Joseph Brodsky during the Nobel ceremony.
Stockholm. 1987 photos from the site www.lechaim.ru/arhiv/194/

... if the art teaches something (and the artist is first head), then it is particular in human existence. Being the most ancient - and the most literal - form of private entrepreneurship, it is voluntarily or involuntarily encouraged in man that his sense of individuality, uniqueness, separate, turning it from a public animal in person. Much can be divided: bread, beds, beliefs, beloved, but not a poem, say, Rainer Maria Rilke. Works of art, literature in particular and poem in particular, turn to a man Tet-A-Tet, entering into direct, without intermediaries, relationships. In general, the literature in particular and poetry in particular, the literature in particular, the lords of the masses, the heralds of the historical necessity, are disliked. For there, where the art was held, where the poem was read, they detect on the place of the expected consent and unity - indifference and difference, at the scene of determination to action - inattention and squeaming. In other words, in the zolikov, with which the common benefits and the masses of the masses torment the masses to operate, artists "point-point-comma-comma with a minus", turning every zerolik in albeit not always attractive, but human face.

Great Baratynsky, speaking of his muse, described it as a "face with an unstable expression." In the acquisition of this nonstinate expression and consists, apparently, the meaning of individual existence ...

... language and, it seems, literature - things are more ancient, inevitable, durable than any form of a public organization. An indignation, irony or indifference, expressed by literature in relation to the state, is essentially a permanent response, it is better to say infinite, in relation to the temporary, limited. At least, as long as the state allows himself to interfere in the affairs of literature, literature has the right to interfere in the state affairs. The political system, the form of a social device, as any system in general, is, by definition, the form of past time trying to impose itself a real (and often the future), and a person whose profession is a language - the last one who can afford forgot about it. The genuine danger to the writer is not only the possibility (often reality) persecution by the state, how much the opportunity to be hypnotized it, states, monstrous or undergoing changes for the better, but always temporary outlines.

The philosophy of the state, his ethics, not to mention his aesthetics, always "yesterday"; Language, literature - always "today" and often - especially in the case of orthodoxity of a system - even "tomorrow". One of the merits of literature and is that it helps a person to clarify the time of its existence, to distinguish himself in the crowd as predecessors, and for themselves, to avoid tautology ...

... aesthetic choice is always individual, and aesthetic experience is always an experience of private. Any new aesthetic reality makes a person who is experiencing it, the face is even more private, and this particular nature that takes the form of a literary (or any other) taste, herself may be if not a guarantee, then at least a form of protection against enslavement. For a person with taste, in particular literary, less susceptible to repetitions and rhythmic spells peculiar to any form of political demagogy. The point is not so much that virtue is not a guarantee of a masterpiece, how much is that evil, especially political, is always a bad stylist. The richer the aesthetic experience of the individual, the hardest taste, the more clearly his moral choice, the more freer - although, perhaps, not happier ...

... in the history of our species, in the history of "Sapires", the book is a phenomenon of anthropological, similar to the invention of the wheel. It has arisen in order to give us a presentation not so much about our origins, how much about what "Sapirens" is capable of this, the book is a means of moving in the space of experience with the speed of the page turned over. Move this, in turn, as any move, turns into a flight from the general denominator, from an attempt to impose the denominator of this line, which did not rise above the belt, our heart, our consciousness, our imagination. The flight is escaping towards the unwritten expression, in the direction of the numerator, towards the person, in the direction of particular ...

... I do not call for the replacement of the state of the library - although this thought has been visited repeatedly, - but I have no doubt that, choose our rulers on the basis of their reading experience, and not on the basis of their political programs, there would be less grief on earth. I think that the potential ruler of our destinies should be asked first of all about how he represents a course of foreign policy, but about how he belongs to standing, Dickens, Dostoevsky. At least one after the fact that human diversity and disgrace is the urgent bread of literature, it turns out to be a reliable antidote from any - well-known and future - attempts by a total, mass approach to solving the problems of human existence. As a system of moral, at least insurance, it is much more effective than this or that system of beliefs or philosophical doctrine ...

... a person is accepted for the composition of the poem for different reasons: to win the heart of the beloved to express his attitude to the surrounding reality, whether it is a landscape or a state to capture the spiritual state in which he is currently being left to leave - how he thinks in This minute is a trail on Earth. It resorts to this form - to the poem - for reasons, most likely, unconsciously-mimetic: Black vertical thickening of words in the midst of a white sheet of paper, apparently reminds man about his own position in the world, about the proportion of space to his body. But regardless of the considerations on which he takes over the pen, and regardless of the effect, produced by the fact that it comes from under his feather, on his audience, it would be none or small on his audience, - the immediate consequence of this enterprise is the feeling of entry into Direct contact with the tongue, more precisely - the feeling of immediate sign dependent on it, from everything that it has already been expressed on it, is written, carried out ...

... Starting a poem, the poet, as a rule, does not know what it will end, and sometimes it turns out to be very surprised by what happened, for it often turns out better than he intended, often his thought comes further than he expected. This is the moment when the future of the language interferes with his present. There are, as we know, three methods of knowledge: analytical, intuitive and method used by the biblical prophets - by revelation. The difference between poetry from other forms of literature is that it enjoys at once by all three (mostly to the second and third), because all three are given in the language; And sometimes with the help of one word, one rhythma writing a poem is managed to be there, where no one has been to him, - and on, maybe, what he whale he himself. The writing poem writes it primarily because the poem is a colossal accelerator of consciousness, thinking, minigration. Having experienced this acceleration of once, a person is no longer able to abandon the repetition of this experience, it flows into dependence on this process, as the dependence on drugs or alcohol. A person who is in such a dependence on the language, I suppose, and is called the poet.

).
Wow, it was interesting and difficult. The most difficult task was to relate to this speech restrained and impartially. I remember that I analyzed it in pieces so that I did not cover the wave of experiences and emotions.
But now I can relax, to be predensive and lay out your favorite quotes from this speech, amazing and the thoughts yourself, and how brightly and emotionally it was said.

Joseph Brodsky
Nobel lecture

If the art teaches something (and the artist is first head), then it is particular human existence. Being the most ancient - and the most literal - form of private entrepreneurship, it is voluntarily or involuntarily encouraged in a person it is his sense of individuality, uniqueness, separately - turning it from a public animal in person.

[...] Works of art, literature in particular and poem in particular turn to a man Tet-A-Tet, entering into direct, without intermediaries, relationships. In general, the literature in particular and poetry in particular, the literature in particular, the lords of the masses, the heralds of the historical necessity, are disliked. For there, where the art was held, where the poem was read, they detect on the place of the expected consent and unity - indifference and difference, at the scene of determination to action - inattention and squeaming. In other words, in the noliki, with which the overtakers of the common good and the masses of the masses learn to operate, the art fits the "point-point point with a minus", turning every zolik in albeit not always attractive, but human face.
…No matter, is a man writer or reader, his task is to live your own, not imposed or prescribed from the outside, even the most noble lifestyle. [...] it would be annoyed to spend this only chance for repeating someone else's appearance, someone else's experience, on tautology ...

The language and, it seems, literature is more ancient things, inevitable, durable than any form of a public organization. Resentment, irony or indifference expressed by literature towards the state, there is the essentially, the reaction is permanent, it is better to say - infinite, in relation to temporary, limited. At least as long as the state allows himself to interfere in the affairs of literature, literature has the right intervene in the affairs of the state. Political system, form of a social device, as any system in general, is, by definition, form past time trying to impose itself a real (and often the future) and a person whose profession language is the last one who can afford Forget about it yourself. A genuine danger for the writer is not only the possibility (often reality) persecution by the state, how much the opportunity to be hypnotized it, states, monstrous or undergoing changes for the better - but always temporary - outlines.
... Temptation in general and literature in particular, and wonderful, the difference between life, which always runs the repetition. In everyday life, you can tell the same anecdote three times and three times, causing laughter, to be soul of society. In art, such a form of behavior is called "cliché". Art eating an instrument is necessary, and its development is determined not by the individuality of the artist, but the dynamics and logic of the material itself, the previous history of funds requiring to find (or prompted) every time a qualitatively new aesthetic solution. Possessing its own genealogy, dynamics, logic and future, art is not synonymous, but at best, parallel to the story, and the method of its existence is to create every time a new aesthetic reality. That is why it often turns out to be "ahead of progress," ahead of history, the main tool of which is - not to clarify Marx? - It is the cliché.
Today, the statement is extremely common, as if the writer, the poet in particular, should be used in his works by the language of the street, the language of the crowd. With all its apparent democraticness and tangible practical benefits for the writer, this statement is justified and represents an attempt to subordinate art in this case literature, history. Only if we decided that "Sapiress" is time to dwell in its development, literature should speak in the language of the people. Otherwise, people should speak the language of literature.
[...] aesthetic choice is always individual, and aesthetic experience - always the experience of private. Any new aesthetic reality makes a person who worried it, the face is even more private, and this particular, which takes the form of a literary (or any other) taste, can already be in itself if not a guarantee, then at least a form of protection against enslavement. For a man with taste, in particular literary, less susceptible to repeat and rhythmic spells peculiar to any form political demagogy. It's not so much that virtue is not guarantee of the masterpiece, how much is that evil, especially political, always bad stylist. The richer the aesthetic experience of the individual, the harder the taste, the clearer its moral choice, the more freer - although it is possible and not happier.
It was in this that rather applied than the Platonic sense should be understood by the remark of Dostoevsky that "the beauty will save the world", or the statement by Matthew Arnold that "Poetry will save us." The world is likely to save no longer succeed, but a separate person can always be.
... I am far from the idea of \u200b\u200bthe vigorous learning to the poems and composition; Nevertheless, the division of people on the intelligentsia and everyone else seems to me unacceptable. In moral terms, this division is similar to the Company's division on rich and beggars; But, if there are still some purely physical, material for the existence of social inequality
justifications for the inequality of intellectual they are unthinkable. What, and in this sense, equality is guaranteed to us from nature. It is not about education, but on the formation of speech, the slightest approximate of which is fraught with an invasion of a person's false choice. The existence of literature implies existence at the level of literature - and not only morally, but also lexically.
... A novel or poem is not a monologue, but the writer's conversation with the reader is a conversation, I repeat, extremely private, eliminating everyone else, if you want - mutually misantropic. And at the time of this conversation, the writer is equal to the reader, as, however, on the contrary, regardless of whether he is a writer or not. Equality is-- equality of consciousness, and it remains with a person for life in the form of memory, vague or distinct, and sooner or later, by the way or
in summary, determines the behavior of an individual. This is what I mean, speaking about the role of the artist, the more natural that the novel or poem is the product of the mutual solitude of the writer and the reader.

[…]the book is a means of moving in space of experience with the speed of the pages turned over. Move it in turn, as any move, turns around with a flight from the general denominator, from trying to impose a denominator of this line, not rising previously above the belt, our heart, our consciousness, our imagination. Flight is escape towards the unwarked facial expression numerator, in the direction of the person, in the direction of particular. By whose way we would not have been created, we are already five billion, and another future, in addition to the resulting art, a person has no. In the opposite case, we are waiting for the past - first of all, political, with all its mass police charms.
In any case, the position in which art in general and literature in particular is the property (prerogative) minority, it seems to me unhealthy and threatening. I do not call for the replacement of the state library - although this thought has been visited repeatedly - but I have no doubt that choose our rulers on the basis of their reader experience, and not the basis of their political programs, there would be less grief on earth. To me it seems that the potential ruler of our fate should be asked first of all, it is not about how he represents itself a foreign policy course, but about how he belongs to Standal, Dickens, Dostoevsky. At least one is the fact that the pressing bread of literature is precisely human diversity and disgrace, she, literature, turns out to be reliable antidote from anyone - famous and future - attempts total, mass approach to solving problems of human existence. As a system of moral, at least insurance, it is much more effective, rather than this or that system of beliefs or philosophical doctrine.
Because there can be no laws protecting us from themselves, no criminal code provides for punishment for crimes against literature.

... Russian tragedy is the tragedy of society, the literature in which it turned out to be the prerogative of the minority: the famous Russian intelligentsia.

…I just say that - not by experience, alas, but only theoretically - I suppose that for
a man reading Dickens, to shoot in herself a similar idea of \u200b\u200bany idea than for a person, who did not read Dickens. And I say about reading Dickens, Standal, Dostoevsky, Flaubert, Balzak, Melville, etc., i.e. literature, not about literacy, not about education. The competent one, the person formed, may well be, one or another political treatise reading, kill himself a similar one and even experience the delight of conviction. Lenin was visible, Stalin was vismunicated, Hitler, too; Mao Zedong, so that even poems wrote; The list of their victims, however, far exceeds the list of them read.

The writing

In the Russian poetry of the twentieth century, everyday reflection plays a special role. The theoretical concepts of Mandelstam, Khlebnikova, Tsvetaeva largely determine their poetics and affect the subsequent development of poetic thought. Brodsky completes the line of theoretics of its own creativity. His aesthetic positions are reflected in lyrics, in the essay, in the literary criticism, in the Nobel speech.
The aesthetic credo of Joseph Brodsky is considered in two hypostasses: first, the submission of the author on the relationships of art and validity; relations of ethical and aesthetic; On the freedom of creative personality, secondly, the concept of the language as the main thing in the categorical field of the aesthetics of Brodsky, as a whole thoughtful concept of philosophical order.

The essence of art, in Brodsky, is to harmonize the human spirit and thus - in the harmonization of the world, for "possessing its own genealogy, dynamics, logic and future, art is not synonymous, but at best, parallel to history, and the way of its existence is to create any Once a new aesthetic reality. "
Considering the category of art, Brodsky highlights the concept of aesthetics, emphasizing its primary functions in relation to ethics: "Every new aesthetic reality clarifies its reality for a person, for aesthetics - mother of ethics; The concepts of "good" and "bad" - the concepts are primarily aesthetic, premuting categories of "good" and "evil". In ethics, not "everything is permitted", because the number of colors in the spectrum is limited. " The aesthetic function of art, believes Brodsky, is the person's emphasis by the consciousness of his individuality, uniqueness: "If the art teaches / and the artist, in the first head /, then it is particular in human existence. Being the most ancient - and the most literal - form of private entrepreneurship, it is voluntarily or involuntarily encouraged in man that his sense of individuality, uniqueness, separately - turning it from a public animal in person, "in the aesthetic views of the poet, the feeling of the removal distance is attached primary importance. It was the belief that the writing desk of the poet should stand at the outside "determines the attitude of Brodsky to art as something that is valid inside. In addition, art is free and no one should serve. The aesthetics of Brodsky continues the tradition of Pushkin, who said that the "Poetry is poetry".

Considering that the ontological primary whole everyday concept of Brodsky (see "Nobel speech") is actually a language, a living self-renewable word, we can talk about the three directions of the development of the language, highlighting as components:
1. The language in its correlation with the sky, personifying at the same time the authors with the language itself and - in a more private case - with a cultural tradition as a form of existence of literature;

2. The language in its correlation with matter, the primary icon of life, personifies the author's simultaneously with the real world and imprinted on paper with literary text as part of the real world; with history as a way of existence of literature;
3. The existential component, which includes the correlation of his own author - the person and the author - the Creator, the unconscious architecture and structuring it in a coherent speech; The desire of each normal person to the personal freedom and subillofacit of the poet "Dictate of the Language", up to the sober statement, which "is not a language is his tool, and he is a means of language to continue its existence" [T-in Kulé, Personal.137].
Absolitization of the language, recognition of his primacy over the thought allowed Brodsky to overcome the dependence on cultural traditions, to break the right to talk with it on an equal footing, escape from the book, conscious of this that culture became part of life.
Giving the language a universal value, Brodsky means not a traditional language function that the poet actualizes in the poetic text, but much more deep things associated with the original essence of the language. Language is an ancient muse, inspired poets. The language reflects the metaphysical relationship, and the only merit of the poet is to understand the patterns that are in the language, transfer it to harmony.

Overcoming the Word of the Divine Nature, able to restore the time, Brodsky builds in his own worldview, it is defined by the rarhius of values \u200b\u200band comes to the deep meaning of the time interaction process and the word as the language of the language: "If the time is collected by the language / line from the poem of the" Memory of Yets " It means that the language is higher or older than the time, which in turn, above and older than the space. So I was taught, and I, of course, believed it. And if the time, which is identical to the Divine - no, even absorbs him, itself turns his tongue itself, where did the language come from? For the gift is always less than the donor. And is there not the tongue of time then? And is it because then time worships him? And there is not a song, or a poem, or simply speech, with your cesules, pauses, sponders, etc., - a game in which language plays to reconstruct time? /10 ,c.168/
Brodsky builds the word, language into the degree of absolute. And thus, according to V.Polukhina, including the word in all types of transformation of the real world in the poetic, converts a classic triangle into a square: a spirit-man-a thing. Due to the inclusion of the word to a metaphoric square, each of its components is highlighted by the new light and can be described in a new way.

The purpose of poetic creativity is the sound, with its purity, loyalty to the word with which it is expressed, the only accurate, selected from the pile of approximate meaning value. The writing poem "Gnet, plasters and scraps the word" is not good as it is good, but "Ansuate the knife / incision of the barely deep / and feel that he is in someone's power."
The language of the software, Brodsky, - autonomous, high, independent, creative category, dictating lyrical narration, it is primary: "Creative processes exist on themselves ... E is rather a product of the language and your own aesthetic categories, the product of what language has taught you. Pushkin: "You're king, live one, expensive free go, where the free mind leads you." Indeed, ultimately, you are by yourself, the only tet-a-tet, which is in the writer, and even more so at the poet, it is aunt-a-tet with his language, as he hears this language. The dictate of the language is that in the surprise is called dictate of the muse, in fact it is not a muse dictate to you, but the language that you have at a certain level of your will "/20 ,c.7/.
And only the poet knows what language is capable of, it is given to open the ability of the language, which did not exist before him. For example, as Brodsky, she guessed that the parts of speech were not alien to the metamorphosis, that verbs, nouns and pronouns can a short moment live according to one laws.

"And he said."
"And he said in response."
"Said disappeared."
"Said came to Perron."
"And he said."
"But once said - the subject
that should also refer to it. "

Speaking that the poet is only a "means of the existence of the language" /18,7/, Brodsky sees in the work of the act primarily existential, the act of knowledge, self-knowledge, the permit of the gnoseological problems, i.e. end in itself. It follows that the only task of the poet is that

To put your fingers in the mouth - this wound of the thoma -
And, by clicking the language, on the manner of Seraphim,
Drive the verb.
"Lithuanian Nocturne: Thomas Ventslova."

"In fact," recognizes Brodsky, "there is no role in the poet, except for one: to write well. This is his debt towards society, if at all talking about some kind of debt at all. "/21,c.21/

The statement of the poet reminds the bloc article on the appointment of the poet. To catch the sounds running from the depths of the universe, and this "noise" is transformed into "music" - such is the main task of the artist. Brodsky has a poem containing a hidden quote from block work:
Somewhere forever
it took all this. Hid. but
i look out the window and, writing "where",
i do not put a question mark.
Now September. Previously - Garden.
Far thunder lays ears.
In the thick foliage, pouring pears
how masculine signs hang.
And only shower in my dormant mind,
as in the kitchen of distant relatives - scraired
my rumor about this time misses:
not music is still no noise.

However, the "music" of Brodsky is not similar to the classic motive, although the poem itself as a whole and is constructed in the classical vein. Most likely, this is "music" protest against the wonderful invented world, against the conditional hierarchy of things, according to which nature or love is obviously beautiful, against illusions - to which Russian poetry has always been treated very respectful. "Darkness of low truths we are more expensive to us an elevator delay," Pushkin said, and this observation was sometimes interpreted as a brutal requirement of "beauty" to the detriment of the truth. Not by chance, Khodsevich allowed himself to challenge this phrase / Pushkinsky "elevated truth", restructing against the right of the poet to infect the reality.

Joseph Brodsky, too, for the "sublime truth", whatever painful and coarse it. In this sense, it goes even further, by believing this truth those numerous "elevating deceptions" that surround a person. Moreover, Brodsky is attempted not only on small, spontaneously emerging myths, but also the main centuries.
In the light of the above, the natural frequency of the language in the Poetry of Brodsky appears. The components of it are bred in the title ("verbs, cycle" Parts of Speech "), the individual elements are addressed to the" dictate of the language ", and the language begins to" create "history, to generate a real world (" But while we are alive while there is a forgiveness and font ... " , "Cyrillic, sinful work, waking up on recuridation, Whether (whether it knows more than that Sivile about the future", "about his M- and anyone, I learned from the letter, in black paint"). The "justification of the language" becomes the dominant of the aesthetic world of the poet.

Thus, speaking of art and infected by him, Brodsky considers it to be basic to reflect the artistic truth, which is achieved by the ability to be neutral, objective, convincing. The same art, according to the poet, is free and no one serves, its essence is manifested in the harmonization of the human spirit and in the empowerment by the features of individuality, uniqueness. Faith in the tongue introduces I. Brodsky to classic aesthetics, while maintaining its existential right to be a poet, not feeling the absurdity of his position, suspecting a serious and unexploded meaning for the culture as a great sacrament committed by the language over a person. Seeing in the language primarily category creative, Brodsky regards the poet only as a means of the existence of the language. This, consistently repeated thought of the poet of language as a higher creative strength; autonomous from the subject of speech, about creativity, as the generation of not a person who records the text, but of the language itself, is not only a kind of extension of the ancient philosophical theories of Logos and ideas - Eidos (primitiveness, profy of things), as well as the Christian doctrine of Logos, which have become flesh. The representations of Brodsky on the tongue correlate with the ideas of thinkers and linguists of the twentieth century on the autonomy of the language with their own laws of generation and development.

<...>The art of something teaches (and artists in the first head), then it is particular human existence.<...> It is voluntarily or involuntarily encourages his sense of individuality, uniqueness, separately - turning it from a public animal to a person. Much can be divided: bread, bed, asylum - but not a poem, say, Rainner Mary Rilke. The work of art, literature in particular and poem in particular, refers to the TET-A-Tet \u200b\u200bperson, entering him in direct, without intermediaries, relationships.

The great Baratyansky, speaking of his muse, described it as possessing "faces with an unstable expression." In the acquisition of this unstable expression and consists, apparently, the meaning of individual existence.<...>Regardless of whether the person is a writer or reader, his task is primarily in order to live its own, and not imposed or prescribed from the outside, even the most noble way looks<...> It would be an annoying to spend this only chance to repeat someone else's appearance, someone else's experience, on tautology.<...> Employed in order to give us a submission not so much about our origins, how much about what "Sapirens" is capable of, the book is a means of moving in the space of experience with the speed of the page turned over. Move this, in turn, turns around with a common denominator<...> In the direction of the non-expression of the face, towards the person, in the direction of particular.<...>

I have no doubt that, choose our lords on the basis of their reading experience, and not on the basis of their political programs, there would be less

grief.<...>At least one after the fact that human diversity and disgrace is the urgent bread of literature, it turns out to be a reliable antidote from any - well-known and future - attempts by a total, mass approach to solving the problems of human existence. As a system of moral, at least insurance, it is much more effective than the versions or a philosophical doctrine rather than a system.<...>

No criminal code provides for punishments for crimes against literature. And among the crimes of these most severe is not the persecution of the authors, not censorship restrictions, etc., not to legend the books of the fire. There is a crime more serious - disregard for books, their non-reading. For a crime, this person pays all his life; If the crime is a nation - she pays for this history. (From the Nobel lecture, read by I. A. Brodsky in 1987 in the USA).

Stages of work

1. Carefully read the text. We formulate the problem (problems) set in the text.

Presented text refers to publicistic style. Usually in such texts is not one, but several problems. To designate affected problems, you need to carefully read each paragraph and put a question for him.

In the text 4 paragraph and, respectively, 4 issues:

a) What helps a person to realize himself with individuality?

b) What is the meaning of the individual existence of a person?

c) What is the meaning of reading books in solving the problems of society?

d) What is the neglect of books?

In this way, the main problem is the role of literature in human and society life.

2 . Comment (explain) the basic problem formulated by us.

To identify aspects of the problem, you need to determine (call) the topic of each paragraph and note the facts (if any), which is referenced by the author.

a) about the role of art, in particular literature, in the acquisition of a person's "his" person;

b) on the right of a person for individuality (the starting point is a quotation from Bratsynsky);

c) about the need and commitment of a moral approach to solving the problems of society;

d) about the exceptional role of books in the life of a person and society.

a) art helps a person to gain experience and consciousness of its individuality;

b) a person is not a "public animal", and individuality, his task is to live "his" life;

c) literature - a system of moral insurance of society;

d) "non-reading" of books - a crime against himself and society.

4 . Express your own opinion regarding the stated problems and the positions of the author. Argument your opinion.

5 . Write a draft of writing, edit it, rewrite to the county, check literacy.

Russian language

5 - 9 classes

Carefully read the text, write an essay on a given composite scheme (problem, comment, author's position, argued agreement or disagreement with the position of the author).
If the art of something teaches (and artists in the first head), then it is particular in particular human existence. ..O freely or unwittingly encourages in a person it is his sense of individuality, uniqueness, separately - turning it from a public animal in person. Much can be divided: bread, bed, belief - but not a poem, say, Rainber Mary Rilke. The work of art, literature in particular and poem in particular, refers to the manTe ^ Te- "A-TE ^ TE, entering it into direct, without intermediaries, relationships.
The great Baratyansky, speaking of his muse, described it as possessing "faces with an unstable expression." In the acquisition
The Research Institute of this Options and consists, apparently, the meaning of individual existence; Regardless of whether the person is a writer or reader, his task is primarily to live its own, and not imposed or prescribed from the outside, even the most well-looking life. .. It would be necessary to annoy this only chance to repeat someone else's appearance, someone else's experience, on Tavolo-
Guy. .. in order to give us an idea not so much about our origins, how much about what "Sapires" is capable of, the book is a means of moving in the space of experience with the speed of the page turned over. Move this, in turn, turns around with a common denominator in the direction of the non-person's expression, towards personality,
Instrument in particular. ..
I have no doubt that, choose our lords on the basis of their reader experience, and not on the basis of their political programs, there would be less grief on earth. At least one after the fact that human diversity and disgrace is the urgent bread of literature, it turns out to be a reliable antidote from any - well-known and future - attempts by a total, mass approach to solving the problems of human existence. As a system of moral, at least insurance, it is much more effective than the versions or a philosophical doctrine rather than a system. ..
No criminal code provides for punishments for crimes against literature. And among the crimes of these most severe is not the persecution of the authors, not censorship restrictions, etc., not to legend the books of the fire. There is a crime more serious - disregard for books, their non-mercy. For a crime, this person pays all his life; If the crime is a nation - she pays for this history.
(From the Nobel lecture,
Read I. A. Brodsky in 1987 in the USA).