Lesson Objectives:

Lesson equipment: portrait of V.G. Rasputin

Methodical methods:

During the classes

I. Teacher's word

Valentin Grigoryevich Rasputin (1937) is one of the acknowledged masters of "village prose", one of those who continue the traditions of Russian classical prose, primarily from the point of view of moral and philosophical problems. Rasputin explores the conflict between a wise world order, a wise attitude to the world and an unwise, fussy, thoughtless existence. In his stories “Money for Mary” (1967), “Deadline” (1970), “Live and Remember” (1975), “Farewell to Matera” (1976), “Fire” (1985), anxiety for the fate of the motherland is heard. The writer is looking for ways to solve problems in the best features of the Russian national character, in patriarchy. Poetizing the past, the writer sharply poses the problems of the present, asserting eternal values, calling for their preservation. In his works, there is pain for his country, for what is happening to it.

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“Lesson 4. Actual and eternal problems in the story of V.G. Rasputin "Farewell to Matera"

Lesson 4

in the story of V.G. Rasputin "Farewell to Matera"

Lesson Objectives: give a brief overview of V.G. Rasputin, pay attention to the variety of problems that the writer poses; to form an indifferent attitude to the problems of their country, a sense of responsibility for its fate.

Lesson equipment: portrait of V.G. Rasputin

Methodical methods: teacher's lecture; analytical conversation.

During the classes

I. Teacher's word

Valentin Grigoryevich Rasputin (1937) is one of the recognized masters of "village prose", one of those who continue the traditions of Russian classical prose, primarily from the point of view of moral and philosophical problems. Rasputin explores the conflict between a wise world order, a wise attitude to the world and an unwise, fussy, thoughtless existence. In his stories “Money for Mary” (1967), “Deadline” (1970), “Live and Remember” (1975), “Farewell to Matera” (1976), “Fire” (1985), anxiety for the fate of the motherland is heard. The writer is looking for ways to solve problems in the best features of the Russian national character, in patriarchy. Poetizing the past, the writer sharply poses the problems of the present, asserting eternal values, calling for their preservation. In his works, there is pain for his country, for what is happening to it.

In the story “Farewell to Matera”, Rasputin starts from an autobiographical fact: the village of Ust-Uda in the Irkutsk region, where he was born, subsequently fell into the flood zone and disappeared. In the story, the writer reflected the general trends that are dangerous primarily from the point of view of the moral health of the nation.

II. Analytical conversation

What problems does Rasputin pose in the story "Farewell to Matera"?

(These are both eternal and modern problems. Environmental problems are especially relevant now. This applies not only to our country. All mankind is concerned about the question: what are the consequences of scientific and technological progress, of civilization as a whole? Will progress lead to the physical death of the planet, to the disappearance of life? The global problems raised by writers (not only V. Rasputin) are being investigated by scientists, taken into account by practitioners. It is now clear to everyone that the main task of mankind is to preserve life on earth. The problems of protecting nature, protecting the environment are inextricably linked with the problems " ecology of the soul". It is important who each of us feels like: a temporary worker who wants a fatter piece of life, or a person who realizes himself as a link in an endless chain of generations, who does not have the right to break this chain, who feels gratitude for what past generations have done and responsibility for the future Therefore, the problems of relations between generations, the problems of preserving traditions, the search for the meaning of human existence. In the story of Rasputin, the problems of contradictions between the urban and rural ways, the problems of the relationship between the people and the authorities are also posed. The writer initially puts spiritual problems in the foreground, inevitably entailing material problems.)

What is the meaning of the conflict in Rasputin's story?

(The conflict in the story "Farewell to Matera" belongs to the category of eternal: it is a conflict of the old and the new. The laws of life are such that the new inevitably wins. Another question: how and at what cost? Sweeping and destroying the old, at the cost of moral degradation or taking the best what is in the old by converting it?

“The new in the story set the goal of breaking the old age-old foundations of life in half. The beginning of this turning point was laid back in the years of the revolution. The revolution gave rights to people who, because of their striving for a new life, did not want and could not appreciate what was created before them. The heirs of the revolution, first of all, destroy, create injustice, show their short-sightedness and narrow-mindedness. According to a special decree, people are deprived of houses built by their ancestors, goods acquired by labor, and the very opportunity to work on the land is taken away. Here, the age-old Russian question of land is solved simply. It does not consist in who should own the land, but in the fact that this land is simply withdrawn from economic circulation, destroyed. Thus, the conflict acquires a socio-historical meaning.)

How does the conflict develop in the story? What images are opposed?

(The main character of the story is old Daria Pinigina, the patriarch of the village, who has a “strict and fair” character. The “weak and suffering” are drawn to her, she personifies the people's truth, she is the bearer of folk traditions, the memory of her ancestors. Her house is the last stronghold of the “inhabited” of the world as opposed to the "non-thinking, undead" that the peasants from the outside carry with them. The peasants are sent to burn the houses from which people have already been evicted, to destroy the trees, to solve the cemetery. They, strangers, do not feel sorry for what is dear to Daria. "These people are just a blunt instrument, mercilessly chopping on the living. Such is the chairman of the former "village council, and now the council in the new village" Vorontsov. He is a representative of the authorities, which means he is responsible for what is happening. However, the responsibility is shifted to higher authorities that act The good goal - the industrial development of the region, the construction of a power plant - is achieved at a price that is immoral to pay. slyly hides behind words about the welfare of the people.)

What is the drama of the conflict?

(The drama of the conflict is that Daria, her loving, caring attitude towards Matera, is also opposed by her own son and grandson, Pavel and Andrey. They move to the city, move away from the peasant way of life, indirectly participate in the destruction of their native village: Andrey is going to work at the power plant.)

What does Daria see as the reasons for what is happening?

(The reasons for what is happening, according to Daria, who is watching the destruction of Matera with pain, lie in the soul of a person: a person is “confused, completely overplayed”, imagines himself the king of nature, thinks that he has ceased to be “small”, “Christian”, too much of himself "Daria's reasoning is only seemingly naive. They are expressed in simple words, but, in fact, very deep. She believes that God is silent, "tired of asking people," and evil spirits have reigned on earth. "People, Daria reflects, have lost their conscience , and after all, the main testament of great-grandfathers is “to have a conscience and not to endure from conscience.”)

How is the moral ideal of a person embodied in the image of Daria?

(Daria is the embodiment of conscience, folk morality, its keeper. For Daria, the value of the past is undoubted: she refuses to move from her native village, at least until the "graves" are transferred. She wants to take the "graves ... native "to a new place, she wants to save not only the graves, but also the conscience itself from blasphemous destruction. For her, the memory of her ancestors is sacred. Her words sound like a wise aphorism: "The truth is in memory. He who has no memory has no life.")

How is the moral beauty of Daria shown?

(Rasputin shows the moral beauty of Daria through the attitude of people towards her. They go to her for advice, they are drawn to her for understanding, warmth. This is the image of a righteous woman, without whom “the village does not stand” (recall the heroine Solzhenitsyn from the story “Matryona Dvor”).)

Through what is the image of Daria revealed?

(The depth of the image of Daria is also revealed in communication with nature. The heroine's worldview is based on the pantheism characteristic of the Russian person, the awareness of the inextricable, organic connection between man and nature.)

What is the role of Daria's speech?

(The speech characterization of the heroine occupies a large place in the story. These are Daria's reflections, and her monologues, and dialogues, which gradually develop into a simple but harmonious system of people's views on life, ideas about life and a person's place in it.)

We read and comment on the key scenes that reveal the image of Daria: the scene in the cemetery, the argument with Andrei (Chapter 14), the scene of farewell to the hut, with the House.

Teacher's word.

“I have always been attracted to the images of ordinary women, distinguished by selflessness, kindness, the ability to understand another,” Rasputin wrote about his heroines. The strength of the characters of the writer's favorite heroes is in wisdom, in the people's world outlook, and people's morality. Such people set the tone, the intensity of the spiritual life of the people.

How does the philosophical plan of the conflict manifest itself in the story?

(A private conflict - the destruction of the village and an attempt to defend, save the native, rises to the philosophical - the opposition of life and death, good and evil. This gives special tension to the action. Life desperately resists attempts to kill it: fields and meadows bring a bountiful harvest, they are full of living sounds - laughter, songs, the chirping of mowers. Smells, sounds, colors become brighter, reflect the inner uplift of the heroes. People who have long left their native village feel at home again, in this life.")

(Rasputin uses one of the traditional symbols of life - a tree. Old larch - "royal foliage" - is a symbol of the power of nature. Neither fire, nor an ax, nor a modern tool - a chainsaw - can cope with it.

There are many traditional characters in the story. However, sometimes they take on a new sound. The image of spring marks not the beginning of flowering, not awakening (“greenery blazed again on the ground and trees, the first rains fell, swifts and swallows flew in”), but the last flash of life, the end of “an endless series of days of Matera - after all, very soon the Angara at the behest of the builders of the power plant flood the earth with water.

The image of the House is symbolic. He is depicted as spiritual, alive, feeling. Before the inevitable fire, Daria cleans the House, as a dead person is cleaned before a funeral: she bleaches, washes, hangs clean curtains, heats the stove, cleans the corners with fir branches, prays all night, “guilty and humbly saying goodbye to the hut.” With this image is connected the image of the Master - the spirit, brownie Matera. On the eve of the flood, his farewell voice is heard. The tragic conclusion of the story is the feeling of the end of the world: the heroes who are the last on the island feel “lifeless”, abandoned in an open void. The feeling of otherworldliness reinforces the image of the fog in which the island is hidden: All around was only water and fog and nothing but water and fog.

The main character appears to the reader already in the title. “Matera” is both the name of the village and the island on which it stands (this image is associated with both the Flood and Atlantis), and the image of mother earth, and the metaphorical name of Russia, the native country, where “from edge to edge ... enough ... and expanse, and wealth, and beauty, and savagery, and every creature in pairs.")

III. We listen to messages on individual tasks(given in advance): the image of fire (fire) - chapters 8, 18, 22; the image of "leaf" - chapter 19; the image of the "Master" - chapter 6; the image of water.

IV. Lesson summary

Rasputin worries not only about the fate of the Siberian village, but also about the fate of the whole country, the whole people, worries about the loss of moral values, traditions, and memory. Heroes sometimes feel the meaninglessness of existence: “Why look for some special, higher truth and service, when the whole truth is that there is no use from you now and there will be no later ...” But hope still prevails: “Life is for that she and life in order to continue, she will endure everything and be accepted everywhere, even on a bare stone and in a shaky quagmire ... ”The symbolic image of grain growing through the chaff,“ blackened straw ”seems to be life-affirming. A person, Rasputin believes, "cannot be angry", he is "on the edge of a centuries-old wedge" to which "there is no end." The people, as the writer shows, demand "more and more impatient and furious" from each new generation, so that it does not "leave without hope and future" the entire "tribe" of people. Despite the tragic ending of the story (the ending is open), the moral victory remains with responsible people who bring good, keep the memory and maintain the fire of life in any conditions, under any trials.

Additional questions:

1. After the release of the story “Farewell to Matera”, the critic O. Salynsky wrote: “It is difficult to understand Rasputin when he also elevates the far from great breadth of views of his heroes to dignity. After all, it is difficult for them to see a person in a person who lives not even far away, but only on the other side of the Angara ... And Daria, although she has children and grandchildren, thinks only of the dead and considers with an unexpected for the heroes of V. Rasputin egoism, that life ends on it ... Those who accept moving to a new place are portrayed as empty, immoral people by nature ... the truths that were revealed to Daria before the “end of the world” are quite trivial and are not folk wisdom, but her imitation."

Do you agree with the critic's opinion? In what do you think he is right, and what are you ready to argue with? Justify your answer.

2. What role do semantic antitheses play in the story: Matera - a new village on the right bank of the Angara; old men and women - people-"skinning". Continue with a series of contrasts.

3. What is the role of the landscape in the story?

4. By what means is the image of the House created in the story? In what works of Russian literature is this image found?

5. What do you see in common in the titles of Rasputin's works? What is the significance of the titles of his stories?

Korolkova Elena Viktorovna
Educational institution: MBOU School No. 7 named after Berest A.P.
Brief job description:
Publication date: 2017-09-26 Moral problems in A.S. Pushkin "The Stationmaster" Korolkova Elena Viktorovna To update the understanding and evaluation of the previously studied works of A. S. Pushkin, to compare the story “The Stationmaster” with them, to determine the originality of its content and problems.

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Moral problems in A.S. Pushkin "The Stationmaster"

Solved educational problems:

goals for the teacher:

To update the understanding and evaluation of the previously studied works of A. S. Pushkin, to compare the story “The Stationmaster” with them, to determine the originality of its content and problems. In the process of studying the text, lead the students to identify the problems raised by the author in the story, comparing the problems of the story with the biblical parable of the prodigal son, and what determines human behavior in solving difficult life situations.

Tasks for students:

Determine how the story "The Stationmaster" differs from the biblical parable of the prodigal son, find out the peculiarity of the plot underlying the story, name the ways of creating and characterizing the images of the main characters, identify the problems of the work, find out what moral values ​​a person should have, how relationships develop between father and daughter and what should be the relationship between parents and children in the family, the author's position in their disclosure, determine their position in assessing the choice of the moral life foundations of the heroes of the work, as well as in determining their own life principles.

The results of schoolchildren's learning in this lesson:

Personal:

— improvement of the spiritual and moral qualities of the individual;

- the ability to determine the moral values ​​of the work;

- the ability to reasonably choose their own life foundations from the standpoint of their values ​​for people.

Metasubject:

- the ability to understand the problem and the conflict within it;

- the ability to compare various sources of information in order to find a match in them;

- the ability to select arguments to confirm their own position;

- the ability to identify cause-and-effect relationships in determining conclusions and conclusions;

- the ability to analyze the source of information, use it in independent activities.

Subject:

- understanding the connection of literary works with the era of their writing, identifying the timeless moral values ​​embedded in them and their modern sound;

definition in the work of figurative and expressive means of language, understanding of their role in revealing the ideological and artistic content of the work;

- the ability to analyze a literary work: to understand and formulate a theme, an idea, to characterize its heroes, to compare the heroes of one or more works;

- understand the figurative nature of literature as a phenomenon of verbal art.

Type of lesson in form: dialogical.

Technology: communicative-dialogue.

The form of organization of students' activities: analytical work with a literary text, conversation, work with tables.

The main activities of the teacher: the organization of a search analytical conversation, the development of logical thinking, oral and written speech.

Lesson equipment: the text of the story "The Stationmaster", an interactive whiteboard for organizing the work of students with filling in the table, dictionaries to get acquainted with the meaning of some words from the text of the story.

Honor your father and your mother, that your days on earth may be long

DURING THE CLASSES

Pre-text fragment of the lesson.

1st stage. Entry into the topic of the lesson.

The teacher informs students about the topic of the lesson, about the educational material that will be used in the lesson as a source of information, about the general goals and objectives of the lesson, about using an interactive whiteboard in the lesson, about the main activities of students in the lesson (organizational moment).

2nd stage. Preparing students for the perception of a new work.

Teacher: In previous years of studying creativity A. S. Pushkin we got acquainted with different works. Let's remember them.

Teacher:Read the words written on the board. This is the epigraph of our lesson. How do you understand these words?
What does it mean to honor your parents? (Love, respect, do not offend by words or deeds, help them, obey them, take care of them, and also pray to God for them).

The topic of our lesson today“Moral problems in the story of A.S. Pushkin "The Stationmaster". (Write down the topic of the lesson.)
What is a problem?

A problem is a complex issue that requires research and resolution.

What is morality?

Today in the lesson we will try to figure out which act we call moral and which immoral. First, let's look at what morality is.

Chalkboard entry: Morality

Teacher: What did the story make you think about?
Student: On the problem of the relationship between children and parents (Let's write it in a notebook.)
Teacher: The piece is called The Stationmaster.
How do you understand the meaning of the name?
— What is a station in the time of Pushkin?

Student : A station is a place where travelers stopped to change horses.
Teacher:Who were the caretakers?
Student: The caretaker is the head of the postal station.
. Today in the lesson we will try to figure out which act we call moral and which immoral. First, let's look at what morality is.

Moral – 1. A set of norms that determine human behavior // Human behavior based on such norms; 2. Moral qualities, that is, the qualities that determine a person's behavior, his actions, good or evil.

Teacher:- Read what the author says about this position?

Student:“A real martyr of the 14th grade, protected by his dignified tokmo from beatings, and even then not always.”
Teacher: Why does the author call the stationmaster a "real martyr"?
Thus, the stationmaster is an official of the lowest class, whom anyone can offend and humiliate, there is no one to protect such a person, he is used to humiliation and bullying. The main character is the stationmaster, Samson Vyrin, a small, powerless person, no one will listen to him and will hear.
I called Samson Vyrin a "little" person.
What is the meaning of this word?
— What other problem does A.S. Pushkin raise in his work?
Student: The problem of relations between ranks, lower and higher, the problem of relations between the strong and weak of this world, the problem of a “little” person. (Write in a notebook)

Teacher:- Which of the heroes of the story is the culprit of the suffering of Samson Vyrin?

Student: Minsk

Teacher:- What do you think, what is the difference between the image of Dunya and the image of Minsky and what is their similarity? What would I do if I were the caretaker? Why did Minsky do this to the caretaker, because Samson treated him very kindly? Why is he not afraid that the caretaker will complain about him and why does Samson not complain

Disciple: It is useless, since the caretaker is a petty official, no one will listen to him.
Teacher:- What did Pushkin show in the relationship between Vyrin and Minsky? (social inequality, the fate of a little man)
– But there is an episode in the text in which the author shows us that the “little man” Samson Vyrin is morally superior to Minsky. He is an honest worker, a loving father, a man who knows that not everything in this world can be bought and sold, he is a proud person.
What episode are you talking about? (crumpled banknotes)
Why is he still coming back for money? (He is a small man)

A.S. Pushkin was the first in Russian literature to raise the problem of the “little” person, which was continued by N.V. Gogol, F.M. Dostoevsky and other Russian writers. But A.S. Pushkin was the first to do this. His hero is an ordinary man, an official of the lower class, who managed to arouse the sympathy of the reader.

Writing on the board: A little man is a hero of a literary work who belongs to the middle or lower social order, but often has high spiritual and spiritual qualities.

Teacher: The narrator, a young man, Ivan Petrovich Belkin, on whose behalf the story is being told, ended up at the post station.

How did he see Samson Vyrin?

chenik: This is a man of about fifty, fresh and cheerful, in a long green frock coat with three medals on faded ribbons.

Teacher:What qualities in the character of Vyrin would you note? How does this person make you feel? Support your answer with quotes from the text.

Students:Timid - "A real martyr of the fourteenth grade, protected by his rank only from beatings, and even then not always .."

Kind - "How to be! the superintendent gave him his bed, and it was supposed, if the patient did not feel better, the next day in the morning to send to C ** for a doctor.

Trusting - "What are you afraid of? - her father said to her, - after all, his nobility is not a wolf and will not eat you: take a ride to the church.

Vulnerable - “The old man did not bear his misfortune; he immediately took to his bed in the same bed where the young deceiver lay the day before.

Loving - “But I, an old fool, don’t look enough, it happened, I’m not overjoyed; I didn’t love my Dunya, didn’t I cherish my child ... "

What has changed in this portrait? (

“It was definitely Samson Vyrin; but how old he is. While he was about to rewrite my roadmap, I looked at his gray hair, at the deep wrinkles of his long unshaven face, at his hunched back - and could not be surprised how three or four years could turn a cheerful man into a frail old man.

What caused these changes? (All that was good with the father was his daughter Dunya. And when she left with the hussar, he could not understand and accept that the dearest person, for whom he had lived all this time, could do this to him. He was very it was painful and insulting, life became uninteresting and there was no reason to live. The whole meaning of life was in the Dun.)

- But Vyrin himself let Dunya and Minsky go for a ride to the church. Why?

I could not imagine that good will be repaid with evil.

- Did Vyrin try to return Dunya?

Yes, Vyrin went to St. Petersburg on foot and found his daughter there.

Why didn't his attempts succeed?

He cannot fight Minsky. On the first meeting in St. Petersburg, Minsky tries to buy him off, and on the second he kicks him out of the door with the words: “Why are you sneaking around me like a robber? Go away!"

- How do we imagine Vyrin at this moment?

A very unhappy person, humiliated.

– Why does Minsky think he has the right to say to a man twice his age, to his wife’s father: “Get out!”?

A Minsk rich man, an aristocrat, and Vyrin is a “little rank”, a poor caretaker of a postal station.

Why didn't Vyrin go and complain about Minsky?

He has no rights, no connections, he understood the futility of such an attempt.

The sickness and decrepitude of the caretaker are emphasized

one detail. Compare, for the first time: "Here he began to rewrite my road trip." That is, he immediately undertook to fulfill his official duty. On the second visit: “For the time being, he was going to rewrite my travelogue ... he continued to read in a whisper ...” What does this detail draw attention to?

The caretaker, like an old man, hesitates, with difficulty parsing what is written,

He pronounces the words aloud in an senile "whisper".

Notes in notebooks, access to the concept - antithesis.

— In the story, the narrator visits the post station three times. (The first and second visits contain a lot in common. Almost everything is like on the first visit? What do you think?)
No. There was no Dunya, there were no flowers on the windows, and everything around showed dilapidation and desolation.
- And the caretaker himself remained the same or changed? (He has grown old. Gray hair, deep wrinkles of a long unshaven face, a hunched back, a frail old man.)
- What is the reason for this change? Tell me what happened to Dunya?

Student: A young officer arrived at the station, who was in a hurry and was angry that the horses were not being served for a long time, but when he saw Dunya, he softened and even stayed for supper. When the horses arrived, the officer suddenly felt very unwell. The doctor who arrived found a fever in him and prescribed complete rest. On the third day, the officer was already healthy and was about to leave. The day was Sunday, and he offered Dunya to take her to the church. The father allowed his daughter to go, not assuming anything bad, but nevertheless he was seized with anxiety, and he ran to the church. Mass was already over, the prayers dispersed, and from the words of the deacon, the caretaker learned that Dunya was not in the church. The coachman who returned in the evening, carrying the officer, said that Dunya had gone with him to the next station. The caretaker realized that the officer's illness was feigned, and he himself fell ill with a high fever.
Teacher: How does a caretaker start fighting for his daughter?
Student:“Barely recovering from his illness, the superintendent begged the postmaster for a vacation of two months and, without saying a word to anyone about his intention, went on foot for his daughter.”
Teacher:— What is happening in St. Petersburg?
Student: Dunya became a rich lady, but this made her father's life even more unhappy. Father was not even allowed on the threshold. The poor man did not just remain poor - they insulted and trampled on his human dignity. He still remained in the camp of the disenfranchised poor, and it is useless to compete with the mighty of this world.
Teacher:- Why is the caretaker so worried about Dunya, because she lives in luxury and wealth?
Things happen. Not her first, not her last, was seduced by a passing rake, and there he held her, and left her. There are many of them in St. Petersburg, young fools, today in satin and velvet, and tomorrow, you'll see, sweeping the street along with the barn's tavern. When you sometimes think that Dunya, perhaps, immediately disappears, you willy-nilly sin and wish her a grave ...

Teacher: We always talk about Samson Vyrin, but the heroine of the story is Dunya. Make a portrait of Dunya . Tell us, what impression does the girl make on the guest? What words express this relationship?
Student: Belkin was struck by the beauty of a 14-year-old girl, he notices narcissism in her behavior, the desire to please the guest: he even calls her "little coquette." Dunya behaves with a guest without shyness and even allowed herself to be kissed goodbye.

Teacher: How does the caretaker treat his daughter?

Student: With love, he is proud of her. "So reasonable, so agile, all dead mother"

Teacher: Undoubtedly, the narrator is a kind, sincere, attentive person. He draws attention to the decor of the room where these kind people live. What did he see?
Student: The guest is touched by the decor of this poor, but very nice, well-groomed dwelling, pots of balsam, a bed with a colorful curtain, and of course, pictures on the walls depicting the story of the prodigal son.
Teacher: Look at the footnote in the textbook. What is a parable?

Writing on the board: A parable is a small moralizing story like a fable, but without morality, without direct teaching. Morality must be drawn from it by everyone.

Teacher: Let's once again recall the content of the parable of the prodigal son (retelling)
Let's think about why this parable got such a name. To answer this question, let us first turn to the lexical meaning of the word “prodigal”. This adjective is derived from the verb "to fornicate", which has two meanings: 1. To debauch. 2. Wander, wander.
“So, the word “prodigal” combined the direct meaning of the verb “wander” — to wander, having gone astray — and figuratively: to lose moral guidelines, to deviate from the right path of life, that is, to make a mistake.
Why do you think the narrator described in such detail the plot of these pictures about a restless young man who knew sorrow and repentance and returned to his father after a long wandering?
These pictures seem to hint at the future story of the "prodigal daughter", Dunya. And the “venerable old man in a cap and dressing gown” resembles the caretaker himself. Let's compare their path to repentance.

Parable	History of Dunya
1. The prodigal son voluntarily leaves his home with the blessing of his father.	1. The daughter, placing all responsibility on a friend, leaves secretly, by accident, without the consent and blessing of her father.
2. Nobody is looking for him.	2. Does not want to be found and does not provide any information about herself
3. Leads a wild life.	3. Dunya lives in St. Petersburg in luxury and wealth, becomes a mother.
4. Joyful meeting of the son with the father.	4. Afraid of meeting, but then Dunya, already a rich lady, visits her native places, mourning the grave.
5. The son returned home poor and hungry. He repented of his deed.	5. N 5 Avdotya Semyonovna did not return, but went in, Passing by.
6. There was reconciliation with the father and repentance of the prodigal son.	6. Repentance and reconciliation is impossible because of the death of the father.

Teacher Q: Are these stories similar?

Student: Yes and no.

Teacher: The life of the Vyrins is a mirror inverted image of the gospel story.) Who turned out to be happier: the prodigal son in rags or Dunya, smart and rich?
Why?
The prodigal son came to his senses in time, realized the sin, repented and returned to his father, and Dunya did not have time to ask for forgiveness from a loved one. Now she will have to live with a sense of guilt before her father all her life. Dunya repented late, could not hold back her tears in the cemetery, "called the priest", the kind young lady presented the "red-haired and crooked boy with a silver nickel." She has compassion, kindness, and the ability to repent, to admit her mistakes.

- What other problem does A.S. Pushkin raise in his story?

Student: The problem of responsibility for one's actions. If a person has realized his guilt. He must be forgiven with joy, and the one who feels that he is wrong or guilty must necessarily admit his guilt, repent.

Teacher: — Is this topic really relevant today? What examples from life can we confirm this?

Student:

Teacher: — Parting of children and parents is inevitable. It's hard to change anything here. But the betrayal of children has nothing to do with the usual parting.

So, what moral problems does the author raise in his work?

Conclusion.

Summarizing.

Conclusions are written on the board:

5) about happiness and love ...

It is very important to tell parents in time that we love them. We should bring them not only trouble, but love and at least a little happiness. Think about it.

Student: If a person is aware of his guilt. He must be forgiven with joy, and the one who feels that he is wrong or guilty must necessarily admit his guilt, repent.

Teacher: Is this topic really relevant today? What examples from life can we confirm this?

Many lonely elderly people, forgotten by their children, abandoned.

The separation of children and parents is inevitable. It's hard to change anything here. But the betrayal of children has nothing to do with the usual parting.
The destruction of ties with the father's house and the destruction of the house itself is the destruction of the roots of a person, his origins, and therefore, himself. Any of us can be in the role of the prodigal son or daughter. What needs to be done to prevent this from happening to us?
It is important to be able to tell and show our parents that we love them. It is important to ask forgiveness from them in time for the offenses inflicted on them, because the opportunity to say: “Forgive me” may no longer present itself. Remember how you treat your parents, whether you tell them that you love, whether you ask for forgiveness.

Conclusion.

Summarizing.

- What kind of moral problems are in the story of A.S. Pushkin we talked in class?

Conclusions are written on the board:

1) about the problem of the "little man";

2) about the relationship between fathers and children;

3) about responsibility for their actions;

4) pangs of conscience, which testify that a person has not died ...;

5) about happiness and love ...

- Does the story "The Stationmaster" teach to respect and love a person?

Student:This story is very humane, it teaches to respect and love a person. The story of the story "The Stationmaster" is colored with sadness and compassion.

Teacher:- Guys, what conclusion should you draw from our lesson? How should you treat your parents?

Student : It is very important to tell parents in time that we love them. We should bring them not only trouble, but love and happiness.

4. REFLECTION.

Distribution of tasks by groups.

-Now you will work in groups. Each of you will try to analyze the story from different points of view.

1. Theorists.

What events took place in this story? Name the heroes.

2. Critics.

- What bad, tragic for the heroes of the story happened? Why did it all happen? What turned out to be unclear for you, incomprehensible to the end in this whole story?

3. Optimists.

- What positive, bright sides do you see in what happened to Dunya and her father? Do they even exist? Justify your answer.

4. Creators.

- What feelings did you experience while reading different episodes of the story. Argument.

5. Thinkers.

Are the characters to blame for acting in front of each other? And if so, in what? What do you think Dunya should do so that her father does not feel abandoned? Justify your answer.

Homework: 1) Write a lesson for peers "How should you treat your parents?"
or
2) Write a story - the assumption "How did Dunya's future life turn out?"
or
3) Write an essay "An act I regret."

Homework: 1) Write a lesson for peers "How should you treat your parents?" . .

The boundary between the 19th and 20th centuries, or rather the 90s of the 19th century, is the time of the revival of such an unreasonably forgotten trend in literature as romanticism. Classical romanticism that existed in the 18th century was not destined to be reborn in its original form - now it had new features. That is why it was later called "neo-romanticism". Especially vividly romantic tendencies were reflected in the work of the young writer Alexei Peshkov, who wrote under the pseudonym Maxim Gorky. In his early stories, such as "Makar Chudra", "Chelkash", "Song of the Falcon", "Song of the Petrel" and, of course, "Old Woman Izergil", the author puts three main blocks of problems at the head of the plot. First, these are questions of human freedom. Freedom from something or someone, and above all from oneself. This problem is reflected in the story "Old Woman Izergil". Here the author acts as a listener and interlocutor.

In the early stories of Gorky, a large place is occupied by various legends, fairy tales told by old, wise people. Behind them is a stormy life full of events - the life that gave them the richest life experience. Such is the gypsy - Makar Chudra, such is the old Moldavian Izergil. The story is based on three storylines: two legends that contrast with each other and the story of Izergil herself. Gorky believes that the main vocation of a person is to "shine the world", to be free from the low prejudices of the crowd and, above all, from oneself. Larra, the hero of the first legend, became a hostage to himself. He is portrayed as a "superman" - the son of an eagle and a woman. Undoubtedly, he is a strong personality, opposed to the crowd. Being a "superman" Larra became proud, made a conclusion about his superiority over people. Being too proud, selfish, Larra did not put the laws of human society in anything. Putting himself above the crowd, he commits a crime - he kills the girl who rejected him. People, not forgiving such evil, expel it from their midst, condemning them to eternal loneliness. Once, unable to bear it, Larra tried to commit suicide. But not only people punished the hero for pride, the forces from above also punished him, granting immortality: "He has no life, and death does not smile at him." Too late, Larra realized his mistake: a lonely person cannot be happy. So he wanders in search of his death, and does not find it. "And only the shadow left of him reminds of the sin of pride."

The hero of the second legend, the brave and courageous Danko, is drawn completely opposite to Larra. In an allegorical story about people living in a dark forest, Danko plays the role of a leader. Infinitely loving his people, sacrificing himself for the salvation of others, he tears his heart out of his chest to light the way for them. Here, as in the first legend, Danko rises above the heads of his fellow tribesmen: cruel and unreasonable, unable to appreciate his great feat. Coming out of the forest, when everything is left behind, people quickly forget about the hero who died for their sake. According to the narrator Izergil, "only blue sparks flying across the steppe" remind of his feat. This hero, in contrast to the first one, is free. His freedom is expressed in the fact that he lives not for himself, but for other people - for his tribe. He is ready to sacrifice everything that is dear to him and even the most priceless - his life, his "hot heart". Such an act Danko M. Gorky regards as a feat, as the highest degree of freedom, freedom from oneself and the circumstances of the outside world. These two legends are opposed to each other. The "free" Danko opposes the not free, dependent on tradition, pride and himself, Larra.
The second problem solved by Gorky in his early works is the problem of man as a person in general. People are completely different in themselves: who is honest and courageous, and who is stupid and cowardly. The theme of feat and nobility sounds in the story "The Song of the Falcon", written in 1895. The image of the Falcon is allegorical. This proud bird is understood as a man-wrestler: strong and courageous. "Oh, if I could rise into the sky at least once! ... I would press the enemy ... to the wounds of my chest and ... he would choke on my blood! Oh, the happiness of the battle!", - contempt for death, courage and hatred for we hear the enemy in these words. People like Falcon raise people to fight, make them think about their lives and go to defend their freedom and independence: "... you bled to death in a battle with enemies. But there will be time - and drops of your hot blood, like sparks, will flare up in the darkness of life and many brave hearts will be kindled with an insane thirst for freedom, light!"

And, finally, the third problem, which found its solution in the early prose of the writer. This is a confrontation, a challenge of a strong-willed person to the world around him, dullness and mediocrity. Such people, as a rule, have a heightened sense of justice, high moral and ethical ideals. Such heroes are usually opposed to an antipode, an antihero is a person who holds a different point of view, not always moral and moral. Between them, a conflict necessarily arises, which forms the basis of the plot. These are Chelkash and Gavrila in the story named after one of the characters - "Chelkash". The author draws an outwardly unattractive hero - Grishka Chelkash - an inveterate drunkard and a thief. Gavrila is opposed to him - a country boy clogged with life, and therefore not too gullible. At first glance, it may seem that the bearer of truth is the last hero. But how wrong we would be if we didn’t read the whole work! After a successful deed, the heroes divide the proceeds in half. Gavrila, seeing such big money for the first time, could not stand it. In a moment, he turns from a miserable and poor village boy into a greedy and unprincipled one: he throws himself at Chelkash's knees, begging him for all the money. Moreover, for their sake, he was ready to kill an accomplice and throw him into the sea. Chelkash, even if he is both a thief and a drunkard, could never stoop to such a level. Self-esteem, high moral qualities - that's what distinguishes a person from the gray crowd, neglecting such components for the sake of money, profit and fame.
All three of the above problems determined the artistic originality of M. Gorky's early prose. The plot of many of his works is based on the opposition of two ideas, one of which carries the idea of ​​freedom, truth and power. And the other one, which opposes it, is denied by the plot itself as incorrect. Free and strong people are for the most part compared to birds "capable of soaring" in contrast to those whose lot is to crawl on the ground and grovel.

Kuprin's biography was full of various events that gave the writer rich food for his literary works. The story "Duel" is rooted in that period of Kuprin's life, when he acquired the experience of a military man. The desire to serve in the army was passionate and literary in his youth. Kuprin graduated from the cadet corps and the Moscow Alexander Military School. Over time, the service and the ostentatious, elegant side of being an officer turned into its wrong side: tediously monotonous classes in “literature” and practicing rifle techniques with soldiers stupefied by drill, drinking parties in a club and vulgar intrigues with regimental whores. However, it was these years that made it possible for Kuprin to comprehensively study the provincial military life, as well as get acquainted with the impoverished life of the Belarusian outskirts, the Jewish town, with the mores of the “out of place” intelligentsia. The impressions of these years were, as it were, a “reserve” for many years to come (Kuprin learned the material for a number of stories and, first of all, the story “Duel” at the time of his officer service). Work on the story "Duel" in 1902 - 1905 was dictated by the desire to implement a long-conceived plan - "enough" for the tsarist army, this concentration of stupidity, ignorance, inhumanity. All the events of the story take place against the backdrop of army life, never going beyond its scope. Perhaps this is done in order to emphasize the importance and real need to at least think about the problems that are shown in the story. After all, the army is a stronghold of autocracy, and if there are shortcomings in it, then they must be strived to eliminate. Otherwise, all the importance and exemplary nature of the existing system is a bluff, an empty phrase, and there is no "Great Power". The main character Lieutenant Romashov will have to realize the whole horror of army reality. The choice of the author of the work is not accidental: after all, Romashov is in many ways very close to Kuprin: both of them graduated from a military school and entered the army. From the very beginning of the story, the author of the work abruptly immerses us in the atmosphere of army life, painting a picture of company exercises: working out the service at the post, misunderstanding of what is required of them by some soldiers (Khlebnikov, following the orders of the arrested; Mukhamedzhinov, a Tatar who poorly understands Russian and, as a result, incorrectly fulfilling orders). It is not difficult to understand the reasons for this misunderstanding. Khlebnikov, a Russian soldier, simply does not have any education, and therefore for him everything uttered by Corporal Shapovalenko is nothing more than an empty phrase. In addition, the reason for such a misunderstanding is a sharp change in the situation: just as the author of the work abruptly immerses us in this kind of situation, so many recruits had no idea about military affairs before, did not communicate with military people, everything is new for them: “They still did not know how to separate jokes, examples from the real requirements of the service and fell into one or the other extreme.” Mukhamedzhinov, on the other hand, does not understand anything because of his nationality, and this is also a big problem for the Russian army - they are trying to “bring everyone under the same brush”, without taking into account the characteristics of each people. After all, these features are innate and cannot be eliminated by any training, especially shouting, physical punishment. In general, the problem of "assault" appears very clearly in this story. This is the apotheosis of social inequality. Of course, we must not forget that corporal punishment for soldiers was abolished only in 1905. But in this case, we are no longer talking about punishment, but about mockery: “Non-commissioned officers severely beat their subordinates for an insignificant mistake in literature, for lost leg during the march - they beat him bloody, knocked out his teeth, smashed eardrums with blows to the ear, knocked him to the ground with his fists. Will a person with a normal psyche behave like this? The moral world of everyone who enters the army changes radically and, as Romashov notes, not for the better. So even Captain Stelkovsky, commander of the fifth company, the best company in the regiment, an officer who always "possessed patient, cool-headed and confident perseverance," as it turned out, also beat soldiers (as an example, Romashov cites how Stelkovsky knocks out a soldier's teeth along with a horn, incorrectly giving a signal to this very horn). That is, it is not worth envying the fate of people like Stelkovsky. Even less envy is the fate of ordinary soldiers. After all, they do not even have the elementary right to choose: “You cannot beat a person who cannot answer you, does not have the right to raise his hand to his face in order to protect himself from a blow. He doesn't even dare to bow his head. The soldiers must endure all this and cannot even complain, because they know perfectly well what will happen to them then: “But the soldiers barked in unison that they were“ just like that, they are happy with everything. When they asked the first company, Romashov heard the sergeant major of his company behind him, Rynda spoke in a hissing and threatening voice: - Here, someone declare a claim to me! Then I will declare such a claim to him!” In addition to the fact that the rank and file are beaten, they are also deprived of their means of subsistence: the small salary they receive, they give almost everything to their commander. And this very money is spent by gentlemen officers on all sorts of gatherings in bars with booze, dirty games (again, for money), besides, in the company of depraved women. Of course, everyone has the right to rest. But this rest dragged on and took a very perverted form. Having officially left the feudal system 40 years ago and putting a huge number of human lives on it, Russia at the beginning of the century had a model of such a society in the army, where officers are exploiters-landlords, and ordinary soldiers are slave-serfs. Army sysexample essay destroys itself from the inside. It does not sufficiently fulfill the function that is assigned to it. After all, if we look at those people who protect us, that is, at ordinary soldiers, then for sure in the eyes of most of them we will see the reflection of the same words that soldier Khlebnikov said about himself: “I can’t take it anymore, ... ... I can’t, master, more... Oh, Lord... They beat, laugh... the platoon commander asks for money, the detached one shouts... Where can I get it? … Oh, Lord, Lord!” Those who try to go against this system will face a very difficult fate. In fact, it is useless to fight such a "machine" alone, it "absorbs everyone and everything." Even attempts to realize what is happening plunge people into shock: Naznansky, who is constantly ill and went into a binge (obviously trying to hide from the prevailing reality), finally, the hero of the work of the story Romashov. For him, every day the blatant facts of social injustice, all the ugliness of the system, become more and more noticeable. He, with his characteristic self-criticism, also finds in himself the reasons for this state of affairs: he became part of the “machine”, mixed with this common gray mass of people who do not understand anything and are lost. Romashov tries to fence himself off from them: “He began to retire from the company of officers, dined mostly at home, did not go to dance evenings at all in the meeting and stopped drinking.” He "has definitely matured, has become older and more serious in recent days." Such “growing up” was not easy for him: he went through a social conflict, a struggle with himself (after all, Romashov was very fond of talking about himself in the third person), he was even close to the thought of suicide (he clearly imagined a picture that depicts him dead body, with a note in his hands and a crowd of people gathered around him). Analyzing the position of the Khlebnikovs in the Russian army, the way of life of officers and looking for ways out of such a situation, Romashov comes to the conclusion that an army without a war is absurd, and, therefore, in order for this monstrous phenomenon of “army” not to exist, and its it shouldn’t be, it’s necessary that people understand the uselessness of war: “Let’s suppose, tomorrow, let’s say, this thought came to everyone’s head right now: Russians, Germans, British, Japanese ... And now there is no more war, there are no officers and soldiers, everyone has dispersed home". I am also close to a similar thought: to solve such global problems in the army, to solve global problems in general, it is necessary that the majority of people understand the need for change, since small groups of people, and even more so a few, are unable to change the course of history. Appearing during the Russo-Japanese War and in the context of the growth of the first Russian revolution, the work caused a huge public outcry, as it undermined one of the main foundations of the autocratic state - the inviolability of the military caste. The problematics of "Duel" goes beyond the traditional military story. Kuprin also touches upon the question of the causes of social inequality of people, and of possible ways of liberating a person from spiritual oppression, and of the problem of the relationship between the individual and society, the intelligentsia and the people. The plot outline of the work is built on the ups and downs of the fate of an honest Russian officer, whom the conditions of army barracks life make one think about the wrong relationships between people. The feeling of spiritual decline haunts not only Romashov, but also Shurochka. The juxtaposition of two heroes, who have two types of world outlook, is generally characteristic of Kuprin. Both heroes strive to find a way out of the impasse, while Romashov comes to the idea of ​​​​protesting against bourgeois prosperity and stagnation, and Shurochka adapts to it, despite outwardly ostentatious rejection. The attitude of the author of the work towards her is ambivalent, Romashov's "reckless nobility and noble lack of will" are closer to him. Kuprin even noted that he considers Romashov his double, and the story itself is largely autobiographical. Romashov is a “natural person”, he instinctively resists injustice, but his protest is weak, his dreams and plans are easily destroyed, because they are immature and thoughtless, often naive. Romashov is close to Chekhov's heroes. But the emerging need for immediate action strengthens his will to active resistance. After meeting with the soldier Khlebnikov, "humiliated and insulted", a turning point occurs in Romashov's mind, he is shocked by the readiness of a person to commit suicide, in which he sees the only way out of a martyr's life. The sincerity of Khlebnikov's impulse particularly clearly indicates to Romashov the stupidity and immaturity of his youthful fantasies, which aim only to "prove" something to others. Romashov is shocked by the strength of Khlebnikov's suffering, and it is precisely the desire to sympathize that makes the second lieutenant think for the first time about the fate of the common people. However, Romashov's attitude towards Khlebnikov is contradictory: talk about humanity and justice bears the imprint of abstract humanism, Romashov's call for compassion is largely naive. In The Duel, Kuprin continues the traditions of L. N. Tolstoy’s psychological analysis: in the work, one can hear, in addition to the protesting voice of the hero himself, who saw the injustice of a cruel and stupid life, and the author of the work’s accusatory voice (Nazansky’s monologues). Kuprin uses Tolstoy's favorite technique - the substitution technique for the protagonist of the hero-reasoner. In "Duel" Nazansky is the bearer of social ethics. The image of Nazansky is ambiguous: his radical mood (critical monologues, literary work foreboding of a "radiant life", foreseeing future social upheavals, hatred of the way of life of the military caste, the ability to appreciate high, pure love, to feel the immediacy and beauty of life) conflicts with his own way of life. The only salvation from moral death is for the individualist Nazansky and for Romashov an escape from all social ties and obligations.

Explanation.

2.1. The meaning of the title of the novel by A. S. Pushkin "The Captain's Daughter".

The very name "The Captain's Daughter" contains a combination of two worlds: the private and the general. The narrative is dressed in the form of "family notes". The title of the novel emphasizes the indirect relationship of the central characters to history: Masha - the captain's daughter, Grinev - the noble son. All events that take place are evaluated primarily from a moral, human point of view, which is very important for the author himself. The title of the story is closely connected with the image of Masha Mironova. The work affirms faith in a person, in the unconditional value of his feelings, in the victory of goodness, honesty, nobility. All these qualities are embodied in the image of a simple girl - the daughter of Captain Mironov.

2.2. How are pictures of the life of the people presented in the poems of N. A. Nekrasov?

The theme of popular suffering and social inequality is the leading theme of Nekrasov's work. In his works, the people are depicted in two forms: a great worker, deserving of universal respect and admiration for his deeds, and a patient slave, who can only be pitied without offending this pity. It is this slavish obedience that makes Nekrasov doubt the imminent change in people's life for the better.

In 1864, Nikolai Alekseevich Nekrasov wrote the poem "Railway" - one of his most dramatic works. The narrative opens with a picture of nature, written juicy, plastic and visible. The beauty and harmony of nature turn out to be an occasion to talk about the world of people.

Glorious autumn! frosty nights,

Clear, quiet days...

There is no ugliness in nature!

Unlike nature, human society is full of contradictions, dramatic clashes. In order to tell about the severity and feat of folk labor, the poet turns to a technique that is quite well known in Russian literature - a description of the dream of one of the participants in the story.

The censorship understood the explosive power of The Railroad, and the history of its publication and the distortions to which it was subjected only emphasizes the democratism of the work and the correctness of the line chosen by the author. The poem "Railway" remains to this day the most relevant and most cited work of Nekrasov, who predicted a long road to people's happiness.

2.3. What moral problems does N.M. Karamzin pose in the story "Poor Liza"?

In the spirit of sentimentalism, the work of N.M. Karamzin “Poor Lisa” was written. A typical manifestation of sentimentalism in the story is the reflection of the position of an enlightened nobleman who sympathizes with the sorrows of a common man: from this point of view, the author’s words in the story are quite democratic for their time: “peasant women know how to love”. Lisa in Karamzin's story acts as the highest moral ideal. Liza is kind, honest, open, capable of loving selflessly, surrendering to feelings without a trace, she loves with all her being, having dissolved in this love.

In the character of Erast, Karamzin anticipates the type of disappointed person common in new Russian literature. By nature, Erast is kind, but weak and windy. He is tired of public life and secular pleasures, he is bored and complains about his fate. Disappointed in the world, in the people of his circle, Erast is looking for new impressions that he finds in relations with Liza. But he is not capable of deep feelings, therefore, no matter how painful it is for him to understand his "crime" in relation to Liza, he leaves her.

It was to the woman that Karamzin intended to introduce into Russian literature such an important and defining theme as the elevation of the human spirit through suffering. And, finally, it was Karamzin who determined that female images in Russian literature would be educators of feelings.

2.4. Why does Molchalin become Sofia's chosen one? (According to the comedy by A. S. Griboedov “Woe from Wit”.)

Sophia is an extraordinary, deep nature, in many respects different from the people of the Famus circle. She cannot be equated with Natalya Dmitrievna Gorich. Finding Molchalin with Lisa, Sophia is offended in her feelings, and reconciliation with Molchalin is impossible for her. And she doesn’t need “the high ideal of all Moscow men”, she needs true love. The main motive for Sophia's behavior is an insult to Chatsky, who once left her. This is how Isabella Grinevskaya considers the situation in Griboyedov's comedy in her work "Slandered Girl". No wonder Molchalin is endowed with qualities that are directly opposite to Chatsky’s character: Alexei Stepanovich is moderate in everything, neat, quiet, silent, “not rich in words”, he doesn’t have “this mind that a genius for others, but for others a plague ...”, “ strangers and at random does not cut. Frank resentment is heard in the words of Sophia: “Ah! If someone loves whom, Why look for the mind, and travel so far? Hence the slander of the heroine: "... not a man, a snake", her gossip about the madness of Chatsky.