Section Literature

Training research

Secrets and ciffers of the story of Vladimir Nabokova "Sisters Wayne".

Svetikov Matvey

Moscow Gymnasium in southwest 1543, 8 "g" class

Scientific Director: Volzhina Elena Dmitrievna

Moscow, 2011-2012 academic year.

Introduction Page 3.

Basic part of the page 4-8

Chapter one.pages 3-5

Chapter Second. pages 6-8.

Page 8.

List of references: V.Nabokov. "Sisters Wayne" translated by Barabarlo. 1951.

G. Barabtarlo "Oblocation Nabokov". Colombia, Missouri. 1996.

Application. The story of V.Nabokova "Sisters Wayne" translated by the city of Barabarlo. Pages 9-15

The topic of our study research -

Secrets and ciffers of the story of Vladimir Nabokov "Sisters Wayne".

This topic has grown from my passion to the texts of the Nabokov, to understand which is needed a special, insightful reader. This is a fascinating game and a huge concentration of attention to seemingly insignificant artistic details of his works. Nabokov seems to be reminded of each of us that life is always unpredictable, has many unfinished moves, undeveloped relations, accidents, and have not become lawsuit. But if you are attentive to the texts, then in them, as in life, there is their causal relationship, which is sometimes not given to us.

The purpose of our work is

Reveal hidden patterns in the text of the story of Vladimir Nabokov "Sisters Wayne";

conduct a study of text in Russian and English, give your understanding of an encrypted anagram in the final;

find all instructions and hints for the mining of the final phrase in its hidden sound and meaning.

Tasks for research work -

Familiarize yourself with the material of articles on the work of Vladimir Nabokov;

translate a story from English into Russian and compare with the transfer of Gennady Barararalo;

to make a report at the school conference.

Work research methods -

Reading and analyzing special articles and monographs;

working with the text of Vladimir Nabokov and the transfer of Gennady Barabtarlo;

discussion of work with the supervisor;

speech with a report at the conference, renting work at the department.

Exemplary results and conclusions:

The story "Sisters Wayne" can only be understood when the cipher is found, which is almost every work of the Nabokov;

such a cipher turns out the system of landscape tips, drops, shadows, the image of gifts sent by the hero; In addition, there is a message from the mother and the search for a hero of some acrostich;

the keys are folded all the place lead to the most acrosthip in the last phrase.

Introduction

1. Required accession

The purpose of my research work is to consider and analyze several recipes for the story of Vladimir Najokova "Sisters Wayne". The word reception, having a Latin origin, has such synonyms as perception, interpretation. Under the word "receptions" means not only the attitude of the Nabokov to the text created by him, but also a number of its other readings (refusal to take a story "Sisters Wayne" publisher of the news "New Yorker" Catharina White, modern interpretations critics).

What is the complexity of this text? Why does this story cause such much attention from literary critics?

2. Researchers about the complexity of the conversion of the story of the Nain Sisters "

Gennady Aleksandrovich Barabtarlo (he is the author of the most successful translation of the "sisters Wayn") repeatedly addressed this story Nabokova: in the preface to transfer the cycle of the story of the Nabokov "Jul and Delay" Barabtarlo writes about the complexity of the translation:

"I must finally say a few words about the translation of the" Sisters Wain ", the translation of all the stories of Nabokov, first of all, because the last paragraph represents his acrostic - the key to a completely different measurement of the story. Such a piece, wrote Nabokov in prevailing to one of the publications, can be afforded once every thousand years. But to translate the "such thing", of course, it is still more difficult than to compose, because it is absolutely impossible to transmit a literally as if two-dimensional text, where, except for the length, there is a depth, where there is a set of lock at the gate, and the only combination is hanging Dispiring his numbers should also form a harmonious-increasing row. But, however, it is possible to reproduce both the function, and to some extent, the mechanism of final acrosth, resorting to different tricks and auxiliary constructions. So on the theater of shadows, the silhouette of a double-headed eagle, formed by the projection of it stuffed on the stretched canvas, can be reproduced quite similarly by whimsically twisted fingers of both hands. "

In a book dedicated to the creativity of Nabokov - "Obokova's writing", he is trying to understand the reason for refusal:

"His book is usually crossed in two or three plans that he tried to explain by Catharine byte with bitterness, which, as already mentioned above, did not notice the lining in the" sisters of Wayne "and, having decided that the story was nothing more as a phonologist, refused print it. "

Alexander Dolinin wrote about how in the story of the Nabokova can be found alluszy ("These Allusions to Proceedures of Deciphering and Acrostical Reading Conjoints to Decoding: The Are Supposed to Alert The Reader To the Acrostical Code Used for Encrypting The Relevant Information and Make Him Apply It To the Stylistically Marked Passage At The Very End of the Story »). In addition to Barabarllo and Dolinin, one of the most famous researchers of Creativity Nabokova, Professor of Yale University, addressed the story "Sisters Wayn" Alexandrov. In his book "Nabokov and Otwest," he mentions the story of "Söstra Wayn" and briefly explains the intervention of the otherworldly in the artistic world of the narrator ("Something similar to the" sisters "occurs: the narrator does not pay attention to the fact that the last paragraph of the same story has appeared Message from the sisters from the world outlined in the form of acrostich ").

3. History of creating the story of Vladimir Nabokov "Sisters Wayn"

This story was written by Nabokov in English in 1951 at the University of Town Ithaca near New York. In this town Nabokov taught and lectured in Russian and foreign literature. This is what the percentage of his lectures R. Yortman recalls: "I was on three or four Nodokov lectures, but I also remembered the pieces of two of them; One was about Flauber's "Mrs. Bovari", another about the "transformation" of Kafki. He was constantly moving from killer generalizations and judgments about the Pantheon of the Great Writers and the opinions of other commentators for the smallest detail, commenting on the use of one or another word in French, German or English texts. " The work of Nabokov is tied to the place of his stay while writing "Sisters Wayn", and you can see that the city in the story is a real city of Itaca. By type, both cities are similar: university, small, on geographical reliefs ("During my usual evening walk through a hilly town ...", and the city of Ithaca Harmist).

4. Place the story "Sisters Wayn" in the work of Vladimir Nabokova

The story takes an important place in the work of Nabokov. G. Barabatarlo: "One of the main departments of metaphysics Nabokov is a gnostic sense of pneumatology. (Pneumatology - the knowledge of knowledge about the spiritual entities and phenomena of man). In many of his stories and novels, an experienced eye will distinguish the second plan, sophisticated finely, almost empty woven into the text. Nabokov acknowledged the presence of this duality in an important letter to K. Byte, the publisher "New Yorker" and his friend. " The story is an important part of the collection "Jul and Delay", consisting of 14 stories: 3 written by Nabokov in Russian, one translated by Nabokov himself from English, another one from French, 9 translated Barabarlo. He writes why "Sisters Wayne" in the collection last: "The case here is not only in the desirability of equilibrium at both ends of the book. Both stories are written on the first person of a person extremely observational; In both unusually thin layer sorrow; In both of the unexpected death of a woman, about which the narrator learns indirectly. But in the "sisters" there is a firmly spent, although the uninhabited eye is invisible, the other plane, and in this plane is angry with Mother's details, the French professor turns out to be a soul to the soul of And the Atlantic Ocean. "

Main part

Chapter one.

1. Who is a special Nodokovsky reader?

Who is the written text, according to the plan of Naboka? And what is the reader of prose Nabokov? Here is a circle of questions that I hope to illuminate during my research work.

For a greater understanding of the designated problem, I will add to the book of American literary critic of the Russian origin living in Missouri, Gennady Barabtarlo "Obokokova", published in 2011.

In his book, the author writes about all sorts of labyrinths of Nabokov texts, wandering for which without escorting his own intuition and intellectual attention can be a victim of the draw - riddles without a solution. In the preface to its refinement, he writes about the concealing of the art of Nabokov, that "even the experienced readers pass by, without noticing anything for themselves notable, despite the rapidly growing pyramid of benefits and guidebooks." How to become a "insightful" reader?

2. Gennady Barabarlo about Nabokovskaya Prose

According to the researcher, "the main driving force - in addition to the most acute pleasure from the very work of the work, which is what the writer is insignificant equal to the brilliant, it was a secret course of earth extermination and events, to observe a permanent current of consciousness and variable time, and in Their figure is to guess an accessible imagination meaning of all: the final destination and the unimaginable and inexpressible, that there can be neither the subject of knowledge nor the study, but alone.

Nabokov himself called his technique of writing "Wonderful happy," his "religion."

Nabokov texts require special skills to navigate the terrain. He has index signs in the form of "silent shooters", the tracker reader, "will notice the unobtrusive repetition of characteristic features, paintings and regulations", forming the right binding of thematic lines. " This pattern is the feature of the Nabokov.

The cipher is clear only when repeating the elements of some topic of the Nabokov - a deep and original writer. "Specially trained his reader" can "look at the whole complex of artistic works of Nabokov in two languages."

With "sophisticated, skilled persistence of Nabokov, all his life was looking for the form of an almost mathematical expression", which allowed the message of the world of fictional and real, he tried to open "the truth not only about the local world, but also about the neutden

Nabokov describes the sake of acute pleasure to look at the world through the eyes of an exceptional hero, often vicious and cruel. This, Nabokovsky, the reader should not confuse the view of the author's world and his hero, who is worn or perverted, criminal or infantile.

3. Love formula Nabokov in the form of plots and character

Nabokov wrote all his life about love and tried to express her in such a triade:

zorka to greed, absorbing images of love for the creature world, in all its macro- and micro-forms, to large things and small, unnoticed and unfinished before, but asking to be described again and accurately;

the love of the "first person of the only number" to the second and to the third (there is the whole strategy of "other coasts"), and the transfer of this love on others, mainly through unobtrusive compassion and soft-grade;

mysterious love for invisible and incomprehensible, based on an inexpressible, but also an insurmountable faith in the fundamental divinity of the world, or worlds - what is around us, what is inside us and what is outside of us, i.e., the world of open feelings, The world of the soul and peace of others.

4. Gennady Barabtarlo about the technique of Nabokovskaya prose: ciphers, tips, hints, uachels

This is a naoca poem about how the text is created and how its reader can understand without damage.

Restoration

Just think that any fool is accidentally space-time to break through the fabric

Spider. Oh, window in darkness! No, think that the mind of everyone stands on the verge of happiness

Unbearable and without a name. Is that the mind will not be shocked by his open

As if someone had learned to fly, and suddenly opened with the second attempt (in the bright bedroom,

One) that there is only a shadow of yours - and, waving, soak. I know one poet: he knows how

Remove the peel with the Ranet Ile Sinap so as not to tear the knife never so that

Suddenly, miraculously appeared as if snowball rotating under his agile finger.

Here so and I will ever expose, and, by turning inside out, I will reveal all

And test the whole earth, the whole window, all shir, and all

Grieving, and the whole inexplicable world to walk to hot, genuine basics.

So the lycari paintings of the vintage cleaved the door somewhere in the depths, Ile on the curtain Soot,

And the prospects for blue are arranged.

5. Gennady Barabtarlo about the translation of the story of the Nayn Sister "

The translator beat over the last paragraph for a long time, and his "acrosth is a literal translation of the English cipher." The author is happy to admit that in a lexical attitude of this "The option of the final passage coincides with the original by more than a third that when described constraints may seem even luck. About other things I do not judge. "

Chapter Second.

1. Analysis of the story "Sisters Wayne" at the level of the genre, plot and literary alluzi

1. Analysis of the first chapter of the story

1) The main character (the story is written in the form of the hero's memories) the reader seems near, ordinary and even stupid. It also thinks about his hero and Nabokov ("My FRENCH PROFESSOR, A SOMEWHAT OBSERVER" from the letter to the publisher of Catharina Weit, translation: "My professor of French is a stupid scientist and a rather stale observer").

2) From the very first rows of the story, the reader is intrigued - he does not understand who is such a Qing, who is D., as a storytellery with them. In this feature of the genre chosen by Nabokov, the genre of memories. Nabokov often applied to the genre of memories, probably because he himself was expelled from Russia, fled from France to the last flight to America before the occupation. He himself wrote his memoirs, appealed to his past. Because of this, his heroes also appeal to their past in his stories.

3) It is interesting to notice that the heroine of Sibylla Wayne, or rather her name, borrowed from the Roman Oscar Wilde "Portrait of Dorian Gray". In Wilde's novel, the actress Sibill was rejected by Dorian and committed suicide. Oscar Wilde is zingtia during one of the spiritual sessions and accuses her parents in "Plagiatimm":

"Oscar Wilde and the French patter who aburred mistakes and ordinary British, vigorously accused the deceased parents of Zingthia in something that in my records appears as" plagatives "."

You can still see allusion on Dorian Gray in the image of Mr. D., who also rejected Sibilla, as well as the hero of the "portrait of Dorian Gray", after which Sibylla and in the Wilde Roman, and in the story of Nabokov, the life of suicide.

4) At the very beginning of the work, the main character is looking for shadows from falling droplets from the icicles, but can not see this moment:

"Their pointed shadows have been clearly diverged on white boards behind that I did not doubt that even the shadows of falling drops can be peered. But this did not succeed in any way. "

The shadow of icicles, from which a drop is broken, reminds an exclamation mark. These shadows are warnings from spirits, from Zingthia. Osserves trying to prove to him that the existence of spirits is true, to warn about the meeting with D. And the fact that the narrator looks not at that icicle at the time of the fall of the drop, means that warnings he does not see or cannot see because of his stupidity:

"And when I looked up, on the cornice adjacent to the house of the garage, where the full range of transparent stalactites hung with blue silhouettes behind, I chose on one of them and was finally rewarded, seeing an exclamation mark, who left the exclamation mark His ordinary place and very quickly sliding down - on a brief moment before the dropper itself, with which she competed by chairs. " The main character is stupid, as he sees a spectacle (shadow similar to an exclamation mark) only a fun surveillance, no more. He does not try to find some hidden context, ignores signs.

"The skinny ghost is an oblong shadow, discarded by the car parking counter on the wet snow - was a strange vargent shade."

RDYAN - the color of the blood, the color of death, and from the final acrostich, the reader learns that the counter is the shadow of the spirit of Sibilla. The narrator is going to find the same shadow, only in a neon-blue shade. He does not see a sign again, but sees only fun, passing by the main thing, that is, by allocations in the spirit of Sibilla, which was the same skinny as this car counter.

6) Also, such an allusion on the supernatural can be considered many details of the landscape, for example, the fact that the chief hero is surrounded by the dark-eyed figures from the dead snow:

"Standing, dark-eyed figures from dead snow (left on Friday Plow bulldozer) lined up in a row along the panel as rudimentary penguins over the trembling brilliance of the rustic flowing streams."

These figures are allleusing on the shadows and spirits. Around the narrator is formed a circle of subtle signs, hints for the presence of perfume.

"... And after an ordinary exchange of cheerful banalities, an inevitable vacuum was formed, which he filled the first to those who were overpowering:" And you know, now I have never thought that Zinthia is a sick heart. I my lawyer said that she died last week "" .

It is important that D. said the "first overvalued words". Completely by accident saying this phrase, he changes the course of events completely differently. And if you consider this case from the logic of Zingthia (and according to its logic, the spirits of dead friends and friends affect the lives of people and change the slightest details in their lives), then these are works of spirits who send fate of people.

2. Analysis of the second chapter of the story

1) After a conversation with D., the narrator begins to remember what happened before. The first thing hero recalls the exam frenchwhich was held on the eve of Sibilla's suicide:

"I remember that the next day I was sitting at the table on the elevation, in a large classroom, where the course of Sivila's suicide was conducted a coursework on French literature."

Sibylla poisoned himself poison. But before killing himself, she wrote a suicide letter, which placed in his notebook to be written in French. This act shows some death theatricality. She completed life too ironic, and this irony is visible in a suicide letter: "Cette Examain Est Finie Ainsi Que Ma Vie. Adieu, Jeunes Filles! Please Monsieur Le Professeur, tell Ma Soeur that death is no better than D with a minus, but still better than life minus D..

2) In the passage of the memories of the hero, we learn a lot about Sibylla: About her appearance, style, handwriting:

"In continuation of one hundred and fifty minutes, my gaze stayed on it, such a kinderlike dress in his cramped gray dress, and I looked at her diligently laid dark hair, a hat with miniature flowers and a hyaline veil, which we wore in that season, and for her small the face covered with scars from the skin disease and due to the reminder of a cubist picture, despite the miserable attempt to hide it with a tan from the artificial solar lamp, why the features of the face were puzzled, and the charm of him was even more injured because she put all that could be added, so Pale gums of teeth between cracked cherry-red lips, and even diluted blue ink eyes under the tailored of the centuries were the only access, through which her beauty was opened. "

The narrator does not talk about the character of Sibilla, about her personality. It is more important for him.

3) The narrator tells about the death letter of Sibilla, which led him to acquaintance with her sister, which again can be considered a certain invasion of the world's usual for the hero. Acquaintance occurs quite ridiculous, because Zingthia is found with the main character for the first time, and the reason for their acquaintance is the tragic incident.

4) In the main hero, it is possible to notice the nontactivity that goes into stupidity, for example, when he bringing the Zinthia of a posthumous letter of Sibilla, draws the heroine on grammatical sister errors:

"... And they deepened again into the study of the death mention, after which I had to point it to the grammatical mistakes in it and explain how the word" girl "is translated from the fear of American colleges that students will decide the French equivalent of" Girls "or worse."

3. Analysis of the third chapter

1) In the third chapter, the narrator describes the Zingthia and tells about the beginning of their communication, in parallel with this in every way criticizing and showing Zingthia from the negative side. He in every way rizuels her appearance:

"In her lovers, she had: a not surpassed young photographer, suddenly the worried laugh, and two older men, the brothers who owned a small typographic institution across the road. I was invisible to their taste whether it happened to me with a secret conjugation to see there and the running strips of black hairs, tagging through the nylon stocking along the entire length of her pale shin with scientific disclosure of flattened under the glass of the drug. "

2) The hero draws attention to the stupidity of the guests of Zingthia, their relationship, he is bored in their society, with his stupidity he does not see. It is emphasized and a kind of magical beginning in Zingthia, when it is mentioned that her race dates back to Princes and Cudsshers:

"It is quite possible that her genus dates back to the princes and curb in the foggy islands on the edge of the world."

3) In the same chapter, the mention of spiritual sessions appears, and in fact, this is the first man in the artistic world of the story. The narrator though frankly mocking up the faith of the Zingthia into the afterlife and the influence of the world's real world, but himself is the guest of its spiritual sessions and a member of some "applances" of the shadow of Sibilla, they manifested themselves in the shallow revenge Mr. D.:

"And so, in order to please her shadow, Zinthia resorted to a few primitive sacrifice (nevertheless there was something from the Sivillic humor in this) and began to send it to the address of D. through deliberately irregular intervals of various nonsense, somehow: photographic snapshots grave sisters with weak lighting; Trimming their own hair indistinguishable from Sivillic; detailed map New England, on which the cross was marked by a place between the two immaculate towns, where the twenty-third of October, the range of broad daylight, D. and Syville stopped in a roadside hotel of non-strategic rules, in a pink-brown forest; And scarecrow skunk (twice). "

4. Analysis of the fourth head of the story

At the end of the fourth chapter, an image of ciffers and typos appears, that is, games with the words:

"I looked through the ancient books for finding such magical typos as" l "instead of the second" H "in the word" Hither ";

"Finally, I regret that I can not remember that novel or the story (some modern writer, if I'm not mistaken), in the last paragraph of which the first letters of words were unknown for the author, for the interpretation of the Zingthia, to the message from his late mother."

This undoubtedly allusing in acrosth at the end of the story of Nabokov.

5. Analysis of the fifth chapter of the story

1) In the fifth chapter, the storytellor describes in detail the session with a spinning table, the reader is visible somewhat negative, or rather, the mocking relationship of the main character to these sessions:

"How neither sad, Zingthi was not satisfied with these ingenious fantasies and had ridiculous weakness to spiritualism. I refused to accompany her to sessions in which paid mediums participated: too well, I was aware of the similar kind of things on other sources. "

He does not believe in anything, he considers it stupid and goes to sessions for the sidra, which is poured there, that is, his image is folded as a manual image. He is not interested in conversations about spirits, religion, he comes only to sit in the dark corner and drink cider.

2) At the end of the same chapter, the narrator passes from the story about the parties of Zingthia to his letter to her, where he drove over some of her guests:

"After another such party, I wrote to Zinthia completely harmless and in essence a friendly letter, in which he had slightly podded in the Romanesque spirit over some of her guests."

The hero himself calls a letter of harmless, but it leads to a quarrel between Qintia and him:

"What a strange zinthia! I was told that she could be monstrously rude with those who are located and experiencing respect; However, it was necessary to carry out a border somewhere, and since by that time I had already enough to study her curious auras and other Shura Mura, then I decided not to meet with her. "

3) It is tactless on the part of the main character, because he ceases to communicate due to the fact that he is simply tired of the oddities of the Zingthia, he cannot be explained with it, but simply disappears. His pride and cynicism make him stop communicating with Zintia. In this act, the character of the narrator is visible - he is childishly superficial and does not know how to forgive the characteristics of the human person.

4) This endages the immersion in the long-lasting past of the narrator and the decisive part of the story begins, where it faces disbelief in the otherworldly and at the same time fear of him. This happens immediately after the return of the storyteller to his home.

6. Analysis of the sixth chapter of the story

1) The entire state of the hero at this moment expresses extreme psychological tensions, he is afraid of Zingtia, because he cannot believe even that the afterlife does not exist. It is located somewhere in the middle between faith in anything and the complete denial of this faith, which indicates its categorization as a person:

"Going to the porch, I with a prevalence of loneliness looked at the inherent darkness in two rows of windows: the darkness of the absence and darkness of sleep. In relation to the first I could still do something, but I could not reproduce my second. I did not feel safe in bed: my nerves just joked on her springs. I plunged into the sonnets of Shakespeare and caught myself that as the last Dick I check if the first letters of a line of some word with a secret meaning were formed. "

2) There is a certain duel between the main character and Zintia: "I decided to fight the Zingtia." The main character continues to be afraid of the ghost of Zingthia, but with the onset of the day ceases to experience fear and considers itself a winner in this "tournament":

"I was disappointed. Being now in the safe blossom of Bloom, I told myself that I expected more. She, the master of clear how glass details - and suddenly such a vagueness! "

In fact, the main character simply does not notice any signs or hints:

"I began to re-read my sleep in the back of the chance, diagonally, bottom to top down, trying to catch something in him, unusual, some hint, which should be there."

2) And the main character thinking that he won, turns out to be a loser, while not recognizing his lesion. After all, he did not feel anything for himself, did not understand the lesson who presented him with Zingthia. He did not understand, did not believe that there were spirits. And, perhaps, in this tournament there are no winners or losers: Zinthia could not convey to the main character of the essence of the supernatural, and the main character could not understand anything.

3) and all explanation of this ignorance is the last paragraph, which is encrypted with across:

"Consciousness refused to connect the escape lines of some kind of overhang-cloud, tomitative color, illusory, intangible. Trivial allegory, idiotic acrosthih, jurisdiction - what if theoopathic nonsense and witchcraft have mysterious meaningfulness, barely scheduled? I focused, and the vision was hijacked, falsely-radiant, amorphous, "decoding" Icicles from Zingthia, and a meter from me. Sibyl".

4) In the paragraph there is a visible attempt to see something, but nothing works, and only after deciphering this paragraph reader, an understanding of the entire story comes.

2. Nabokov about their story and its cipher

Nabokov himself treated his product enthusiastically, what we can learn from His correspondence with Edmond Wilson, his close friend who was a famous critic and writer. I give a letter here to Wilson, dated by the 13th day of June 1951: "New Yorker" refuses to print the best story of all, me written. " Nabokov implies in this correspondence "Söstra Wayne" story.

2. Explanation of the Native Meaning of the story

1) What was the failure to print this story? On this…

It seems no one ever argued and does not argue about how to teach chemistry or geometry at school, - disputes about school course Literature is incorporated.

What study clocks to cut, and what to add, whom from the writers "pass", and who is not necessary, on what to do accents in the analysis of certain works, and what is not worth it - the opinions on this expense still face and change Weather change in the yard, and sometimes changed on the complete opposite. The chronicle of these battles is very entertaining and could by themselves to make a subject of study in high school, although it is probably the shortage.

What does the Teacher of Literature teach, taking the Allies of Pushkin, Gogol, Dostoevsky? Let us discuss the topic with the teacher of the literature and the Russian language of the gymnasium N 1543 of Moscow by Elena Volgin.

No reading can lead to imagination atrophy

Do not consider a question to stupid or, on the contrary, overloaded philosophy, I'm just wondering how a teacher of literature is responsible for him: why do you need to read books?

Elena Volzhina: I work for a long time at school, almost forty years. And it seemed to me that the answer to this question was why to read? - from the field of ethics, maybe aesthetics or from the scope of personality formation. And recently, I read studies of scientists from the University of Emory, which proven that reading increases the number of nervous bonds in the human brain: there is a sharp change of species of nervous activity and the nature of blood circulation. When reading, the blood enters into those areas of the brain that are not involved when viewing a TV or computer - these are already conclusions of Oxford scientists. So reading affects neurons.

That is, on physiology?

Elena Volzhina: Yes. Not reading books does not involve the region of the cerebral cortex, which is responsible for the transformation of the icon in the image, the image - in the Association, the association - in their own emotional experience and in the behavioral situation. Lack of reading can lead to imagination atrophy. It has long been noted that the visual consciousness of the last generation of children brought up by a computer picture is virtued virtual. It is not necessary to wake the imagination and draw the world itself in the pictures and images - for you did any gadget, take and use it. Visual consciousness because of this becomes passive, deprived of permanent training. As a result, a person is formed, but what? It is not yet known to us that it will become with a human breed in two or three generations after people deal with reading books.

Survive with Robinson, think together with him

What, in your opinion, teaches literature?

Elena Volzhina: The word "learn" is slightly compromised.

Maybe it is generally inappropriate here?

Elena Volzhina: It appropriate in the sense of formation of emotional, intellectual experience. Literature teaches the language of thinking, the language of imagination, the language of concepts and thus contributes to the formation of the personality. I can not say that each of us, teachers-verders, during the lesson every minute thinks about the formation of a person - this happens by itself, grade. But the fact that literature affects personality is a fact that has been repeatedly confirmed by pedagogical practice, including my own. One of my student did not want to read the books and teach poems: "I can't teach poems, my memory does not work, I will never remember any poem, and I read dictionaries from books, I am enough." It took a year and a half. And after we read the "Travel of Gullyer", he approached me shocked: "Elena Dmitrievna, you can not imagine how the literature changed me!"

How old is he?

Elena Volzhina: Now twelve, it is the sixth grade. He constantly argues with me. I tell him: "Oh, how you caught the argument!" And he learned to say, thanks to reading, and this is another it is an important feature. That literature changes people, you understand not in the first year of work, and after fifteen years old, when your students grow up, and you are already in friendly relations, they tell you the things that you awkward to hear, because it seems to be a rough flattery, but You notice that in fact something has changed in them. Someone became softer, thinner, someone, earlier self-confident, began to doubt himself, someone became just an interesting person, much smarter than you, and I want to listen. Literature changes consciousness. Locked him, makes free. We recently finished reading the swift. And before that there was a defio. Our entire sixth grade is travel literature, Robinsonad, Odyssey. My colleagues with my colleagues - to open the space of history and geography to children, pull the child from a cozy chair, where he, chewing a sandwich, reads Harry Potter, and throw him into the world of the 37th parallel Jules Verne. Or make survival with Robinson and think together with him, above the question of Friday: if the Lord is such an allocator, then why did he create a devil? And come to the awareness that, asking yourself the most important questions, you yourself often use ready-made stamps, cliche instead of answers. And then there was a Swift, and, reaching Gullivier in the country of Laputan, we were pretty having fun, being among these "scientists" and their projit. Immersed in the absurd world of the novel of the Swift, we learn ironically to refer to the insane searchlights of our time and understand that other of those who betray themselves for science figures trying to get sunny energy from cucumbers, there are real Laputians. And we laugh at them. This is freedom? This is freedom. And then we read about the car, in any order of ejection words, from which the Laputians are folded first offers, then texts. And Sergei Kuzmin tells me: "Elena Dmitrievna, this is a mockery of the eighteenth century over future abstract art." Children reading are other children. They think Associatively and understand that the literary classics, telling about the past, always leads a conversation with us about the present.

So funny these shaman dances over the school program

Today's school program on literature - she, in your opinion, helps or prevents the formation of free consciousness?

Elena Volzhina: I am so funny to these shamanic dances over the school program. No matter how participants in these dancers argue, whatever paper swords are neither trying to cross, nothing with the Russian classic can not be done. She was and will remain our school curriculum. And you never displacing Pushkin, Tolstoy, Dostoevsky.

Where did the conversation come from that "war and peace", "crime and punishment" do not need to study at school?

Elena Volzhina: The question was set somewhat differently: they say, these wonderful works are quite complex for understanding, you need a smart teacher who would be a guide between the text and the student, and we have such teachers, unfortunately, less than we would like. And one famous official directly stated that he was reading "crime and punishment" at his sixteen and felt boredom, therefore, therefore, therefore, it means that it was not necessary to include this novel in the school curriculum.

In your gymnasium there has been a reduction in school hours on literature lessons?

Elena Volzhina: We have the same amount of hours as before.

Is it a sufficient volume?

Elena Volzhina: Sufficient. And this is a huge merit of our administration. Why is N1543 gymnasium, according to ratings, the first in Russia in philology? Because the administration understands the role of literature in the life of every child, in what kind of profile class he has learned - a humanitarian, mathematical or biological.

You have a student has the right to say: but I can not learn ... Well, let's say, "poems about the Soviet passport", and instead of them, learn another poem?

Elena Volzhina: If the taste allows him to choose something more worthy, I will go to meet him. I just never forcing you to teach "poems about the Soviet passport." In my younger classes, children are reading their favorite poems every month. And from the ninth class, poetic tests are regularly held. Lechermont ended - be kind, ten-fifteen his poems learn by heart. Anyone. Or from Pushkin - Sixteen-eighteen poems try to remember. To choose from. And in the eleventh grade, the silver age begins: Gumilev, Akhmatova, Mandelstam, Tsvetaeva ... You can not imagine what the happiness lessons are this watch for children!

All Russian literature is permeated by the Spirit of Orthodoxy

From time to time, it is possible to introduce the subject "Basics of Orthodox Culture" in schools. Opponents of this innovation are argued their position as follows: "It is enough that the children study the works of Pushkin, Lermontov, Gogol, Tolstoy, Turgenev, Goncharov - all Russian literature permeated with the Spirit of Orthodoxy." Are you in this dispute on whose side?

Elena Volzhina: There is nothing wrong in telling children about the basics of Orthodoxy and Christian parables. Any word of the word or other is to engage in religious enlightenment, explaining, for example, when reading the novel "Crime and Punishment" the meaning of the parable of the resurrection of Lazarus. Another thing is that intelligent and educated people do not always speak as enlighteners. And then there may begin that in the royal gymnasiums occurred in the lessons of the law of God - and the rest of the needles of the Batyushkam, and the composition of insulting chastushki ... when a teenager impose something, he resists. Therefore, I for the Orthodox Culture, if someone thinks that it needs to be taught, the books of our classics should be in school. The Russian philosopher Nikolay Berdyaev wrote: "Our whole literature was injured by a Christian theme. The connection of flour on God with a torment about a man makes our Christian literature even when Russian writers retreated from faith. " And indeed it is. Russian literature is Orthodox in its spirit and is capable not only to illustrate, but also to reveal the children high gospel truths. How to understand the story of Pushkin "Stationander" in the detachment from the details, namely, from those pictures that they hung in the samson samson? There are four plots depicting the history of the prodigal son. Last picture - repentance. He stands on his knees in front of his father, who takes him and rejoices his return more than the constancy of the older who always helped him. The image of the Duni outside this biblical plot loses a lot. And the Gogol world, where is a person always the object of transcripts of the unclean? The pious vacuum in the "Evenings on the farm near the Dikanka", grasping the feature behind the tail and crossing, subordinates him. And Lermontov? Recall the famous landscape in the "fatalist" when Pechorin returns from the Cossack Stanny, looks at the starry sky and thinks that there were no time people wisely, confident that heavenly take part in their earthly affairs, defining life. And we think the hero, their pitiful descendants, wandering around the ground without beliefs and pride, without pleasure and fear. Pechorin is sharply experiencing the loss of faith that destroyed his personality, forced to spend his immense forces on insignificant actions. And Dostoevsky? It is impossible to understand it outside the religious context. "Brothers Karamazov", "Crime and Punishment", "Idiot", "Poor People" ... All this is the foundations of Orthodox culture.

If officials went to us for lessons, they would write other circular

How is the school program on literature ideologized today?

Elena Volzhina: It is not ideologized at all. What such special ideology can be filled, for example, "Captive daughter"?

Well, "spiritual fastenings", "upbringing of patriotism" ...

Elena Volzhina: The "Captain Daughter" is also present both, and a lot of things useful to educate a person, but this story is not at all necessary to serve under such a sauce.

How else? The ideological sauce of literature in schools has always seasoned: Pushkin - "Enemy of autocracy", Nekrasov - "Experience of serfdom."

Elena Volzhina: Yes, yes ... there was a lot of jokes on this topic. Pushkin is the first Bolshevik, because he first said: "October has come ..." All these are nonsense, over which you can laugh.

You want to say that Onegin is no longer a "extra person", and Katerina - not the "Light of Light in the Dark Kingdom"?

Elena Volzhina: Of course!

Are you talking about your lessons now?

Elena Volzhina: And about whose still. Each teacher himself decides how to interpret one or another work of literature, to which today it is necessary and it is important to make an emphasis. For a long time there is no compulsory the essays. Even Belinsky's articles can now be studied as an example of interesting, some sociologized criticism, no more. Therefore, I can't blame the Ministry of Education in hard control over teachers-verders.

Do officials do not go to your lessons, do not do inspection checks?

Elena Volzhina: If they walked to us on the lessons, they would write other circular. At least they would not be called the school institution that "provides educational services."

Tell me, do you feel yourself with a free person in the fact that you do?

Elena Volzhina: I could change the profession for my life several times. I even tried something else to do, without leaving the school, but still returned to the lessons of literature and the Russian language. And in today's times, it is more important and more likely to be in school.

And yet ... are you free as a teacher?

Elena Volzhina: Internally I am free. Of course, school format - rental: Teachers often feel dependent on the routine, load, administration, the tentists of power, stupid reforms, from participation in idiotic events. But then you remain with the child in the class, and there is only text between you. You will say: 40 years old and the same texts! But this is also like love and its chemistry: you will find the depth of this book universe. And that which is not available to the young inexperienced teacher, opens with time and experience.

And from the outside? I mean controlling instances.

Elena Volzhina: To come, to see I have ten lessons in a row - this is a huge work.

But come, sit?

Elena Volzhina: Recently, less, because they are not interested at all. You know, I am a long-wonderful, smart methodologists who once came to your lesson, looked, listened, and then joined you in a serious and meaningful conversation.

Were smart methodologists?

Elena Volzhina: Were. You always explain the smart methods why you have such a program, why works are built in such a sequence. And today, I do not see smart people in controlling instances.

Cancel from controllers?

Elena Volzhina: The administration is fought off. See what the auditors do. I have a circle of Russian. They come with the magazine and say: why are you not notified missing? I: I have no time for it. They: this is a financial document, you pay for this money. A person does not delve into the content of our classes, not at what interest the children attend this circle. This is the most offensive in the activities of the inspection - indifference to the process of learning and "fishing" in paper affairs.

We, verbates, never agree with teachers of history

You heard, in Finland decided to go to the radical change in the school system - cancel the division into school disciplines and go to the interdisciplinary format. That is, to study "Robinson Cruzo" at the junction of literature, history, geography, and maybe more physicists, if you remember how he got the fire on his island. How do you like this idea?

Elena Volzhina: Healthy idea. The child is useful to know who was a contemporary of Dostoevsky in Europe and America. And why Dostoevsky began his literary activities from what Balzac translated. And as cooting with Dostoevsky Schiller's work: why in his novels are so many shilers quotes, a special idealistic spirit. And the fact is that Dostoevsky in childhood looked tragedy Schiller "Deceit and Love" with the Mochalov in the role of Ferdinand - and was shocked. An interdisciplinary format is a way to integrated learning all school subjects. But we, verbates, never with the history teachers do not agree on synchronously teaching. We read the "Eugene Onegin" and "grief from the mind" in the ninth grade, and they still do not speak about the Decembrist tragedy.

No, in fact, why not study the history of Caucasian wars on "Haji Murata"?

Elena Volzhina: No history teacher now concerns the topic of Caucasian wars. In order not to cause unwanted associations with our modernity. But the teacher of literature, speaking of the Lermontov "Maxim Maximi", will inevitably talk about wars in the Caucasus. Each subject teacher has its own line of history.

As a literature teacher What do you most want now?

Elena Volzhina: I want the smartest young people to go to school for freedom. Although it is a category of unattainable, like a dream, but if there is no dream and striving for it, it makes no sense in anything. Freedom is what is not here and now, but what can happen, in memories, in the past and what would like in the future. Of course, in my youth, we are more free, even working at school: instead of knowledge - the keenness of spontaneous thought, instead of understanding the psychology of those who are sitting in front of you - chemistry of relations because of the youth and general conspiracy of the teacher and child against routine and adults. And when you grow up, freedom of audacity can become the freedom of meanings. And at some point, freedom of tactics, that is, you will seem not so important in comparison with freedom of strategy: how will the student become after communicating with the literature, whether it will open a person in it. The school is an organism that requires bubbles of freedom in the blood. And I'm still sure: to teach literature at school is the most honest, and therefore, which we can do here and now.

Business card

Elena Volzhina is a teacher of literature and Russian gymnasium N 1543, Honored Teacher of Russia, twice the winner of the Moscow Prize, the winner of the All-Russian Competition "Best Teacher", the author of several books of the Russian Literature series. Works of the school program ", her students were 10 times became winners and prize-winners of the All-Russian Olympiad in literature. All his life works at school, 4 years old taught in the United States, but returned to Russian schoolchildren. Born in Moscow, graduated from the ITI of Lenin. Every holidays rides a class in Russia, with high school students goes to humanitarian expeditions, preferring life in tents in nature. Puts the performances, composes the cabins, considers himself happy.

I studied in several schools. The first was in the city of Frunze, as the parents were on the expedition, then Moscow School №34, there I studied with the fifth in the tenth class, but I had several years, when my parents took me to Kazakhstan, where I studied in the Rurychenskaya school The geological exploration party-37, even studied Kazakh instead of English (I remember in the newspapers "Proletarlaras!" - "Proletaria!"). When I returned to Moscow in the ninth grade (without parents!), I suddenly discovered that the five in mathematics of the Duchow, English does not have any base. In the 34th school of mathematics I was taught Irina Deev, and English - Margarita Ginzburg. They put me twice in the first half of the 9th grade. But I returned a round greater in school, in which he has already studied in 5-6 grams, and here is it! It was a serious blow to pride, but I did not climb, did not be offended, I did not fall into depression, but I just taught words and grammar, put a pronunciation, solved mathematical tasks. A year later, he earned four in English and mathematics, although it was not easy.
Literature was taught by Larisa Gutkina, Geography - Julia Haykina. Wonderful teachers. For some reason, they are this dyed girl, high, thin, from some Kazakh school, care. Something they wanted to see and hard helped. I am still grateful to everyone.
I graduated from a class with a chemical bias and, of course, did not think about any pedagogy and literature. We were engaged in chemistry, we passed a summer practice at the Institute of Thin chemical technologies - School №34 was on Iplay, my practice after the ninth grade: Laboratory of the Chemical Institute, long narrow corridors, endless titration of solutions, microns, milligrams. After the prom, I suffered documents at this institute. But, going up to the doors, suddenly stopped and realized that I could no longer wear a white robe to make it all my life to painstaking chemical experiments, experiments, mixing, precipitation! I sharply turned left and entered the building entrance, which was located nearby. This was pedagogical Institute, Philfak is a luxurious building of the early XX century, the former Moscow top women's courses. I filed documents there, no one asking for anything, I did not advancing with anyone, the parents were on the expedition, we lived with a grandmother together. The essay wrote on the four, oral literature and Russian passed on the "five", also passed the story and English - the impossible thing, never knew the language (but thanks Margoshe - Margarita Amaladn!) - and entered. Naturally, not to be a teacher! There were a lot of fantasies in my head, it seemed that being a teacher was quite boring.
I did not belong not to the romantic "sixties", but to skeptical "seventies", never was an ambitious, serious student who pre-elected special seminar, which was attached to a certain teacher who desired to enter into some student scientific society to then do in graduate school. All this was not very interested in me. I received all my education later. I always read a lot, I liked it, it was also liked to reflect on seminars about read books. I wrote some scientific work, coursework, now I understand what they were poor! When I read the work of my tenth graders now, I understand that they can already be much larger. They are more independent, and competently, and unequivocally more interesting. Somehow we were not very prepared for scientific work. It was 1972, stagnation, we had an opposition consciousness. We were annoyed the story, which we were taught, outraged the interpretations of Russian, Soviet and foreign literature. We were explained that the work of Joyce or Kafki is bourgeois art frills with an incomprehensible ideological stuffing. These were the years of the XXIV Congress: reports, endless Brezhnev, Sakharov link, Solzhenitsyn's expulsion. The drama of their destinies was in our eyes. I remember closed watching the film Tarkovsky "Mirror", trips to Peter to the apartment exhibitions, night talk about social apathy. We, like fish, popped out of the disinterested oxygen of water to grab fresh air, and, stunned by this, went deep on the bottom. We resisted everything, everything was annoyed. It concerned our lifestyle, and our aesthetic tastes, and our leisure. We ran through the attic, where the workmen were held, we went to the Izmailovsky Park on the famous "bulldozer" exhibition, we had a blow-in-theater, for example, Taganka, where it was impossible to get. My friend Katya and I regularly played a visit to a foreign journalist with a translator who should get to the performance, then write about it. We always missed: the performances of the Taganka, the "Contemporary", "satire" were revised completely. Communication with directors gave me a lot: the freedom of aesthetic choice and personal interpretation of the text, the perception of the word as a unit of space and time. Yes, there were still couchers , reports, songs of Kima and Okudzhava at harness, work in pioneergolers with adolescents, first practice in school. The attitude to everything was ironic, we constituted the dictionaries of slang happiness youth, penetrated all the closed views of the Moscow International Film Festivals: I had a familiar director who dropped a certificate from the second floor in Luzhniki, we raised it, the vertors in front of the Ticket's nose were held and repeated number. At night, they climbed into empty trolleybuses and rehearsed with other courses performance. In samizdat, the poems of Brodsky appeared, we were one of the first who read them. I had a friend of Anya Menacher, the daughter of the director Leonid Menacher, a talented and complicated (she tragically died in 30 years), her friends were Grebenshchikov, Makarevich. So, Anka brought us poems Edward Lemonov or reprinted on a typewriter (fifth copy with the missing letter "A" and missing commas) Poems of Akhmatova, Tsvetaeva, Mandelstam. I remember the French edition of the Roman Mikhail Bulgakov "Master and Margarita" - none of us could not explain what this book was about, and it was difficult to combine all the threads of her plot. At the same time he read a semi-blind copy of the "Cancer Corps" Solzhenitsyn. This was all contrary to the literature that we had to read the lists by studying on Philfak. We, of course, read it too, but slightly dismissively. When the era forms the need to resist, it is very easy to fall into social and aesthetic snobbery: not to take something, suscepting ideological stuffing in this packaging. Of course, we read the books that we were issued in the Institutional Library, starting with the ancient literature and ending with all family sagas Mannov, Golsuorussi, Drivers. It was called "our" literature, exposing a bourgeois lifestyle. However, interest was to another. For the first time, Salinger was read, I wrote a course in the story "Fish-banana" is well caught. I remember the shock from the book of Richard Bach "Seagull named Jonathan Livingston." We read and discussed it at the seminar with our amazing, young, charismatic Mushe Ladygin. Now this is a fairly well-known philologist, Methodist, teacher, author of many textbooks for school, including foreign literature courses. And then he was Misha, it was great to chat with him about novels, which were just read in the journal "Foreign Literature". There was a bright interest in overseas literature and to a lesser extent to Russian - it seemed always nearby, excessively published, with detailed comments, and students wanted a sharp and not very famous, for example, I wrote a diploma for not yet published the story of Andrei Platonova "Incro" that outrageed the graduate commission, the defense was banned!
I finished the institute in 1977. This was the period when graduates of Moscow universities were scattered throughout the country and staying in Moscow was problematic if there is no aggravating circumstances: parental diseases, a small child or their own disabilities. In order not to leave anywhere (and I was already driving in my life), I, being a fifth year student, went to work as a school, finding it on the announcement, I needed a teacher. I knew nothing about this school, only the number - 721, on Polezhaevskaya. I arrived, talked to the director, she took me on the same day, and I had the following lessons in the sixth grade. She gave me a program and said that tomorrow these children begin the program of Furmanov "Chapaev". You can imagine my attitude to this story at that time! The thing is not bad, but it is difficult to wait for her six hundred students. There was not even the fact that it is usually inherent in revolutionary books, there was no romance there. Detailed and boring narration, this is not the film "Chapaev" ...
And so I came to the office, I was presented and immediately left, leaving alone with a strange class. Part of the children were sitting on the first three desks of three rows, then there was a pass two or three desks ... And the rest of the guard, man 15, sat on the last waters, hung tightly. I started talking about something, "Kamchatka" does not hear me. I walked to make a remark, and realized that they were playing cards! I turned to them: "What's the matter?" - And heard a frank mat. I did not believe my ears! I decided that he was glad that I would understand this later, I asked them to listen to them, for some reason I would say the phrase: "I am not used to repeating" (it was my first lesson in life!). "Accustomed," they said and continued their game to the cards.
The lesson ended, I went to the teacher, the elderly teachers were surrounded by me, looking at their new colleague with interest. I ask: "What happens? What is this class? Imagine, they are labeled and playing cards! " For me, the historian Olga Alekseevna (unfortunately, already the deceased) said: "Well, we are ... Probably, you annoy them. And in the card ... If only you would not bother, let them play. " - "Why are they allowed to play cards at your school?" - "And you don't know what kind of school, where did you come?" - "No, I do not know". It turned out that half of the children in this school are ordinary (as they were called "home"), and half of the children's house number 50, they were taught together, but no one warned me about it in advance. I started to fight. Fought both with children and Furmanov. The behavior of "home" was very adults, they seemed to feel their social responsibility for what was happening in the backs of the hubs, they tried to be magnificent students for teachers who were standing in front of them. They were embarrassed, so these were brilliant children. There were many future medalists among them, they studied perfectly. But the second half felt very freely, they were overwhelmed from various disbanded orphanages, they were simply warmed up here, they were sitting. I worked there for three years and brought my order in my class. I went to them in the orphanage - swear, communicate, interest, I took them in my performances, which we never played, unfortunately. Some even began to obey me, some treated well, accompanied to the house. But they had a completely different life. I remember Sasha Avdeev, collapsed on the first party. (Yes, they moved with "Kamchatka" closer - it was a victory.) So Sasha Avdaev, raving, sleeps in the lesson, I say: "What are you?! What's the matter?!" And he: "Oh, Elena Dmitrievna, took the kiosk at night, did not sleep." Well, they had such life. Why did the educators could not limit it to the framework of laws, some things, involvement in interesting leisure? I still did not understand. Probably to deal with such children, you need to live with them one life, spend the night with them in the same building and see them not from 8.30 to 17.00, and twenty-four hours a day ...
After these combat three years, it is impossible for me to scare from a complex class, incorruptible children or unmotivated adolescents. This room was not held with me in my youth. When I came across a sabotage of the lesson, so sincerely was amazed, asking for the reason for this nonsense that any children were lost, starting to see the absurd situation. How can I rip the lesson and deprive yourself of the most interesting knowledge? How can you sacrifice your own and someone else for resistance to a person who came with a book or an important issue? It works so far, you just need to believe that human culture is behind you, and you deliver it, as the runner carries the Olympic flame. As soon as they doubt the significance of his lesson, as soon as you look back to check whether Eurydicks is going on, and you will lose a children's soul, like Orpheus, dumb, lost his beloved, having received a shadow instead. It is even terrible to turn into a salt pillar, that is, to dwell in development, using your previous judgments and developments.
I never intended to work at school. Once Misha Ladygin told me: "Well, you are, Lena, you won't go to school, it's clear!" It seemed to them that I chat so well, which should be a journalist. And I believed that it was enough to work for a young specialist only three years. Then did not let go! He received an education - to work out, give the state in kind for the money that is spent on you. And I worked at this school for three years. Of course, I hooked me all. I was friends with those "home children", I was terribly interested with them. But I had to leave the 721th school because of the conflict with the Rono head. I greatly prevented many things in this school, although, probably, I had to behave wiser. I am striking what: from the whole of our institute group (30 people) I work at school only.
In 1980, Larisa Davydovna called me, my teacher of literature in the 34th school: "We need a teacher of literature and the Russian language to school No. 43." I went to an interview to the director of the 43th school. I spent five hours in his office, responding to a variety of questions, including if I liked me latest version "Cherry Garden" on Taganka and is it possible to assume that in the Chekhov play someone from the heroine plays the guitar and sings the Gypsy romance. I did not know that I was checking me on all items that my aesthetic and intellectual state was scanned, my artistic taste. Who is the best poet - Tsvetaeva or Akhmatova? Can I continue the line from Pasternak ("Elena Dmitrievna, I forgot, how is Pasternak?"). I thought a person just drinks tea and talks to me, because he had nothing to do. And he hired me to school, as it turned out, for life. At the exit from the office I was looking forward to Larisa Davydovo: "Everything is fine? Passed an interview? " - "What is the interview?" So Yuri Vladimirovich Zavalsky selected teachers. That's how I got here. It seemed to me that for a while ...
I got a very difficult class of 4th "b". Probably, it was also checking me for strength. But after the orphanage number 50, I was not scary, and I, of course, fought with these children. With some, I continue to communicate and friends still. Katia Turgas, for example, from this release. There were many complex children, but they were bright, loud, lived in many ways by children's instincts, I was difficult with them, I wonder. In addition, I was given high school students, the class of Irina Nikolaevna deyeva. These were the most brilliant children - smart, talented, creative. Among them, Kostya Kharitshkin, now the abbot of the Moscow temple, Igor Sorokin, with whom we have been friends all my life: He translated many of my students to the Crimea and the Caucasus, thanks to the children's tourism, becoming a professional lifeguard from the chalop. So we have our own in the Ministry of Emergency Situations! But the most important issue for me is 1986, from there my close girlfriends Ira Kromod, Anya Shub, Katya Teroganova, friendly with his students-colleagues Olya Sheynina, Olya Ilyina, Liza Parrezova, Rota Krysanova. The last three of one class! My friends of other issues - Katya Sokolova and Polina Sokolov. Now I speak closely with Sasha Bassel, the theme Streletsky, Tanya Shustilena.
To jump out of school life in some other profession it was impossible, although I had a lot of temptations. At some discussion of the film in the house of the movie I came up, and I turned to me with invitations to go to a particular cinema magazine. There were enough such cases - to write an article, try yourself in journalism. I thought that I would check the notebooks - and I will write an article. Here I will put the fourth grades, the holidays will come - and I will write an article. Here I will be back from the trip with the children, we will rest a little bit - and I will write an article. I will read what I need according to the program, finish, put bookmarks - and I will write an article. It turned out to be impossible ... I probably treat people linear: I entered some river, I got on some rails and I can't roll or jump, I should reach the end, and then decide what the next station will be. School is such an overpack, which can be jumped only at speeds, knowing that they break. If you did not do this in the first three or five years of work at school, if children or administration did not drive you, you will never do it. Only if circumstances will not make you change your lifestyle or country of residence. But I, even teaching in America, could not stay there. I was drawn to my, by that time already 1543, I did not assume that there was something more interesting in life than communication, studies and creative life with the guys and colleagues on the south-west.
It was a wonderful time - I came young, and I worked out wonderful, mature, clever women. Come to work in the 43th school, I seemed to be back in my 34th, because I got into the circle of my own teachers. But they had amazing quality: they perceived me not as a former student, but as a colleague. They did not relate to me down, they told me pleasant things, and did not talk about my shortcomings. It is amazing! The demanding, the rigid Irina of Nikolaevna Deyeva found the words of encouragement, because I taught literature in its hard class. Margarita Amaladna Ginzburg, Julia Romanovna Haykina, Larisa Davydovna Gutkina, Rosa Aleksandrovna Novoseltsev reacted to me as a successful replenishment. What they gave me in the 34th, and then in the 43rd schools, formed me as a person and teacher. I can accurately say that my pedagogical principles (of course they are) in many ways switched to me in the process of communicating with them, and not direct postulation of pedagogical axioms. I do not reset the special language of pedagogy: nouns with "-", "-", "-tami". This is the language of children's enemies armed with the words-phage, elders of meanings, love, energy, desires. I always liked the transparent demanding of Irina Nikolaevna deyeva. I know that the very demanding itself. Social order for a long time requires mitigation of the pedagogical burden. They want games, and I still a man of "Deev school", here no one will convince me. The child should be difficult and interesting. If there is no at least one component, then there will be no sense. It is impossible to turn school items into an entertaining game, as you can not feed only delicacies. The interest should not only occur because the teacher offers an interesting problem, but because the process of personal intellectual development, discoveries, decisions, evidence, understanding something is interesting.
Margarita Amaladna Ginzburg taught me with his example. She lived at school, lived school, lived in the interests of children. For her, these were the most important on the light of the topic for conversations. How she talked about the fate of their graduates; What kind of participation she took in their dramas, in their happy novels, in their relationship with their parents, has become the second basic principle for me: you should be interested in everything that happens with those who are next to you. You have to live it, it does not end with a call from the lesson. Therefore, the organization of pedagogical life, trips, reports, game and cool clock are all the legacy of Margarita Amaladna Ginzburg. Light in her window Gas clock at nine in the evening. Probably, fifteen years old we are four-ways - I, Deev, checking the notebook, Ginsburg, who cooks cool clock, Highquin, who speaks the children's spending on the souls, - returned home in a deep evening, and together sat down in the subway and drove around in their stations. The lights in the 43th school burned to the night in many offices.
Of course, Julia Romanovna Highquin and his wisdom, the ability to delicately, but very accurate the boundaries of the space permitted and unauthorized. Admired her stunning humor, her ironic manner of communication. She knew how to miss the keenness of some student or teacher, and then tell him quietly: "Go to me after the lesson" - and so talk to him that he immediately gotten clearly. This is a lesson that she gave us all the time constantly. To what extent we learned it, we do not judge us. But I remember that it was an amazing pedagogical gift - so talk to each.
Larisa Davydovna Gutkina is my teacher of literature, which all these years teaches us kindness and the ability to forgive. I want to admit you that the school teaches humility. Not a humble person can not work here. Ambitions, pride, self-confidence, applub - this is what you can free yourself, working at school. Maybe you will smile now, because certainly, I have one and the other, and the third still. But the school cured me from many things. I am grateful for it to children. I am often often uncompromising, someone and now sees snobbery in me, but there are no pride for a long time. It became easier for me to live. Applub is an external temperamental manner of talking, arguing is the normal quality needed, provocative. I often provoke children to a dispute. And Larisa Davydovna from those people who know how to love not for something, and sometimes contrary to something. They were always big friends of the most complex children with Margarita. They already after school, years to twenty, accompanied and guarded children with such launched fate ... And what were the fruits!
Olga Evgenyevna Potapova became the main teacher of literature in the 43th school, later she became my friend. She turned her lessons to a chain of literary declarations, it infected the school poetry, starting the cycles of school poetic evenings, it gave us advice and inspired the possible constructions of future lessons. But with what tact! Trust! The ability to admire the fact that there is no, but someday will be! Each of her graduates will agree with me, except for glamorous bisses, which will never read this text. Thank you, Potapich, for your universities!
I would like to remember Galina Petrovna Lazarenko, who has already passed away from his life, but the talented Didakt, a generous person, an interesting philologist, an irreconcilable warrior, who remained in my memory. She became a whole epoch in our 43rd, leaving many grateful disciples, deeply devotees to her. This is a sign of the highest teaching sample, although sometimes it was very difficult with her, including me.
With love, I remember Valentina Grigorievna Smirnov, in which all boys were in love from the 5th to the 11th grade. Has the spelling of a soft sign in the verbs, she turned into a psychological thriller, the children got silenced!
The 34th school was very honest, demanding and ... warm. Like all the teachers, about which I just spoke. I have not mentioned the Rose Alexandrovna Novoseltsev, an amazingly talented person. Drawing, music, hiking ... She was a wonderful artist: This is also a bright, unforgettable pedagogical skill, which inherited the 43rd from the 34th.
I collected everyone in one school, of course, Yuri Vladimirovich Zavodsky. He knew who he was taken, because he worked in Rono on the spoken and our 34th school worked out. He with his temperament, demandingness, energy, romantic idea of \u200b\u200bwhat the real school should be, was and equal to these teachers, and is obliged to many. After all, they immediately believed and came in the 43rd.
Further in the construction of our school, of course, is associated with the identity of Yuri Vladimirovich. It is softer than Deev. He is still the best organizer than Ginzburg. He knows how to talk to people just like Highquin. It is even more devoted to literature and art than Gutkina. But he is the person who ledmed the image of the school, in everything trusting his colleagues. He is a person priorities. That's how Zagalsky is important in life, and this is the most important lesson that I, I hope, as his student, learned. You need to be a person priorities. You can come in small things, details, some principles, with their ambitions, some kind of proper promises, with their decisions - they can be considered not quite faithful. It is impossible to arrive the most important. How hard it happens to our school when someone does not go anything! How hard it happens to agree with someone, because there is natural harm, mad temperament, confidence in own right. As in this regard, it is easy, nice and completely unusual with the director! He can also be very sharp in passing and sometimes one-dimensional: "No, and everything, so, and in no way." But you can come to him and argue your point of view. That's what I respect it. He can listen to you and suddenly agree: "Well, let it be so."
He taught me the most important thing: it is impossible to live in the pedagogical activity in the Eternal Law case. It is not by chance that this causes associations with eternal Merzlot.
The ability to recognize errors is about Yuri Vladimirovich. He makes them little, less than we all, but it always has nobility and the power of male and human dignity, which allows you to recognize your second inappropriate. And he will never hide it. I think I can also admit my wrong. It is difficult, but it used to be even harder. I want our colleagues to have learned this quality - not to arrive in the main thing, to compromise in an insignificant and recognize mistakes if they were in communication. These are the main conditions to become a decent teacher.
Culture, education, eternal thirst to know and develop - this is what is inherent to Zaul. This can not be learned. It can not be a lesson, because you need to be the same as he wants to want it. I do not see next to myself and among my colleagues, who would be equal to him in this regard. Therefore, it is impossible to be considered a lesson. This can only be envious to envy.

Long interviews with Elena Volgin, read on the website of the gymnasium №1543.

LITERATURE

By the way, about books. Elena Dmitrievna, what is the most important school subject?

Well, of course, literature. I could not teach the subject if I did not consider it the most important. Literature and Russian are two subjects, during which you learn to hear and understand yourself, listen and understand others. This is what in life is the most important skill: the ability to communicate with others and the ability to talk with you. Without it, neither mathematical nor chemical or even the historic worlds are needed. If you do not hear yourself and do not listen to others, then no knowledge of your knowledge will help you and will not save. You may not be close one or another work, but the child should not know about it: he will make a choice. For some reason, it is easy for me to build a spectacular lesson on not the most beloved author: I'm leaving in the "things", techniques, without fearing to insult the depth of the work. And what a lovedness thing is, the lesson will be easier. First, in the class, all important, we will comment on and only then the generalization, problems, theses, the results.

If it is important to communication, then why is it all the literature? After all, you can communicate on any topic.

So the art of communication is not to speak not about recent purchases, but about creative things. Why do I like creative credits so much? When two five-graders speak not about the last model of the phone, but about how to better play Pushkin's fairy tale, with which scenery, whether the voice is needed from the author or not needed, it is primarily a lesson to communicate with each other on a professional topic. At the lesson of literature, discussing philosophical and moral and ethical problems, you still speak with another about him and about yourself, because you are talking about your opinion about this or that work. Do you tell the terms or household language, argued or not very, but you still come into communication, you are dialogic. And if you do not hear anyone, you are monologued, and this is your big psychological problem. Can you argue? Or you always carry a pre-consolidated, learned, formulated knowledge, and the skills of direct communication are the ability to hear, understand you are not given to argument? All this forms the lesson of the Russian language and literature to a much greater degree than other objects.

What is the role of special courses and electives? Are they now?

Of course, all this is and works in humanitarian classes. Which optional - try not come! Especially if my graduates are sometimes there. Of course, in children, all of the ears fall out, takes them away. But in the last mine in 2008 - 11 philologists. Eleven philologists and journalists in Moscow State University, RGGU and HSE! Four more - foreign languages. Two - historians. Absolutely humanitarian release in all its fullness, which went to engage in these activities: to speak, write, translate, tell. And the winner of Vseros in literature Tolik Mikhailov went to the global economy ...

And how important is the personality of the literature teacher himself?

Literature teacher is the one who opens the world of prose and poetry. Who in the fifth grade teaches children to read, reading out loud, asking them about heard and convince that what they read home about themselves, and what they hear read in the classroom are two different works. The literature teacher takes a five-grader and conducts it in the world of Pushkin fairy tales that seem to be read at a three-year-old age. And at the literature lessons, the Pushkin World and the Universe, where on top, "in the blue sky, shy", from below, "in the blue sea, the waves of splashing," and in the middle - a barrel with an extraordinary baby. And this universe captures the child, the miracle opens not a fabulous, but ethical side. I know how simple and deeply knows how to talk to the fifth-graders Irina Viktorovna Vorozhinskaya, like Natalia Anatolyevna Mikhailovskaya, teaching the history of art, talented about these same things, connecting ethical and aesthetic.

The consciousness of the student in my eyes is changing throughout the training. In high schools - three times. After the "Hero of Our Time", children begin to write differently. After Dostoevsky's novels, they begin to think differently. Finally, after a whole cycle of poetry block, they begin to talk differently about poetry.

I see how in the fifth grade, the literature teacher carries a child on the first trip - Pereslavl-Zalessky, Yaroslavl, on the road of Alexandrov or Trinity-Sergiyev Lava. And we learn to write an essay on the first two or three days of impressions. You ask: why essays, not writings? Because the essay is always on a given topic and smells like a school catering. I do not want to vacan reminders about the lessons. Essays - a clutch of personal feelings, it should not be planned, and always associative, filled with images, emotions, bright details, metaphors. This genre introduced Michel Monten, the French Thunder of the Renaissance, writing the book "Experiments", in French "Essay". Montae reflects on how to overcome the fear of death: in his miniatures he asked questions, quoted the ancients, described his state, whimsically connecting the thread of the narration. Today in Europe it is customary to write an essay in any area: you have to write about personal perception.

What I hear in the first essay? Helplessness, commercial, endless wandering proposals, inability to say about what struck, because the child did not notice anything. He did not hear anything - he listened, opening his mouth, but did not remember anything! Through a quarter - next trip. Another essay. We study to pay attention to the details. At the end of the fifth grade, three or four people are written surprisingly, and the rest, the open mouth, listen. In the sixth grade, we make the following trips, and children are already walking like in the bench of antiquities. I see: Here he looks at this apple tree in the Rostov monastery. He will definitely turn her into his essay. And this one climbed onto the fortress wall and looks in the distance. And I understand that this terrific lake near Rostov will be in some way in his essay. They learn to see the details, search for images and tell about it. First, only an essay, and from the class of seventh and poems. In which places we did not read our masterpieces! By the fire, at the airport before the takeoff, in the storage chamber of the Moscow railway station in St. Petersburg, in the gym in Greece, under the staircase of the Italian hotel, in all the lobs of all hotels, in the train from Solovkov: 40 people in one compartment (check if you do not believe! ).

It is important that the teacher also wrote, giving a master class. Want you do not want, but before the evening reading impressions, I begin to write about two hours, hating this type of work. But almost always in an hour I turn into the process and write myself: until the seventh class prose, and then poems, and I comment, I explain why one or another image is selected. A year ago, we went to Novgorod, and I, walking, came to the old barracks, where people still live. In the head, the image of a certain caretaker of the feufan of the Greek, storing the dry plaster with the frescoes of this master. Especially after the excursion to this temple, the "Space" technique was remembered (this is a special technique of iconographic writing, creating a glow of matter). I did not have time to complete the verse, but eight-graders of Pashers: you should also read! I apologized and promised that I would write after returning to Moscow and hook on the board of the masterpiece. So what? On the very first day after the vacation of mathematics and biologists demanded history in verses. I had to hang:

Novgorod walks

In a barrack on a nice street
Lives Novgorod Museum.
From old church ruins
Saves wisdom things.

Nuts with candlestick rolling,
Keeps salt and sugar in Cadillars,
And cats oatmeal feeds,
Chasing them with grave stones.

He writes about the ancient ever
And young prince Mstislav,
Somewhere goes in the evening
And during the day - no matter what happened.

In three buckets - Dry remains
Destroyed altar fresco
In a barn closed with duncan,
Crucifier and cross wooden.

He speaks in dreams with Feofan
About Space and Technology Space,
About the rowing light of non-resident
About those who drank their fate.

He quietly reads prayer,
Trying to intercede all
But terrible burning glare
At coal-ash-ash fairs.

In a barrack on a nice street
The two extreme windows are clogged.
On the site of church ruins
Scheduled by someone potatoes.

Cross No, Cutting, Shed,
The usual evening prayer,
But the light of the Fauofan of Paradise
And the image of the museum is merged.

And only hungry cats
Something everyone is waiting at the window ...

Or we compose poems in Greece with the inclusion of ethnographic or mythological images, and I am writing:

Vision at the foot of Olympus in the ancient city of Dion

Poisoned by Kun, from early childhood,
And everyone is polished by myth, like the Delphic stone:
Paris in lovers choose a girlish heart
In the husbands are not gods - will betray. Olympic shephers.
And I will become a buckwheat in the village on the slope of Olympus,
And my husband will tie a hot sweater from goat wool,
And in the evening I will not look albums with cokroska and climet,
And in the frame of the window to watch the round of the vertex ...
Gorough geese Nazova Phaldovk with a politician,
Goat - Amalfiah, his home - an impregnable ell.
And the bed from the herbs to the bed in the vineyard Wildly,
In the evening, when the husband arrives a curly herd.
My friend will be Izid - the goddess of Egypt.
I drove to her with pearl-gray water.
And remembers how the Osiris killed
And stretches the branch to the widow, that in the captivity of Zeus.
We are two strangers, but marble and flesh are unlike:
After all, I stayed in Olympus in my own will!
But tears run on my marble skin ...
That's what she thought on excavations in Dion.

Everything that we do with them, read, write, rehearse, what we laugh - makes a teacher of literature. Each trip ends with a cabipper, where we laugh at what seemed very serious, - psychological problems and insults, laughing at those who offended us or whom we offended, all turning into laughter, and reconciliation comes. The child was late for each breakfast, every dinner, could not collect his bag, losing things in every hotel, and then became theme for the cab. And he already laughs, because he is the hero of this cabbage. And he is no longer crying from the next remark, and he tries to remember this, to get out of the image of the lamp. And this also makes a literature teacher who rides with them in these trips.

Lists for the summer. They are always huge, because it is not "List for the Summer", and the list of school life is two years. They are not only reading them, they talk about them on the February, each lesson is reported. After graduation comes:
- Elena Dmitrievna, what to read?
- Listen, no time, I'll take off the list in the mail mail.

I call the parents of children who have already graduated from school:
- Elena Dmitrievna, what to read?
- In terms of?
- Well, I used to read everything with Tanechka, and now the lists are over. What are you suggesting?
- I will write, advise

This is a literature teacher. This is not Elena Dmitrievna, this is a teacher of literature, we all behave all. This is a teacher who lays the best program that complicates your life, which is not just a day of the day - in the morning I ate, drank, ran, worked, smoked, for working life I received awards, earned a pension. There is something else in this life. The aesthetic component in the form of books, trips, theaters is necessary, otherwise depression, sense of sensestratrats. Of course, if a person is incerever, it does not threaten it, but you can't tell about it in an interview.

You have described the Literature Teachers, as you see it, in some general, the honeycomb version. Remembering your words about the men's human nobility of Zavodsky, I would like to know what is the specificity, if the literature teacher is a woman? What additional features do it give?

Probably the best teachers of literature - men. As cooks and hairdressers. But fate in Russia is a teacher of literature - a woman. Although there are legends! Whole generations remember Ayzer, Felix Raskolnikova, Faine, Konyanova, now talking about Lion Sobolev and Eduard Impeless, we worked with a wonderful Samuel Grigorievich Moroz. Famous teachers of literature!

Is it possible to remain a woman being a teacher? Everyone has in their own way. Of course, there are female things. Of course, you can smile and ask: "Well, read it for me. Suddenly you like it? " I remember how the lesson was led in the Polish school, taught Russian, told about Mayakovsky poetry. They all listened, and the most absorbed by my story The Polish student comes to me after the lecture and says: "What a beautiful sweater on you! I watched the whole lesson like it's beautiful! " And I thanked her. Because aesthetics, including the way you look, also determines whether there are primary attention to you. This already becomes no matter. And the moment you only enter the life of the child, you must have aesthetic component. If you are a woman, then female, if you are a man, then gentlemen. Must.

What prevents woman to teach literature? Probably excessive emotionality, sometimes bias. A man as definition is analyzer, it is less than a household, children will be happy to simulate intellectual superiority. The teacher's female teacher is closer, but I want to compete with it, click for negligence, "show a place." It is in our mentalite, and you need not to be offended, but be on top. Of course, there are teachers with a maternal instinct, an example - Sofya Filippovna Lieberova, she takes a child in grade 5 and his penetrates to release, even if he does not teach him. This is a congenital gift, men will have it rarely. And I am a provocateur teacher, as already spoke above. I provoke lazy, self-confident, shallow, timid, moltunov, and indifferent tugodums. Organization disputes, sometimes it's stupid and waiting for the reaction: will be silent or interfered with the dispute to express your opinion, find an argument, build a monologue. This is the main thing for me, and the children after the first year feel for my pedagogical "aggression" interest in them, and not to themselves. In general, we are not silent in the lessons.

Returning to the "lists of literature mentioned by you. And what would you advise an adult person, a graduate to re-read from the school program?

I admire that graduates almost all reread Tolstoy and Dostoevsky. I am glad that the Dostoevsky is usually going well at school, and the director will scold me every time: there is no need for children to read so much Dostoevsky, they will not understand anything in it! I will never agree: children usually fall into them, this is my favorite author. The main novels (and we usually read five novels) in someone they are not placed, but they have a respectful attitude, someone swallows and is sick, someone does not read, honestly confess that there is no time, then reads. Of course, I focus on those who speak with me with gratitude. Someone is probably across the throat. Someone and Nabokov across the throat, so I pull them out to them in the 7th grade, when we are almost every lesson writing presentation on his novel "Other shores". But they reread, and it is very nice. Recently, Lisa Pamreovov admitted that he rereaded again Dostoevsky, and now he took a lot, although she read them at school. But already at the other level - and that's right. I myself began to understand Pushkina herself only after 15 years of his teaching. This is the biggest revelation for me! What I did with the "Captain Daughter" the first 15 years, and that in the end I was revealed for last years Ten are two different author and two different works.

On the question of rereading. A clever person does not read, but reread. Start with Roman Lermontov in 25 years 25, to Pushkin, go back at 30 years 30, Gogol can be either the first school love, or remains atlantida, Saltykov-Shchedrin - independent happiness, after him modern satire will seem miserable and foolish, Bunin and Chekhov to keep all his life With the night table, the Tolstoy and Dostoevsky has already spoken. I do not believe that you can re-read the "Masters and Margarita" and "Quiet Don" - ingenious, but one-time. Sorry.

What to read today? That's what I liked it lately in the magazine "Foreign Literature" (I I write it 30 years old). It publishes works that received various literary awards, they are instantly translated by our best translators. I recommend the authors and any of their works:

John Falez British, Allen Bennet, Donald Rhinefield ("Life Anton Chekhov").
Americans Philip Roth, Paul Terre, Paul Oster.
Serbs Milorad Pavice, Goran Petrovich.
Italian Alessandro Barycko.
Czech Mikhal Viveg.
Pole Angei Stasyuk (especially stories!).
Spaniard Perez de Rezero (any era) appears through the exciting stories).
South African J. Kutsee. "Dishonor".
Turk Orhan Pamuk and Iranian Mukhamed-Case Mazinani ("Last Padishai")
Gottfried Benn (German expressionism) and the brilliant Russian-Austro-Romanian-French paul is Kean.

But what from Russian modern prose:
1. Dmitry Bykov. Boris Pasternak.
2. Andrei Hair. "Winner".
3. Alexey Ivanov. "Geographer Globe Propil"; "Gold Bunta", "Parma's heart", "Bluda and Moudo".
4. Maya Kucher. "Mother's daughter".
5. Zakhar Prilepin. Sanya.
6. Pavel Basinsky. "Lion Tolstoy: Flight from Paradise."
7. Liliana Lungin. "Constress".
9. Lyudmila Ulitskaya. "Green Tent".
10. Frida Vigdorova. "Memories".

And if the poems are loved you ask you to read?

I remember Pushkin "Poems composed at night during insomnia":

I won't sleep, no fire,
Everywhere sleep and darkness bug ...

I love when in verses any inesticatory, dark and meaningless phenomenon due to rhythm and sound acquires harmony and meaning, becoming a masterpiece. When Pushkin and his lyrical hero appeal: "Life of the mouse of the runway, that you worry me," that is, they admit that life went in vain, but in these meditative verses the topic of lack of sense of life acquires rhythm and sound - so the meaning of life is born! "Hearing the perfume doctor songs" ...

I love many poems of Mandelstam and Joseph Brodsky, discovered Gottfried Bamma and Paul Zelan. Many things still have in the world, which causes me physical pleasure when I say some lines of prose or poetry. But the most favorite lines are the "ballad" Vladislav Felicianovich Khodasevich:

I sit illuminated from above,
I'm in my room round.
I look at the plastering sky
In the sun in sixteen candles.

Circle - lit too,
And chairs, and a table and a bed.
I sit - and I don't know in embarrasses
Where would I give your hands.

Frosty white palm trees
On the glasses silently bloom.
Watch with metallic noise
In the vest pocket go.

Oh oblique, poor poverty
The hopeless life of mine!
Who can I tell how sorry
Yourself and all these things?

And I start swing,
Knees hugging their own
And suddenly I start poems
To speak to forget with you.

Incoherent, passionate speeches!
It is impossible to understand anything in them,
But the sounds are true of meaning
And the word is the strongest.

And music, music, music
Woven in my singing
And narrow, narrow, narrow
Pierces me blades.

Literature and need to be able to understand that you are not in captivity of the room with a light bulb, and you after the Pushkin "prisoner" are able to feel out of the dungeon. "It's time, brother, it's time, where the Mountain whites is white."

For me, your favorite verses are those that bring me out of these limits.