. But the boy refused everything. And the teacher decides to play with the student for money, playing along with him. She cheats, but is happy because she succeeds.

Kindness- that's what attracts all readers in the heroes of the story.

What qualities should a teacher have in your opinion? marked on the board as positive traits, as well as negative ones. What moral qualities attract you the most?
- understanding;
- philanthropy;
- responsiveness;
- humanity;
- kindness;
- justice;
- honesty;
- compassion.

You have indicated all the qualities inherent in every teacher. Many songs, stories, poems are devoted to teachers. Our student will read one now.
I want to leave a memory of myself
Here are the lines dedicated to you:
You are that comrade, my muse,
My blood brother and even mother
It's easy to walk with you through life:
You taught me how to write
Love yourself and believe in miracles
Be kind to others
Take care of best friend,
Don't be offended by people.
All these truths are simple
I knew with you on a par,
And I want to say: “Master!
You are the best on earth"

Conclusion: The French teacher showed by her example that there is kindness, responsiveness, love in the world. These are spiritual values. Let's look at the introduction to the story. It expresses the thoughts of an adult, his spiritual memory. He called "French Lessons" "lessons of kindness." V.G. Rasputin speaks of the "laws of kindness": true goodness does not require a reward, does not seek direct returns, it is disinterested. Good has the ability to spread, to be transmitted from person to person. I hope that kindness and compassion play a big role in a person's life and that you will always be kind, ready to help each other at any moment.

• Summarizing. Student assessment.
• D / s. Write a mini-essay on one of the topics "Teacher XXI", "My favorite teacher". At the request (and opportunity) of the students, the task is given to prepare a review Internet resources on this topic.

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

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. The heyday of the Russian Soviet short story falls on the twenties (Babel, Ivanov, Zoshchenko) and then the sixties and seventies (Kazakov, Shukshin, etc.). More quickly than other prose genres, the story reacts to changes in social 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 forms 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 completed 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 short story "French Lessons" is a 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 afterward. 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? the writer asks. Seeing that the schoolboy (during the hungry post-war years) is 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, 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 determination, 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 a "learned man." The hero makes every effort, overcoming hunger and homesickness, so as not to let his countrymen down.

With special understanding, a young teacher approached the boy. 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. 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 rogue, 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 writer's works 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. Postwar 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 build character, so 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 my former teacher, a 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, it’s not for nothing that they say: a school teacher is a teacher of life.

Rasputin's story "French Lessons" is studied in the 6th grade at literature lessons. The heroes of the story are close to modern children with a variety of characters and a craving for justice. In “French Lessons”, it is advisable to analyze the work after reading the biography of the author. In our article you can find out what the work teaches, get acquainted with detailed analysis according to the plan “French Lessons”. This will greatly facilitate the work in the lesson when analyzing the work, as well as the analysis of the story will be needed to write creative and test papers.

Brief analysis

Year of writing – 1973.

History of creation- the story was first published in 1973 in the newspaper "Soviet Youth"

Subject- human kindness, indifference, the importance of a teacher in a child's life, the problem of moral choice.

Composition- traditional for the genre of the story. It has all the components from the exposition to the epilogue.

Genre- story.

Direction- rural prose.

History of creation

The story “French Lessons”, which takes place in the late forties, was written in 1973. Published in the same year in the Komsomol newspaper of the city of Irkutsk "Soviet Youth". The work is dedicated to the mother close friend writer Alexander Vampilov - teacher Kopylova Anastasia Prokopievna.

According to the author himself, the story is deeply autobiographical, it was childhood impressions that formed the basis of the story. After graduating from a four-year school in his native village, the future writer was forced to move to the regional center of Ust-Uda in order to continue his studies in high school. It was a difficult period for little boy: life with strangers, a half-starved existence, the inability to dress and eat as expected, the rejection of a village boy by classmates. Everything that is described in the story can be considered real events, because the future writer Valentin Rasputin went exactly this way. He believed that childhood is the most important period in the formation of talent, it is in childhood that a person becomes an artist, writer or musician. There he draws his inspiration for the rest of his life.

In the life of little Vali, there was the same Lidia Mikhailovna (this is the real name of the teacher), who helped the boy, tried to brighten up his difficult existence, sent parcels and played “wall”. After the story came out, she found her former student and a long-awaited meeting took place, with special warmth he recalled the conversation that took place with Lydia Mikhailovna in adulthood. She forgot many things that the writer remembered from childhood, he kept them in his memory for many years, thanks to which a wonderful story appeared.

Subject

rises in the work theme of human indifference kindness and help to those in need. Problem moral choice and special “morality”, which is not accepted by society, but has reverse side- bright and unselfish.

The young teacher, who was able to consider the boy's misfortune, his deplorable situation, became a guardian angel for a certain period of his life. Only she considered the boy's diligence and ability to study behind poverty. The French lessons she gave him at home became life lessons for both the boy and the youngest woman herself. She missed her homeland very much, prosperity and comfort did not give a feeling of joy, and “returning to a serene childhood” saved her from everyday life and homesickness.

The money that the protagonist of the story received in fair play, allowed him to buy milk and bread, to provide himself with the most necessary. In addition, he did not have to participate in street games, where for his superiority and skill in the game he was beaten by boys from envy and impotence. The theme of "French Lessons" Rasputin outlined from the first lines of the work, when he mentioned the feeling of guilt before the teachers. Main thought The story is that by helping others, we help ourselves. Helping the boy, giving in, cunningly, risking her job and reputation, Lidia Mikhailovna realized what she herself lacked in order to feel happy. The meaning of life is to help, to be needed and not to depend on the opinions of others. Literary criticism emphasizes the value of Rasputin's work for all age categories.

Composition

The story has a traditional composition for its genre. The narration is conducted in the first person, which makes the perception very realistic and allows you to enter a lot of emotional, subjective details.

Climax is the scene where the principal of the school, without getting through to the teacher's room, comes to her and sees the teacher and the student playing for money. It is noteworthy that the idea of ​​the story is presented by the author in the philosophical phrase of the first sentence. It also follows from it issues story: a sense of guilt towards parents and teachers - where does it come from?

The conclusion suggests itself: they invested in us all the best, they believed in us, but were we able to meet their expectations? The story ends abruptly, the last thing we learn is a parcel from the Kuban, which came to the boy-narrator from a former teacher. He sees real apples for the first time in the hungry year of 1948. Even at a distance, this magical woman manages to bring joy and celebration into the life of a small person.

Main characters

Genre

The genre of the story, in which Valentin Rasputin dressed his story, is ideal for depicting true life events. The realism of the story, its small form, the ability to plunge into memories and reveal the inner world of the characters by various means - all this turned the work into a small masterpiece - deep, touching and truthful.

The historical features of the time were also reflected in the story through the eyes of a little boy: famine, devastation, impoverishment of the village, the well-fed life of city dwellers. Direction village prose, to which the work belongs, was distributed in the 60s-80s of the 20th century. Its essence was as follows: it revealed the features of rural life, emphasized its originality, poeticized and somewhat idealized the village. The prose of this trend was also characterized by showing the devastation and impoverishment of the village, its decline and anxiety for the future of the village.

Artwork test

Analysis Rating

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The moral meaning of V. Rasputin's story "French Lessons"

V. G. Rasputin is one of the greatest contemporary writers. In his works, he preaches the eternal values ​​of life on which the world rests.

The story "French Lessons" is an autobiographical work. The hero of the story is a simple village boy. His family is having a hard time. A single mother brings up three children who know well what hunger and deprivation are. Nevertheless, she still decides to let her son go to the district to study. Not because he does not know that it will be hard for him there, not because he is heartless, but because "it will not get worse." The boy himself agrees to leave to study. Despite his age, he is quite purposeful and has a craving for knowledge, and he has good natural inclinations. “Your brainy guy is growing up,” everyone in his mother’s village said. So she went "against all misfortunes."

Finding himself among strangers, the destitute boy suddenly realizes how lonely he is, how “bitter and shameful,” “worse than any illness.” Homesickness overcomes him, for maternal affection, for warmth, for his native corner. From mental anguish, he physically weakens, loses weight so that it immediately catches the eye of his mother who came to him.

There are not enough maternal transmissions for the boy, he is really starving. Showing spiritual sensitivity, he does not undertake to look for who is stealing his poor supplies from him - Aunt Nadia, exhausted by a heavy share, or one of her half-starved children like himself.

The little man realizes how hard it is for his mother to get these miserable pieces, he understands that she is tearing the last from herself and from his brother and sister. With all his might, he tries to study, and everything comes easy to him, except French.

Eternal malnutrition and hungry swoons push the hero onto the path of finding money, and he finds it rather quickly: Fedka invites him to play "chika". It was easy for the smart boy to figure out the game, and, having adapted to it rather quickly, he soon began to win.

The hero immediately understood a certain subordination in the company of guys, where everyone treated Vadik and Ptakh with fear and fawning. Vadik and Ptakha prevailed not only because they were older and more physically developed than the rest, they did not hesitate to use their fists, openly cheated, cheated in the game, behaved cheekily and arrogantly. The hero does not intend to indulge them in their unkind deeds and undeservedly endure insults. He speaks openly about the perceived deceit and, without stopping, repeats this, all the time while he is being beaten for it. Do not break this small, honest man, do not trample on his moral principles!

Playing for money for the hero is not a means of profit, but a way to survive. He sets a threshold for himself in advance, beyond which he never goes. The boy wins exactly by a mug of milk and leaves. He is alien to the aggressive excitement and passion for money, which are controlled by Vadik and Ptah. He firmly controls himself, has a firm and unbending will. This is a persistent, courageous, independent, stubborn person in achieving the goal.

The impression that remained for a lifetime was in his life a meeting with a French teacher, Lydia Mikhailovna. By the right of a class teacher, she was more interested than others in the students of the class where the hero studied, and it was difficult to hide anything from her. Seeing for the first time the bruises on the boy's face, she asked him about what had happened with kind irony. Of course he lied. Telling everything means exposing everyone who played for money, and this is unacceptable for the hero. But Tishkin, without hesitation, reports who beat his classmate and for what. He does not see anything reprehensible in his betrayal.

After that, the hero no longer expected anything good. "Gone!" he thought, because for playing money he could easily be expelled from school.

But Lidia Mikhailovna turned out to be not the kind of person to raise a fuss without understanding anything. She strictly stopped Tishkin's mockery, and decided to talk to the hero after school, one on one, just as a real teacher should have done.

Having learned that her student wins only a ruble, which is spent on milk, Lidia Mikhailovna understood a lot about his unchildishly difficult, long-suffering life. She also understood very well that playing with money and such fights would not bring the boy to good. She began to look for a way out for him and found him, deciding to assign him extra classes in French, which he didn't get along well with. Lidia Mikhailovna's plan was unpretentious - to distract the boy from hiking in the wasteland and, inviting him to visit her, feed him. Such a wise decision was made by this woman who is not indifferent to the fate of others. But coping with the stubborn boy was not so easy. He feels a huge gulf between himself and the teacher. It is no coincidence that the author draws their portraits nearby. Her - so smart and beautiful, smelling of perfume and him, untidy without a mother, skinny and miserable. Once visiting Lydia Mikhailovna, the boy feels uncomfortable, awkward. The most terrible test for him is not the French language classes, but the persuasion of the teacher to sit down at the table, which he stubbornly refuses. To sit at the table next to the teacher and satisfy his hunger at her expense and in front of her eyes is more terrible for a boy than death.

Lidia Mikhailovna is diligently looking for a way out of this situation. She collects a simple package and sends it to the hero, who quickly realizes that his poor mother could not send him any pasta, much less apples.

The teacher's next decisive step is gambling with the boy. In the game, the boy sees her completely different - not a strict aunt, but a simple girl, not alien to the game, passion, delight.

Everything is ruined by the sudden appearance in the apartment of Lydia Mikhailovna of the director, who found her in the midst of playing with a student for money. "It is a crime. Corruption. Seduction, ”he shouts, not intending to understand anything. Lidia Mikhailovna behaves with dignity in a conversation with her boss. She shows courage, honesty, self-esteem. Her act was guided by kindness, mercy, sensitivity, responsiveness, sincere generosity, but Vasily Andreevich did not want to see this.

The word "lesson" in the title of the story has two meanings. Firstly, this is an academic hour devoted to a separate subject, and secondly, it is something instructive, from which a conclusion can be drawn for the future. It is the second meaning of this word that becomes decisive for understanding the intent of the story. The lessons of kindness and cordiality taught by Lidia Mikhailovna, the boy remembered for the rest of his life. The literary critic Semyonova calls Lydia Mikhailovna's act "higher pedagogy", "one that pierces the heart forever and shines with a pure, ingenuous light of a natural example, ... before which one is ashamed of all one's adult deviations from oneself."

The moral significance of Rasputin's story is in chanting eternal values- kindness and humanity.