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    • BBC Russian Service - Information Services.

    01.03.2019
    Translations of "Harry Potter" into Russian are criticized by some, while others say that without them, Rowling's books did not find their reader in Russia. The translator of the final "Harry Potter" Sergey Ilyin shared his impressions of the new book with Alvina Kharchenko.

    BBC:You translated Nabokov's English works and many other much more serious literature than "Harry Potter". What is your impression of the final book as a literary text?

    And from the seventh, and from the previous book, the impression is quite decent. I can’t say that this is mass literature, but I also had to do this, so I represent the level. Rowling is fine with English language- what else can be claims? From my point of view, this is quite a decent and high-quality text.

    BBC: Is Harry Potter just a job for you?

    S.I.: You can't call me a fan. I didn't read it at all until I started translating. I have already read the first five books, as they say, out of necessity. Of course, this is more of a job, but some things suddenly suddenly start to twitch. If we talk about which of the characters I like the most, it is certainly Dumbledore, and some things connected with him, with his relationship with Harry, made me happy.

    BBC: Is there a certain evolution of the characters of the heroes of the epic?

    S.I.: Of course, it has to do with growing up. As the books themselves mature, the Harry Potter of the last book is very different from the Harry Potter of the first. I won’t say that the sixth and seventh books have become adults in every sense of the word, but they have definitely become unchildish. These books are as old as their characters. Rowling was able to navigate very accurately - apparently, the experience of a school teacher helped - on different ages and the transition from age to age.

    BBC:Rowling deliberately abandoned the image of a children's writer?

    S.I.: I think this, and this was the intention from the very beginning - to write such a novel-education. In a sense, Harry Potter is a modern-day "Education of the Senses". There are seven school classes, there are seven books. I know of another novel that I have translated - Terence Hanbury White's Once and Future King - which starts like a childish novel and ends almost like a philosophical treatise. But there the task is more serious, and literature too. Rowling, it seems to me, had a different idea - she started with a children's book that accompanies children with enough early childhood before entering the adult world.

    BBC:Prior to the release of the last book in Russia, there were reports that it would be called "Harry Potter and the Fatal Powers".

    S.I.: These "relics", which appeared from the very beginning, have nothing to do with the matter and do not climb into any gates. To understand what's what, you just had to look into the book. There is a whole chapter about these relics, from which it follows that these are not relics, but completely normal artifacts that have a certain power over a person or give power. Another thing is that they are donated by death. In the Russian version, the title of the last book will sound like "Harry Potter and the Deathly Hallows" - this is the title that I last time heard from the editor. I would personally replace "gifts" with "offerings", but not every word fits on the cover.

    BBC:Were there any difficulties with the translation into Russian of proper names and associations that are understandable only to an English-speaking reader?

    S.I.: There are always difficulties, especially since all the names in "Harry Potter" are speaking and have semantic load. But here's another thing: we got almost a complete set of heroes, there were relatively few new ones. Since this is a multi-volume epic, even if we disagreed with the transfer of some name or title by previous translators, we could not do anything. Because if an object begins to be called differently in different books, it will completely confuse the reader and create a completely unnecessary surrealistic idea of ​​\u200b\u200bwhat is happening there.

    There was more of a problem with time. I had to translate quite solid volumes of text in a short time. If something interesting popped into my head, then it remained, but there was absolutely no time to think about how to do it for a long time. But these were all considerations of the publishing house about when the next book should come out and whether the Internet would overtake us. At the time when I started, there was already a translation of five and a half chapters on the Internet - completely ridiculous. The book was still on sale at the time.

    BBC:What do you think about "folk translation"?

    S.I.: I never looked closely at them. One thing that caught my eye was translated, in my opinion, quite successfully. There is a card game that comes from the snap, but it has something attached to it that allows you to think about the explosion. Students play it under the desk in the classroom. The name that remained in the end looks like something like an "explosive cracker" - to understand that we are talking O card game, is completely impossible. And in the folk translation they came up with completely great option: "subversive fool".

    BBC: What do you think about the quality of the translation of the book? There is an opinion that Rowling's texts in translation lose a lot.

    S.I.: This is nonsense, in my opinion. Depends on how it's translated. It’s kind of dumb for me to talk about my translations, but as for the fifth book, which was translated by Golyshev, Bobkov and Motylev, then, in my opinion, everything is in in perfect order compared with English text. If God willing, and the publishing house starts to deal with this book in earnest, and not as a sprint, maybe there will be a translator who will do it all in its entirety, because one person should translate such things. Do it seriously like literary text It was difficult because only a few months were given for translation.

    BBC: What is the mystery of "Harry Potter" and why is the whole world so crazy about this book?

    S.I.: On the one hand, this is the effect of the series. A story that goes on for a long time, which you can follow with pleasure, guessing who will die, whether the heroine will fall in love or not, and the like. This is one side of the matter and it initially sits in the mind of the viewer. On the other hand, I don't know of other serial books with such, on the one hand, a wealth of fantasy, and, on the other hand, with a very decent language and with a certain ethical message.

    The entire moral and ethical side of this book can be gleaned from other sources - for example, from the Gospel. But in order to read the Gospel, one must have the habit of reading. And one of Rowling's greatest accomplishments is that she instilled the habit of reading in part of an entire generation. People began to read again, and not wait until a movie was made based on a book.

    ... Some amazing freedom of the author, who does what he wants and knows what he wants ... (about T.H. White).
    from the interview “Conversation with Sergey Ilyin about the Gormengast trilogy”

    Today we will have a conversation with one of those translators of the North-West, whose translation I liked and remembered most of all (with Elena Khaetskaya, as we know, the matter turned out to be by no means in translation). From the covers, you probably guessed that it would be Sergey Borisovich Ilyin. Some people know him from Nabokov's translations, others, like me, know him for White's translation, Peak's and a bit of the Beagle. With this, he continues to please connoisseurs of the fantastic in Literature: depending on the personal perception of the fantasy genre and the reader's experience, one can attribute or not attribute the named authors to this genre (that is, interfere or not interfere with the common heap with fantasy artisans). At the beginning of the year, the well-known re-edition of Gormenghast (previously published by Symposium) was published in Livebook/Gayatri. And now White's new edition is coming out.

    Since we already have a long-standing (2002), but very detailed interview in Russkiy Zhurnal (under the heading “I’m waiting for an attentive reader to come”) by such an experienced interviewer of translators as Elena Kalashnikova, as well as a recent video “Conversation with Sergey Ilyin about the trilogy "Gormenghast" (YouTube), (I did not ask classic questions about favorite books, translations, and the like, detailed questions about the intricacies of the profession), as well as asking about the latest editions. My questions are mostly limited to White's translation and edition and the fantasy series. For the rest, I refer in advance to the two links provided.

    website: Sergey Borisovich, for example, I will quote from publications on the Internet about other translators and artists of the first books in the fantasy series.

    Vadim Nazarov writes:

    Buddy godfather one of my children was acquainted with Vladimir Grushetsky, who had just finished translating The Lord of the Rings, while Physical Culture and Sport was slow to advance to Mikhail Gilinsky, and the smoky manuscript of The Chronicles of Korum also ended up on my desk.
    Vadim Nazarov "It's me, Vadichka"
    There is such an editor, Vadim Nazarov - real master seek talent, both literary and artistic. He came to the department at Mukha and asked the head if there was anyone among the students who could illustrate fantasy. He pointed to me. I was extremely surprised that I was offered such a job, because then it was not easy to get a chance and find time to fulfill the order in parallel with my studies.
    "Becoming an Artist" Conversation with Pavel Borozents. Dmitry Zolotnitsky

    and how did the publishing house come to you or did you find the publishing house?


    Sergey Ilyin: This is a long story. The translations of Nabokov made by me went from hand to hand in the second half of the 80s, including in St. Petersburg. And when the "North-West" was started, one of its three founders, Sasha Kononov, decided that he was getting the opportunity to print them. And he started looking for me. And I, "for the sake of the Jews," did not sign the translations. He looked for me for a long time, despaired and abandoned, his friend already found me - according to my first publication in the Ural magazine. And the publishing house began to prepare a volume with three novels. In the meantime, Sasha, who is now "Symposium" and with whom we have been friends since then, decided to try to order something for me. And since he was in charge of this very yellow series in the publishing house, he ordered White - it was my first publishing order, everything was as it should be: a test, and then we'll see. The test went off with a bang, Sasha read it aloud at the publishing house in general meeting- and so on, as Kilgore Trout said.

    website: And with whom did you work directly in the publishing house? Who was your editor?


    Sergey Ilyin: Directly and only - with Sasha. White's first editor was (a Tolkien scholar, author of the article "The Early Poetry of John Tolkien" - approx. Site), a university teacher of English, for whom it was the first, again - everything was a first there - editorial work. The second two novels were edited by Sanya Glebovskaya, with whom I "again" have been friends since then, she herself is an excellent translator.

    website: Tom White came out just at the peak of the popularity of the "yellow series" (late 1992 - 1993), 200 thousand copies. Were there any emotions that your translation appeared in it?

    Sergey Ilyin: There were no “yellow” emotions, I never took this series very seriously. Emotions were connected with the fact that Nabokov's volume came out at the same time, he was preparing for a long time, and White's four novels. Then Victor Toporov predicted a rich life for me - White will be republished and republished. Yeah.

    website: Do you have a favorite White edition?


    Sergey Ilyin: There are only two of them. The second is terrible. So, my favorite is yellow. True, it’s about to come out, it should have appeared already in February, here it will definitely be a favorite - because there are three volumes in silk, in a box and with fantastic illustrations on each page.

    Photo of the new edition by Sergey Ilyin


    website: Do you have books in the series in your personal library, and if so, how many are there?

    Sergey Ilyin: I now live some distance from my personal library. The son definitely has something there - Mary Stuart for sure. Not much, however.

    website: Terrence H. White, Mervyn Peake, and Lord Dunsany didn't want to translate?

    Sergey Ilyin: Alas, this is the first time I've heard of him. I'm not at all familiar with these things. Yes, strictly speaking, both White and Peake - what the hell are they fantasyists? Excellent writers (there is also such a Peter Beagle) - and that's it.

    website: On the Internet, among fantasy translations, the translations of Tolkien, Zelazny, Ursula Le Guin (“Wizard of Earthsea”) are most often discussed. Do you have an opinion about the translations of these authors or favorite translations.

    Sergey Ilyin: No. I read Tolkien and Ursula in the original, Soviet power. (I looked at Grushetsky's translation - right? - when I was translating Claudel Models of the Rings, and found a number of gaps, although it seems to be the most thorough and just good.) In general, as for translators, I confess the norm of Alexander Sergeevich: "people, oh whom I do not judge, because I belong to them "

    .

    website: And yet, as I understood from the video interview, did you start translating Gormenghast for the North-West? Can I have a little more details?

    Sergey Ilyin: I didn't translate Gormenghast for SZ. The same Sasha Kononov led me to this novel, but while I was reading Titus Groan, the publishing house managed to order a translation from some sinologist. The sinologist's translation failed, the publishing house broke up, and I was left with a blue dream - to translate these three novels. Which he carried out for ten years. And when he finished, the Air Force built the series. Here, as usual, a couple of interested publishers appeared, but the third novel was published - the same Sasha Kononov, already in the "Symposium". The circle is closed, as in the novel itself.

    website: I also want to clarify information from your old interview for the Russian Journal, where you said:

    For the same "North-West" I translated Beagle's novel "The Folk of the Air" - something like "Air Tribe", "Air Folk" - its original author's title was "Knight of Ghosts and Shadows". The fact that this is fantasy becomes clear only towards the middle, and this is how people called themselves the “Archaic Entertainment Society” and play in the Middle Ages: guilds, jousting tournaments, a king, a witch, with whom it all begins ... I called the novel “Archaic Entertainment ”, but here the publisher usually decides what is best for him. However, this will be when. The novel is lying about without movement.

    What is the fate of the translation of this novel?

    Sergey Ilyin: There were no changes in the fate of Beagle's novel. Lies. The piece was once printed by the New Youth magazine. The rest can be found with the help of "Flibusta" and, it seems, Moshkov's library.

    Sergey Ilyin: As of yet, it is not visible. Everything you described is good and beautiful, but for the most part of the people reading from e-books, neither an editor, nor a proofreader, nor the quality of the text is required, the main thing is a freebie, but also pay? Yes, you choke on a horse. I think this will pass. People for whom this very quality is important, little by little sprout among other rubbish, this has always been the case, otherwise there would be no "reading public". Sooner or later, those who will agree to buy books for the price of a pack of cigarettes will grow up. And, you see, they will begin to figure out what it is that we guys are buying. Belinsky with Gogol or Bulgarin with hell knows who? Today, Vladimir Novikov asked the pirates to submit, after all, the last, seventh, edition of his book about Vysotsky in ZhZL. Hopeless, I think. Maybe the time will come when "Belinsky and Gogol will be carried from the market." I’m unlikely to live up to them, and you, you see, will break off. Which I highly doubt too. I can go on for a long time on the topic “consumer, the quality of the text consumed” and so on. What's the point? Century follows its iron path. And also: what has been is what will be, what has been done is what will be done. And there's nothing new under the sun.


    website: My traditional thanks for your time and attention.


    And once again, I advise you to read other interviews on the links above, as well as the links below. They are interesting. There are questions that I did not duplicate here. Keep in mind that 2007 is basically Harry Potter.


    Attention! The site is currently very lacking" feedback”, reviews and comments. In order to understand where the site to develop further. Feedback can be left in a special block at the bottom of the page, as well as in social networks. I accept ideas for the future and other help. In general, everything is listed in the "Help to the site" section.


    (1999)

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    tc: fBL DEMBMY YMY RTPUFP RTEDRPMBZBEFE?..

    y.y.: DHNBA, DEMBM VSC. CHPF NETCHYO RYL - UMPTSOSCHK BCHFPT, CHSCHYUSH OB EZP CHFPTPK TPNBO "zPTNEOZBUF", S CHURPNOYM, UFP CHYDEM ABOUT MPFLBI THUULYK RETECHPD, RTBCHDB, YODBFEMSHUFCHP OE HRPNYOBMP, Yu FP UHEEUFCHHAF EEE RETCHSHCHK Y FTEFIK TPNBOSHCH ... h TPNBOE X RETUPOBTSEK OBYUBEYE ZHBNYMYY, LBLYE , RP NOOYA VEDTSEUUB, DPRHUFYNSCH FPMSHLP CH NKHMSHFZHIMSHNBI. EUFSH FBN OEIPTPYK NPMPDK YuEMPCHEL, nBLYBCHEMMY FBLPK, Steerpike, CH FPN RETECHPDE RPMHYUYMUS EKHLCHPM, IPFS FPZDB KhTs - RPYUENKh OE chPMPEHL, CHUE-FBLY RETECHPD CHSHCHYOM ABOUT HLTBYOE. zhBNYMYY RETECHPDYULB S OE RPNOA, PO, RP-NPENKH, OEULPMSHLP OBRPTFBYUM, OP IBFP UMEDHAEIN EUFSH ABOUT UFP ​​PRETEFSHUS. pDOBLP, RP UYUBUFSHHA, SOE VOLUME OF LFPK LOYZY, RTYYMPUSH PVIPDYFSHUS UCHPYNY UYMBNY.

    tc: th LBL ChSCH RETECHEM Steerpik "B?

    y.y.: rPLB OILBL, FBL PO uFYTRBKLPN Y PUFBMUS - NPTSEF, chPMBLKhM - VMYЪLP Y OE CHSHCHCHCHBEF FBLYI LPOOPFBGIK, LBL chPMPEHL. IPFS, ULBTTSEN, OBCHBOYE bNLB zPTNEOZBUF FPTS YUFPMMLPCHSHCHCHBEFUS. NPTsOP CHEDSH Y "ZTBZHB nPOFE-LTYUFP" RETECHEUFY "ZTBZH ITYUFPCB zPTB" YMY RETEDBFSH OEUFP RPDPVOPE U ZhTBOGKHULYN RTPOPOUPN ... BUF", Y OEMSHЪS HER UPCHUEN RETEINEOPCHSCCHBFSH, IPFS CH HRPNSOHFPN RETECHPDE HER OBCHBMY" bNPL zPTNEOZBUF ", RPMBZBA, DMS RHEEK RTYCHMELBFEMSHOPUFY.

    tc: LBL CE RETECHPDYFSH NOPZPOBYUOSCHE UMPCHB YMY ZHBNYMYY - DBCHBFSH "DPRPMOYFEMSHOHA" YOZHPTNBGYA CH LPNNEOFBTYY, UOPULY?

    y.y.: lHUPYUEL YЪ LFPZP TPNBOB CH OBYUBME ZPDB REYUBFBMB "YOPUFTBOOBS MYFETBFHTB", FBN FPTS ChPKOIL RPDPVOSCHK CHPRTPU. h OBYUBME RHVMYLBGYY NSCH DBMY UOPUPYULKH, ZDE CHUE OBYUBEYE ZHBNYMYY TBBMPTSYMY ABOUT CHPNPTSOSCHE BOZMYKULYE UMPCHB. at DTKhZPK UFPTPOSCH, UNEOYOSCHE ZHBNYMYY LPNYUEULYI RETUPOBTSEK, PTDSH RTPZHEUUPTPCH, LPFPTBS HYUYF DEFEK bbnlb, S RPRSHCHFBMUS RETEDBFSH.

    tc: obchetoslb, chshch UFBMLYCHBMYUSH U FTHDOPUFSH RETECHPDB OBCHBOIK. tBUULBTSYFE PV LFPK UFPTPOE RETECHPDB.

    y.y.: rPOBYUBMH S VSHCHM VPDT Y CHUEY Y DBCHBM OBCHBOYS, LBL IPFEM, FEN VPMEE UFP RETECHPDYM "CH UFPM". TPNBO obvplpchb "RPD ЪOBLPN OEBLPOOPTPTSDEOOSHCHI" RPMKHYUYM X NEOS OBCHBOYE "yuETOBS UETFB" UFP MY, OE RPNOA FPYuOP, OP RPFPN S URPCHBFYMUS.

    DMS FPZP CE "UECHETP-yBRBDB" S RETCHPDYM TPNBO VYZMS "The Folk of the Air" - UFP-FP CHTPDE "chPDHYOPZP RMENEOY", "chPDHYOPZP OBTPDGB" - RETCHPOBYUBMSHOPE EZP BCHFPTULPE OBCHBOYE "tshch GBTSh RTYATBLPCH Y FEOEK". FP, UFP LFP ZHOFEY, UFBOCHYFUS RPOSFOP FPMSHLP L UETEDYOE, B FBL MADY OBCHBMY UEVS "pVEEUFCHPN BTIBYYUEULYI TBCHMEYUEOYK" Y YZTBAF CH UTEDOECELPCSE: ZYMSHDYY, TSCHGB TULYE FKhTOYTSCH, LPTPMSh, CHEDSHNB, U LPFPTPK CHUE Y OBJOYOBEFUS... ", OP FHF PVSCHUOP TEYBEF YIDBFEMSH, UFP DMS OEZP MHYUYE. ChRTPUEN, FFP LPZDB EEE VHDEF. TPNBO FBL Y CHBMSEFUS VE DCHYTSEOIS.

    h TPNBOE iEMMETB "God knows" YUBUFP RPCHFPTSEFUS LFB ZHTBBB, WITH RETECH "CHYDYF vPZ" - RP-TKHUULY FBLBS CE IPDPCHBS ZHTBBB, LBL FB RP-BOZMYKULY. TPNBO LHFJEE - "The Master of Petersburg", OP OBBYUEOYS UMPCHB "master" - "NBUFET" Y "IPSIO". NS PUFBOPCHYMYUSH ABOUT OEKFTBMSHOPN CHBTYBOFE "PUEOSH CH REFETVKhTZE", VMBZP DEKUFCHIE RTPYUIPDYF PUEOSHA.

    tc: rPNPZBM MY CHBN LFP-FP (TEBLFPTSCH, RETECHPDYUYLY, ЪOBLPNSCHE, TPDYFEMY), LPZDB CHSH FPMSHLP OBJUOYOBMY RETECHPDYFSH?

    y.y.: lPZDB S OBYUYOBM, B OBYUYOBM S, UFP OBSHCHCHBEFUS, "DMS UEVS", ChPCHUE OE RTEDRPMBZBS, UFP LFP UFBOEF NPYN PUOPCHOSCHN ЪBOSFYEN, RPNPZBFSH NOE VSCHMP OELPNH. dB Y OBYUBM-FP S RTSNP U obVPLPCHB CH FE EEE CHTENEOB, LPZDB b OEZP NPTsOP VSHMP RP YBRLE RPMHYUYFSH, FBL YuFP S PUPVEOOOP OE CHSHCHUPCHSHCHCHBMUS.

    tc: WHAT IS THE MAIN RETECH PDO LOISY?

    y.y.: yuyfbfsh s chshchhuymus mef ch rfsh, retechpdyfsh obyubm h 34, b dp ffpzp chuye yuyfbm, yuyfbm. RETECHPDOSHCHE LOYZY YUYFBMYUSH RTPUFP LBL LOYZY. rPTsBMHK, RETCHSHCHE, LBLIE RTYIPDSF CH ZPMPCH, - CHYDYNP, SING MAVYNSHE Y EUFSH, - FFP "zMBBNY LMPHOB" CHPF UFP PFCHEFYMB: " eUMY YUYFBFEMA LOIZB OERPOSFOB, OBBYUYF POB OERETECHPDINB. CHPF, OBRTYNET, U RETECHPDPN "hMYUUB" OYUEZP IPTPYEZP OE RPMHYUMPUSH. chPPVEE RETECHPD LFPK LOYZY PFYBUFY UCHSBO U RPMYFYUEULPK UYFHBGYEK, RP BNETYLBOULPNH TBDYP ZPCHPTYMY: "h UPCHEFULPN upAJE DP UYI RPT OE RETECHEDEO "hMYUU"!" rP-NPENH, FFP LOISB DMS RJUBFEMEK. oEIJCHEUFOP CE, UFP MEPRPMSHD VMKHN KHCHYDEM 16 YAOS 1904 ZPDB CH DHVMYOE, LPZDB CHCHYEM LHRIFSH RPYULH. obdp PVSEBFEMSHOP EIBFSH CH DHVMYO. mHYUYE RHUFSH RYUBFEMSH RPKDEF RP RHFY, HLBBOOPNKh dTsPKUPN. ChPF X zhPMLOETB, X ZhTBOGKHJPCH RPFPL CHEYUBFMEOYK RPMHYUBMUS CHEMYLPMEROP".

    y.y.: vshchchbaf, rtyuen yi rpdbchmsaeeee VPMSHYYOUFCHP. EUMY, LPOEYUOP, ZPCHPTYFSH P LOISBY. "khMYUU", "bDB", "rPNYOLY RP zhYOOEZBOKH" - LFP, LPOEYUOP, SCHMEOYS LTBKOYE, RPFPNKh UFP FBN HCE OBJOYOBAFUS LURETYNEOFSHCH U SJSCHLPN - DB EEE Y U OEULPMSHLYNY. oP CHPF yELURYT - WHAT IS IT RETECHPYN?

    tc: uHEEUFCHHEF MY, RP-CHBYENKH, "PMPFPK" CHPTBUF DMS RETECHPDB?

    y.y.: eUMMY TEYUSH YDEF P CHPTBUFE RETECHPDYULB - DB, OBCHETOPE. CHUE-FBLY, PF OEZP FTEVHEFUS OELPFPTBS OBYUYFBOOPUFSH. DHNBA, YUFP "YPMPFP" RTYIPDYFUS ABOUT RTPNETSHFPL PF 30 DP 50, LPZDB KhTS Y VBZBTs X YuEMPCHELB EUFSH, Y UYMSCH EEE PUFBMYUSH.

    Translator Sergei Borisovich Ilyin died tonight at the age of 68. He was born in Saratov on December 18, 1948. Graduated from the Faculty of Physics of the Saratov University with a degree in Theoretical Physics. He worked as a teacher of physics and astronomy, a programmer in a closed scientific research institute. Candidate of Physical and Mathematical Sciences. Translating fiction (Nabokov) began in 1983 for his wife Elena, who did not read English. He is best known for his translations of English-language prose by the same Vladimir Nabokov, published in the collected works of the Symposium publishing house. The first translation is Nabokov's novel Pnin. Then he translated White, Wilder, Heller, Buckley, Dunleavy, Kelman, Cunningham, Mervyn Peake, Stephen Fry, Mark Twain and others. Published in the journals Ural, Znamya, Foreign literature”,“ New Youth ”. Prizes of the Znamya Foundation (1999), Illuminator (1999).

    Below is the text of the interview that Sergei Ilyin gave to Elena Kalashnikova in 2002. It was published in the Russian Journal.

    S.I.: Is it easy for me to fit in, etc. - It's hard for me to judge. Seems like it doesn't take much effort. Although what does it mean: "integrate into the style"?

    RJ: Do you listen to the opinion of colleagues, or do they for the most part biased because competitors?

    S.I.: It so happened that I rarely see my colleagues and do not discuss craft issues. Yes, I know very few people. And, fortunately, I didn’t have to read the reviews of my colleagues on my opuses.

    RJ: Are you satisfied with all your own translations?

    S.I.: No, not all of them. And especially all sorts of stories that are bad for me.

    RJ: Why do you take them on then?

    S.I.: I took up the stories when I was translating Nabokov. It was the second or third experience of translation - since then I have remade them several times, but, in my opinion, I have not completed them. Then I tried to translate other authors, maybe two turned out.

    RJ: What?

    S.I.: Leela the Werewolf and Peter Beagle's Come Lady Death.

    RJ: According to Max Nemtsov, who read "Lila the Werewolf" to his family in your translation, the story suits the voice perfectly, it is natural, like breathing, nothing superfluous. "It seemed to me then close to the ideal" ... But it turns out that the short genre is not your forte?

    S.I.: Not mine. A long genre is a machine that from a certain moment pulls along, you adjust the beginning to what happens next, you redo everything several times. And in short genre just breathed - the distance was already over.

    RJ: Maybe that's why, in order to get into the rhythm of the author, you need to take several of his works? Or does the rhythm change from piece to piece?

    S.I.: In different ways. I didn't translate a lot of one author. There was a unique experience with Nabokov, but it is easy to translate in the sense that you can look into his Russian texts and try to build something similar. As for my translations by one author, these are three novels by White (strictly speaking, seven, but five are combined into one book), two novels by Coetzee, two by Heller; a novel and two Beagle stories - I wanted to translate some more of it, but I think it's already in Russian.

    RJ: What translations are you most satisfied with?

    S.I.: It seems to me that it turned out to be "Autumn in Petersburg" by Coetzee, "Pale Fire", "The Real Life of Sebastian Knight" by Nabokov. I won't say that other translations of Nabokov are bad, but these two are my favourites. I am satisfied with Heller's two novels, one has not yet been published. A wonderful novel about King David - the narrator is dying, hides last words Michelangelo, Shakespeare, who stole all the plots from him, and his son, a complete fool, the future King Solomon. The book is saturated with quotations from Scripture, not to mention Shakespeare, Coleridge, Milton - and they are all unquoted.

    RJ: Did you look for translations of the quoted fragments?

    S.I.: It is easier with the Bible - I have Russian and English Bibles in my computer. In other cases, English quotes help. Well if there is a link...

    RJ: And if not?

    S.I.: As a rule, quotes still stick out from the text, although, probably, not all of them are found, here it’s up to luck.

    RJ: Max Nemtsov: "I approach the text from the point of view of sound..." What is important to you in a text?

    S.I.: I can't say. IN good text everything is important - sound, rhythm, vocabulary. Maybe it's the rhythm.

    RJ: Vadim Mikhaylin: "... first I read the text in its entirety, and several times, in order to knock the edge off the first perception, when you mainly look at the plot, the dynamics of the characters - in order to get to the language. Sometimes you translate fragments from different places". And how are you doing?

    S.I.: I read the text in its entirety and then try to keep the “bite” that Vadim is talking about. The plot and so on, generally speaking, are not so interesting to me.

    RZH: What is "sickness" for you?

    S.I.: I wrote about it. In 1998 I turned 50 and composed something called "My life with Nabokov", and in 1999, on the centenary of Nabokov's birth, it and something else came in handy. "Something" is a letter to my then close friend Oleg Dark, he worked in "Nezavisimaya" and asked me to write something about the translation. Soon he left there, the text was not printed, and in 1999 he was remembered. The first impression, right or wrong, is the strongest, and translation, as I understand it, is an attempt, mainly for myself, to reproduce it in another language. If six months later, looking at the text, you remember how it was for the first time, it means that the translation was a success.

    RJ: N.M. Demurova, for example, translated many things, but her name is associated with Carroll's "Alice". Do you consider yourself - by and large - "Nabokov's translator"?

    S.I.: A little more time has passed, it is difficult to judge, but the very formula "Nabokov's translator" is beginning to stick. Recently, I spoke at the Russian State Humanitarian University - Grisha Kruzhkov, my old acquaintance, invited me to his translation seminar and introduced me as "translator Nabokov" - I got angry and asked to continue to call me simply "translator". And whose - there it will be seen. Now I have a new project in the works.

    S.I .: Mervyn Peake is best known as the author of three novels, although he seems to have five of them, and there are also poems, hall graphic works at the Tate Gallery.

    RJ: And why is it interesting to you?

    S.I.: This very "gritty" that Vadim spoke about.

    RJ: Did you want to translate it yourself or did someone suggest it?

    S.I.: There was such a publishing house "North-West", I received my first orders there - while I was preparing for the publication of Shakespeare ... what the hell is Shakespeare? - Nabokov. Just the first order was - White's tetralogy about King Arthur, four novels - four ages, however, later it turned out that there were five books in this tetralogy ... White is one of the whales on which fantasy literature stands, besides him, there are Tolkien and Mervyn Peak, who did not write any fantasy and got into this company as a fool. When the Tolkien boom began to subside in the United States, American publishers began to look for a new author, Peak at that time was dying in crazy house... I didn't know anything about him: "What is Peak?" - I ask. And Sasha Kononov: "Yes, such a "Castle" of Kafka, but not without an entrance, but without an exit."

    RJ: Do you like Kafka?

    S.I.: For a long time and firmly. At that time, I was just about to go to Koktebel, I took a volume of Peak from the library on Ulyanovsk, and with complete rapture I read the first novel on the beach. It doesn’t look like Kafka at all, in style it’s more like Dickens, Gogol, Edgar Allan Poe; many details, some insignificant episode - "Vanya passed" - takes up two pages.

    RJ: Like Proust.

    S.I.: Maybe. I rushed to Sasha: "I want to translate Peak." And they had already ordered a translation from a St. Petersburg sinologist, it was Sasha's idea - Peak was born in China, the whole life of the Gormenghast castle is built on the daily performance of complex meaningless rituals, at sort of Chinese ceremonies ... Then the publishing house broke up, and I sat down to translate Peak for myself, two I translated the novel, so I took up the third one. I hope they come out in the "Symposium".

    RJ: There were works that you wanted to translate, but for some reason it did not work out - were you disappointed or something else? ..

    S.I.: Beagle's first novel, A Quiet, Peaceful Place. He wrote it in the early 60s, at the age of 18, under the covers, in a student hostel. A love story of two dead unfolds in a Catholic cemetery, one of them is a suicide, and they are separated, a man who has been living in the cemetery for 20 years is trying to help them - he is afraid to go out the gate, he tried once, but returned. Recently it turned out that a translation of this novel is published somewhere or has already been published - and this is death: the second translation comes out rarely or after many years. I translate some books because I need it, say, Nabokov, Peak, but here there was no such feeling. Generally speaking, I am not a translator. By education I am a theoretical physicist, the theory of relativity and so on.

    RJ: So, translation came into your life thanks to Nabokov?

    S.I.: This is such a historical anecdote: It was 1982. (I came to Moscow in 1975, I'm from Saratov, like Vadik Mikhailin. I studied in Dubna, in graduate school, and also read more and more books, there was a luxurious library.)

    RJ: Were you already familiar with Kruzhkov then? He studied at the Institute of High Energy Physics in Protvino.

    S.I.: No. Grisha is an experimental physicist, it seems, but I am a theorist, these are different football teams, besides, he is older than me, and when we met in Moscow, I was a software engineer, and he was already translating Keats for Litpamyatnikov. Compared to Saratov, there were incomparably more books in Moscow. And when I read the "Russian" Nabokov, I immediately fell head over heels in love with him.

    RJ: What did you read first?

    S.I.: "Invitation to execution", "Mashenka", "Gift". So: my friend Lyalka, a student of Galperin, who has been teaching at the Institute all her life foreign languages, now the Linguistic University. Maurice Thorez, a good English library, I have read almost all of it - and have developed the habit of English reading. At that time, she was offered a hack: to teach Russian to a group of American students, leaving, they left her books that they bought - on the road, in order to quickly learn something about Russia - one of them turned out to be Nabokov's "Pnin". It always seemed to me that Nabokov is cold with his characters, with the exception of himself in the role of Godunov-Cherdyntsev, while in Pnin everything is unusually warm - and I sat down to translate it for my wife. Then I did not even suspect the existence of English phraseological dictionary- and Nabokov, although rarely, uses idioms and some language clichés - especially when conveying the speech of a vulgar person ... Lyalka corrected something in my translation and returned it to me under New Year- I'm just in new year's eve got poisoned and began to process it without getting out of bed. Later I exchanged through a friend - from an Iranian or Algerian who collected our scientific literature, which cost a penny here - "Bend Sinister" and a collection of Nabokov's stories; I took "The True Life of Sebastian Knight" from acquaintances. And off we go - in 15 years I translated everything. Over time, skills are being developed, I began to acquire dictionaries, looked for English books in second-hand booksellers, there were three such stores - on the streets of Kachalov and Academician Vesnin and also "Akademkniga" on Pushkinskaya Square.

    RJ: This is probably a more theoretical question, but still... has your translation style already formed?

    S.I.: If we are talking about a technical skill - probably yes. But the vague feeling that I can't translate still remains, and I'm still waiting for an attentive reader to come and ask: "What are you doing here, good man?"

    RJ: Well, this feeling probably happens to everyone.

    S.I.: My suspicions on this score are more justified than those of others. My English is like a one-way street - from English to Russian and only written, I almost do not perceive it by ear. The same Vadik Mikhailin graduated from the philological faculty of our university with him, and not from the Faculty of Physics, as I did. True, Golyshev, and Kruzhkov, are also techies ...

    RJ: Also Motylev, Babkov... Have you ever had to change the author's style or write in translation "under such and such"?..

    S.I .: Once I did such a thing with "Autumn in St. Petersburg" by Coetzee. In the journal "Foreign Literature" they asked to comb the conversations in the novel "under Dostoevsky." I, as they say, refreshed my memory of what was written by Dostoevsky, including "Demons" - the novel ends with Dostoevsky beginning "Demons". You can’t write like him, but I tried to make it look like it. And then I read a review on the Internet: "The penetration of the author into the style of Dostoevsky is striking ..." I assure you, Coetzee has no penetration: chopped phrases, everything is in the present tense.

    RJ: Translators often say that they are looking for an analogue of the style of the translated work in domestic literature, - you too?

    S.I.: Probably not. What for? The authors of the 19th century should look like the authors of their time, and if you look for analogues, then not among the brightest of ours of that time, because they are too bright - well, maybe read Pisemsky. In general, it all depends on the author.

    RJ: Do you immediately understand that you want to translate this or that text?

    S.I.: By the end of the first third, approximately. It happens - the beginning is interesting, but by the time you get to the end, the text will stretch its legs twice already. Right now, maybe I'm going to translate the book of Kellman, the Booker laureate, even though it is written almost in the Scottish dialect and is similar in style to Venichka Erofeev. With him, everything is immediately clear.

    RJ: So, when translating, you will focus on "Moscow-Petushki"?

    S.I.: Maybe you will have to find it. There were about 10 "Petushkovs" in the house, but they all scattered.

    RJ: Did the translated text influence you?

    S.I.: Any mystical phenomena? When I was translating "Sebastian Knight", the weather was the same sunny as today, 8th floor, the balcony was open, usually 2-3 butterflies were circling in the room - and then they flew ... I'm not inclined to mysticism, but I remember this episode .

    S.I.: Rather, for certain authors - for Joyce. There are genres that are better not to mess with. I once took up a ladies' novel, I won't do it again, as well as frankly popular literature, - just then they cleaned me out of work, and I ran in all directions at once.

    RJ: And women?

    S.I.: For myself, I translated the stories of Patricia Highsmith - and I would like to continue, but I see: here in the store is my beloved "Mr. Ripley" Yes, there is also such a serious lady who wrote under a pseudonym, Isaac Dinenes.

    RJ: In your opinion, the fate of the second, third translation usually does not add up?

    S.I.: Usually it is complicated. For example, magazines have a strict rule: if a translation or a fragment is published somewhere, it is no longer published. The wonderful magazine "New Youth" dared to publish "Transparent Things", which by that time had already been published in " Fiction- "Translucent Objects". In the "Symposium" a volume of Woody Allen has now been released, in which I also participate - some of the stories there have been translated, probably several times, the publisher simply selected what turned out better.

    RJ: Are you close to Woody Allen?

    S.I.: Very. He only wrote three collections, I had one of them in my hands - there are parodies of genres: memoirs of Hitler's personal hairdresser, a detective story, a play, memories of fictional "great philosophers" - and so on ...

    RJ: Do you read the works of your colleagues?

    S.I.: I try not to read other translations of Nabokov and, in general, books that I read in English. The soreness that has turned into tartar is yours, and here they are trying to implant someone else's tartar in you. But there are exceptions: I read Golyshev's translations from Dashel Hammett with great pleasure.

    RJ: And so you can get under the influence? ...

    S.I .: It’s more likely not an influence here - I’d like to see how someone else translated some difficult place and then rephrase it quietly.

    RJ: Did you do that or just assume? ..

    S.I.: I think I would. Here is Mervyn Peak, a complex author, when I took up his second novel Gormenghast, I remembered that I had seen a Russian translation on the stalls, although the publisher did not mention that there were also the first and third novels ... In the novel, the characters meaningful surnames, which, according to Burgess, are only acceptable in cartoons. There is a bad young man there, such a Machiavelli, Steerpike, in that translation it turned out to be Shchukovol, although then why not Voloshchuk, after all, the translation came out in Ukraine. I don't remember the name of the translator, he, in my opinion, screwed up a little, but the next one has something to rely on. However, fortunately, I did not find this book, I had to manage on my own.

    RJ: And how did you translate Steerpik?

    S.I .: No way yet, so he remained a Steerpike - maybe Volakul - close and does not evoke such connotations as Voloshchuk. Although, say, the name of the castle Gormenghast is also interpreted. It is possible, after all, to translate "The Count of Monte Cristo" as "the Count of Christ's Mount" or convey something similar with a French pronunciation ... But in many countries the book "Gormenghast" is known, and you cannot completely rename it, although in the translation mentioned it was called "Castle Gormenghast ', I suppose, for greater attractiveness.

    RJ: How to translate polysemantic words or surnames - to give "additional" information in comments, footnotes?

    S.I.: A piece of this novel was printed by Foreign Literature at the beginning of the year, and a similar question arose there as well. At the beginning of the publication, we gave a footnote, where all the significant names were decomposed into possible English words. On the other hand, I tried to convey the funny names of comic characters, the horde of professors that teaches the children of the castle.

    RJ: Surely, you have faced the difficulty of translating titles. Tell us about this side of the translation.

    S.I .: At first I was cheerful and cheerful and gave the names as I wanted, especially since I translated "to the table." Nabokov's novel "Under the Sign of the Illegitimate" got my name "Black Line" or something, I don't remember exactly, but then I realized it.

    For the same "North-West" I translated Beagle's novel "The Folk of the Air" - something like "Air Tribe", "Air Folk" - its original author's title was "Knight of Ghosts and Shadows". The fact that this is a fantasy becomes clear only towards the middle, and so people called themselves the "Archaic Entertainment Society" and play in the Middle Ages: guilds, jousting tournaments, a king, a witch, with whom it all begins ... I called the novel "Archaic Entertainment ", but the publisher usually decides what is best for him. However, this will be when. The novel is lying about without movement.

    In Heller's novel "God knows" this phrase is often repeated, I translated "God sees" - in Russian it is the same catch phrase as that in English. Roman Coetzee - "The Master of Petersburg", but the meaning of the word "master" - "master" and "master". We settled on the neutral version of "Autumn in St. Petersburg", since the action takes place in autumn.

    RJ: Did anyone (editors, translators, acquaintances, parents) help you when you first started translating?

    S.I .: When I started, and I started, as they say, "for myself", not at all assuming that this would become my main occupation, there was no one to help me. Yes, and I started right with Nabokov in those days when you could get a hat for him, so I didn’t particularly stick out.

    RJ: What are your favorite translated books?

    S.I.: I learned to read at the age of five, I started translating at 34, and before that I read and read everything. Translated books were read just like books. Perhaps the first ones that come to mind - apparently they are favorite ones - are "Through the Eyes of a Clown", "The Catcher in the Rye", "Tristram Shandy", "Cola Breugnon", "Treasure Island" (of course!), Pasternak's "Hamlet" - then, not now - "Gargantua and Pantagruel", "Theophilus North", "The Name of the Rose" - and "Lolita", of course. The order here is completely arbitrary.

    RJ: If you were to compile an anthology of the best domestic translations of the 20th century, whose works would you include?

    S.I.: Offhand: Lyubimov, Wright-Kovaleva, Lozinsky, Golyshev - the order, again, is arbitrary. Well, don't forget yourself.

    RJ: To the question: "Do you think there are untranslatable books?" I.M. Bernstein answered this: “If the reader does not understand the book, then it is untranslatable. For example, nothing good happened with the translation of Ulysses. In general, the translation of this book is partly connected with the political situation, they said on American radio: “In "Ulysses" has not yet been translated into the Soviet Union!" In my opinion, this is a book for writers. It is not known what Leopold Bloom saw on June 16, 1904 in Dublin, when he went out to buy a kidney. You must definitely go to Dublin. Better let the writer go along the path indicated by Joyce. Here, with Faulkner, with the French, the flow of impressions turned out great. Do you think there are untranslatable books, or does each book simply have to wait for its own translator?

    S.I.: There are, and the vast majority of them. Unless, of course, we are talking about books. "Ulysses", "Ada", "Finnegans Wake" - these are, of course, extreme phenomena, because experiments with language are already beginning there - and even with several. But here is Shakespeare - is he really translating?

    RJ: Do you think there is a "golden" age for translation?

    S.I.: If we are talking about the age of the translator, yes, probably. Still, it requires some erudition. I think that "gold" falls on the interval from 30 to 50, when a person already has luggage and still has strength.

    List of works

    • Pale Flame: [Novel, Short Stories]/ Vladimir Nabokov; [Translated from English, notes and trans. foreign terms of S. Ilyin; Artistic A. Kazantsev]. - Sverdlovsk: Independent publishing enterprise "91", 1991. - 352, p.: ill.; 17 cm. (In the lane): B. c.
    • The Sword in the Stone: The Novels/ Terence H. White; per. from English. Sergei Ilyin; The sword in the stone; The queen of air and darkness - St. Petersburg: North-West, 1992. - 416, p.: ill. ISBN 5-8352-0093-5 (In trans.): B. c.
    • Candle in the Wind: The Novels/ Terence H. White; per. from English. Sergei Ilyin; Knight who committed a misdemeanor; Candle in the wind - St. Petersburg: North-West, 1993. - 480, p.: ill. ISBN 5-8352-0095-1 (In trans.): B. c.
    • Bend Sinister: [Novels]/ Vladimir Nabokov; [Translated from English, comment. and trans. foreign terms of S. Ilyin; Artistic M. Zanko]. - St. Petersburg: North-West, 1993. - 525, p.: ill.; 21 cm. - (Ex libris). ISBN 5-8352-0019-6 (In trans.): B. c. Contents: The True Life of Sebastian Knight; Pnin; Bend sinister
    • / Vladimir Nabokov; [Trans. from English. and remarks by S. Ilyin; Artistic V. N. Belousov]. - M.: DI-DIK, B. g. (1996). - 572, p.: ill.; 22 cm - (Almanac "Modern Classics", ISSN 0206-2178). ISBN 5-87583-024-7 (In trans.): B. c.
    • / Vladimir Nabokov; [Compilation by S. B. Ilyin, A. K. Kononov; Foreword and comment. A. M. Luxembourg]; Book Publishing Support Foundation “Petersburg. book. - St. Petersburg: Symposium, 1997-. - 21 cm. [T. 1.]: The true life of Sebastian Knight; Under the sign of illegitimate - St. Petersburg: Symposium, 1997. - 605, p.: ill. ISBN 5-89091-016-7 (In trans.): B. c.
    • Collected Works american period: [Trans. from English] / Vladimir Nabokov [Compilation by S. B. Ilyin, A. K. Kononov; Comment. A. M. Luxembourg]; Book Publishing Support Foundation “Petersburg. book. - St. Petersburg: Symposium, 1997-. - 22 cm. [T. 2]: Lolita; Laughter in the Dark: [Novels]. - St. Petersburg: Symposium, 1997. - 670, p.: ill. ISBN 5-89091-017-5 (In the lane): B. c.
    • Collected Works of the American Period: [Trans. from English]/ Vladimir Nabokov; [Compilation by S. B. Ilyin, A. K. Kononov]; Book Publishing Support Foundation “Petersburg. book. - St. Petersburg: Symposium, 1997-. - 21 cm. [T. 3]: Pnin; Pale flame; Stories / [Comment. A. M. Luxembourg, S. B. Ilyin; Artistic M. G. Zanko]. - St. Petersburg: Symposium, 1997. - 700, p.: ill. ISBN 5-89091-023-X (In trans.): B. c.
    • Collected Works of the American Period: [Trans. from English]/ Vladimir Nabokov; [Compilation by S. B. Ilyin, A. K. Kononov]; Book Publishing Support Foundation “Petersburg. book. - St. Petersburg: Symposium, 1997-. - 21 cm. [T. 4]: Ada, or the Joy of Passion / [Translated by S. Ilyin; Auth. note W. Damor-Block; Comment. S. B. Ilyin, A. M. Luxembourg; Artistic M. G. Zanko]. - St. Petersburg: Symposium, 1997. - 666, p.: ill. ISBN 5-89091-036-1 (In the lane): B. c.
    • Collected Works of the American Period: [Trans. from English]/ Vladimir Nabokov; [Compilation by S. B. Ilyin, A. K. Kononov]; Book Publishing Support Foundation “Petersburg. book. - St. Petersburg: Symposium, 1999-. - 21 cm. [T. 5]: Look at the harlequins!; Memory, speak / [Translated by S. Ilyin; Comment. S. B. Ilyin, A. M. Luxembourg; Artistic M. G. Zanko]. - St. Petersburg: Symposium, 1999. - 698, p.: ill. ISBN 5-89091-014-0 (In trans.): B. c.
    • World of wildlife/ [Trans. from English. Sergei Ilyin]. - M.: AST-Press, 2000. - 216, p.: color. ill.; 21x20 cm. - (My first illustrated encyclopedia). ISBN 5-7805-0552-7 (Russian)
    • Lie That Wouldn't Die = Lie That Wouldn't Die: "Protocols Elders of Zion»: a hundred-year history/ Hadassah Ben-Itto; per. from English. Sergei Ilyin. - M.: Rudomino, 2001. - 477, p.; 22 see ISBN 5-7380-0149-4
    • Kabbalah: [Novel]: [Trans. from English. Sergei Ilyin]/ Thornton Wilder. - St. Petersburg: Symposium, 2001. - 233, p.; 21 see - (Symposium). ISBN 5-89091-158-9
    • Infamy: A Novel/ J. M. Coetzee; per. from English. Sergei Ilyin. - M.: Foreigner: B. S. G.-Press, 2001. - 292 p.; 17 see ISBN 5-94145-026-5 ("Foreigner")
    • Autumn in Petersburg: A novel/ J. M. Coetzee; per. from English. Sergei Ilyin. - M.: Foreigner: B. S. G.-Press, 2001. - 289, p.; 17 cm. ISBN 5-94145-010-9 (Foreigner)
    • Smoking here: Roman/ Christopher T. Buckley; per. from English. Sergei Ilyin. - M.: Foreigner: B. S. G.-Press, 2001. - 439, p.; 17 cm. ISBN 5-94145-014-1 (Foreigner)
    • God Sees: A Novel/ Joseph Heller; per. from English. Sergei Ilyin; - M.: Foreigner: B. S. G.-Press, 2002. - 575, 17 cm.
    • Plasticine rings: Roman/ Henry Byrd, Douglas Kenny; per. from English. Sergei Ilyin; [poems in trans. Alexandra Glebovskaya;]. - St. Petersburg: Symposium, 2002. - 272, p.: 17 see ISBN 5-89091-193-7
    • Titus Groan: A Novel/ Mervyn Peak; per. from English. Sergei Ilyin; [Il. Mervyn Peak]. - St. Petersburg: Symposium, 2003. - 588, p.: ill.; 21 see ISBN 5-89091-228-3: 4000
    • Liar = The Liar: [Romance]/ Stephen Fry ; per. from English. Sergei Ilyin. - M .: Phantom Press, 2003 (Tip. AO Mol. Guard). - 446 pages; 17 cm - (Series "Zebra"). ISBN 5-86471-341-4 (in translation)
    • Hippo: [Novel]/ Stephen Fry ; per. from English. Sergei Ilyin. - M .: Phantom Press, 2003 (Tip. AO Mol. Guard). - 444 pages; 17 cm - (Series "Zebra"). ISBN 5-86471-328-7 (in translation)
    • White Mice: A Novel/ Nicholas Blinkow; per. from English. Sergei Ilyin. - M.: Foreigner, 2003 (Ekaterinburg: Ural worker). - 245 p.; 20 cm - (Behind the porthole: new century lit.; 043). ISBN 5-94145-098-2 (in trans.)
    • How late it all is: [Novel]/ James Kelman; per. from English. Sergei Ilyin. - M.: EKSMO, 2003-336 p.; 21 cm - ISBN 5-699-02668-1 (in trans.)
    • Translation of testimony: [Novel]/ James Kelman; per. from English. Sergei Ilyin. - M.: EKSMO, 2003-320 p.; 21 cm - ISBN 5-699-03676-8 (in trans.)
    • Gormenghast: A Novel/ Mervyn Peak; per. from English. Sergei Ilyin; [Poems in trans. Alexandra Glebovskaya]. - St. Petersburg: Symposium, 2004. - 604, p.; 21 see ISBN 5-89091-263-1: 4000
    • The Loneliness of Titus: A Novel/ Mervyn Peak; per. from English. Sergei Ilyin; [poems in trans. Alexandra Glebovskaya; ill. Mervyn Peak]. - St. Petersburg: Symposium, 2004. - 394, p.: ill.; 21 see ISBN 5-89091-277-1: 4000
    • Any Man's Inside: [Novel]/ William Boyd; per. from English. S. Ilyina. - M.: ROSMEN, 2005. - 800, p.; 21 see ISBN 5-353-01531-2 (in trans.)
    • South Wind: A Novel/ Norman Douglas, [trans. Sergei Ilyin]. - M.: B. S. G.-PRESS, 2004. - 525, p., l. ill., portrait; 21 cm - (Post factum). ISBN 5-93381-147-5 (in translation)
    • Harry Potter and the Half-Blood Prince: [Novel]/ J. K. Rowling; per. from English. M. Lakhuti and S. Ilyin. - M.: ROSMEN, 2005 (Yaroslavl: Yaroslavl printing plant). - 668, p.; 21 see ISBN 5-353-02187-8 (in trans.)
    • Fairytale New York: A Novel/ James Patrick Dunleavy; per. from English. Sergei Ilyin. - M.: NLO, 2005. - 544, p.; 221 see ISBN 5-89091-118-X: 4000
    • Age of Mercury. Jews in modern world / Yuri Slezkin; per. from English. Sergei Ilyin. - St. Petersburg: Symposium, 2005. - 478, p.; 21 see ISBN 5-86793-355-5: 4000
    • How to Make History = Making History: [Novel]/ Stephen Fry ; per. from English. Sergei Ilyin. - M.: Phantom Press, 2005. - 639 p.; 17 cm - (Series "Zebra"). ISBN 5-86471-370-8: 10000
    • Dorian = Dorian: Novel/ Will Self; per. from English. Sergei Ilyin. - M.: Foreigner, 2005 (Ekaterinburg: Ural worker). - 399 p.; 20 cm - (Behind the porthole: new century lit.; 043). ISBN 5-94145-349-3 (in trans.)
    • / Terence H. White; per. from English. Sergei Ilyin [ill. Natalia Dobrokhotova-Maikova] M.: House of Hope, 2006. - 288, p.: ill. ISBN 5-902430-04-6 (In the lane): B. c.
    • Sleep Sweet Prince: A Novel/ D. Dickinson; per. from English. Sergei Ilyin. - M.: Slovo, 2006. - 384, p.: ill.; 21 cm - ISBN 5-85050-873-2 (in trans.)
    • An incomplete but definitive history of classical music/ Stephen Fry ; per. from English. Sergei Ilyin. - M.: Phantom Press, 2006. - 544, p.: ill.; 21 cm - (The Best of Phantom). ISBN 5-86471-402-X (in trans.)
    • Harry Potter and the Deathly Hallows: [Novel]/ J. K. Rowling; per. from English. S. Ilyina and others - M.: ROSMEN, 2007. - 637, p.; 21 see ISBN 978-5-353-02907-6 (trans.)
    • Maestro myth/ Norman Lebrecht; per. from English. S. Ilyina. - M.: Classics-XXI, 2007. - 448, p.; 21 see ISBN 978-5-89817-192-6 (in trans.)
    • The Fahrenheit Twins: [stories]/ Michel Faber; per. from English. Sergei Ilyin. - M .: Machines of creation, 2007. - 272, p.: 21 cm. ISBN 978-5-902918-12-7 (in translation)
    • Autobiography: Moab is my washing bowl/ Stephen Fry ; per. from English. Sergei Ilyin. - M.: Phantom Press, 2007. - 604, p.: ill.; 21 cm - (The Best of Phantom). ISBN 978-5-86471-426-3 (in trans.)
    • Heaven's Tennis Balls = The Stars Tennis balls/ Stephen Fry ; [per. from English. Sergei Ilyin]. - M.: Phantom Press, 2007. - 509, p.; 20 cm - (The Best of Phantom). ISBN 5-86471-408-9 (in trans.)
    • Prophecy and Politics/ Jonathan Frenkel; per. from English. Sergei Ilyin. - M .: Bridges of Culture, 2008. - 24 cm. - 2008. - 847, p., (erroneous) (transl.)
    • The Fry and Laurie Show/ Stephen Fry and Hugh Laurie; per. from English. Sergei Ilyin. - M.: Phantom Press, 2008. - 20 cm. - (The Best of Phantom). 1. - 2008. - 343, p., l. col. ill. ISBN 978-5-86471-461-4 (in translation)
    • The lady who loved clean toilets: Novel/ James Patrick Dunleavy; per. from English. Sergei Ilyin. - M.: Geleos, 2008. - 171, p.; 21 see ISBN 978-5-8189-1184-7: 4000
    • Of course you are joking, Mr. Feynman! = Surely You're Joking, Mr. Feynman: the adventures of an amazing man, told by him to Ralph Leighton/ Richard Feynman ; per. from English. Sergei Ilyin. - M.: Kolibri, 2008. - 479 p.; 21 see - (Biographies). ISBN 978-5-389-00122-0 (in trans.)
    • Club Rakaliy/ Jonathan Coe; per. from English. Sergei Ilyin. - M.: Phantom Press, 2008. - 636, p.: ill.; 20 cm - (The Best of Phantom). ISBN 5-86471-407-0 (in trans.)
    • E=mc². Biography of the most famous equation in the world/ David Bodanis; per. from English. Sergei Ilyin. - M.: Kolibri, 2009. - 448, p.: ill.; 21 see ISBN 978-5-389-00499-3 (in trans.)
    • electric universe/ David Bodanis; per. from English. Sergei Ilyin. - M.: Kolibri, 2009. - 384, p.: ill.; 21 see ISBN 978-5-389-00506-8 (in trans.)
    • Paperweight = Paperweight/ Stephen Fry ; per. from English. Sergei Ilyin. - M.: Phantom Press, 2009. - 638, p.: ill.; 20 cm - (The Best of Phantom). ISBN 978-5-86471-483-6 (in translation)
    • Maestro, masterpieces and madness/ Norman Lebrecht; per. from English. S. Ilyina. - M.: Classics-XXI, 2009. - 328, p.; 21 cm. ISBN 978-5-89817-289-3 (in trans.)
    • Five operas and a symphony/ B. M. Gasparov; per. from English. S. Ilyina. - M.: Classics-XXI, 2009. - 320, p.; 21 cm. ISBN 978-5-89817-291-6 (in trans.)
    • Taking Woodstock/ Eliot Tayber; per. from English. S. Ilyina. - M.: Astrel Publishing House, 2009. - 320, p.; see ISBN 978-5-271-24546-6 (in trans.)
    • Crimson Petal and White: A Novel/ Michel Faber; per. from English. Sergei Ilyin; Mariam Salganik. - M .: Machines of creation, 2009. - 872, p.: 24 cm. ISBN 978-5-902918-15-8 (in translation)
    • Apple: [Stories about people from Crimson Petal]/ Michel Faber; per. from English. Sergei Ilyin. - M .: Machines of creation, 2010. - 208, p.: 14 cm. ISBN 978-5-902918-16-5 (in translation)
    • Supreme Courtship = Supreme Courtship: A Novel/ Christopher Buckley; per. from English. Sergei Ilyin. - M.: Foreigner, 2010. - 526, p.; 17 cm - (The Best of Foreigner). ISBN 978-5-389-00649-2 (in translation)
    • Look at the harlequins!: [Text]: [Novel]/ Vladimir Nabokov; [per. from English. Sergei Ilyin]. - St. Petersburg: ABC classics, 2010. - 314, p.; 17 see ISBN 978-5-9985-0850-9
    • Imagine a Picture: [Novel]/ Joseph Heller; [Trans. from English. S. Ilyin;]. - M.: AST Astrel, 2010. - 319, p.: 21, see ISBN 978-5-271-28749-7 (In the lane): B. c.
    • Flesh and Blood: A Novel/ Michael Cunningham; per. from English. S. Ilyina. - M.: Astrel Publishing House, 2010. - 704, p.; see ISBN 978-5-271-28984-2 (in trans.)
    • Stephen Fry in America/ Stephen Fry ; [per. from English. Sergei Ilyin]. - M.: Phantom Press, 2010. - 312, p.; 29 cm. ISBN 978-5-86471-503-1 (in trans.)
    • From Murder to Murder: A Novel/ Aravind Adiga; [per. from English. Sergei Ilyin]. - M.: Phantom Press, 2010. - 448, p.; 17 cm. ISBN 978-5-86471-524-6 (in trans.)
    • Blacker than ever: A novel/ Nyo Marsh; per. from English. S. Ilyina. - M.: Astrel Publishing House, 2010. - 507, p.; see ISBN 978-5-271-31771-2 (in trans.)
    • Gap: Novel/ Lelich, Simon; [per. from English. Sergei Ilyin]. - M.: Phantom Press, 2011. - 384, p.; see ISBN 978-5-86471-543-7 (in trans.)
    • Meet Orson Welles/ Orson Welles and Peter Bogdanovich; per. from English. S. Ilyina. - M.: Rosebud Publishing. Post Modern Technology, 2011. - 496, p.; see ISBN 978-5-904175-08-5 (in trans.)
    • The Adventures of Tom Sawyer and Huckleberry Finn/ Mark Twain ; per. from English. S. Ilyina. - M.: Reader's Digest, 2011. - 477, p.; see ISBN 978-5-89355-627-8 (in trans.)
    • Fry Chronicles. Autobiography/ Stephen Fry ; per. from English. Sergei Ilyin. - M.: Phantom Press, 2011. - 544, p.: ill.; 21 cm - (The Best of Phantom). ISBN 978-5-86471-600-7 (in trans.)
    • Philosopher/ Jesse Kellerman; per. from English. Sergei Ilyin. - M.: Phantom Press, 2012. - 383, ; 21 cm. ISBN 978-5-86471-618-2 (in trans.)
    • Every third thought/ John Barth; per. from English. Sergei Ilyin. - St. Petersburg: Azbuka, Azbuka-Atticus, 2012. - 224 p. ISBN 978-5-389-02988-0 (in trans.)
    • Under the Sign of the Illegitimate: [Novel]/ Vladimir Nabokov; [per. from English. Sergei Ilyin]. - St. Petersburg: Azbuka, 2012. - 286 p.; 17 see ISBN 978-5-389-04369-5
    • Snowdrops: [Novel]/ Miller E. D.; [per. from English. Sergei Ilyin]. - M.: Phantom Press, 2012. - 319 p.; 17 see ISBN 978-5-86471-628-1
    • Week in December: [Novel]/ Sebastian Faulks; [per. from English. Sergei Ilyin]. - M.: Astrel, Corpus, 2012. - 606 p.; 20 cm. ISBN 978-5-271-42655-1
    • Heat/ Jesse Kellerman; per. from English. Sergei Ilyin. - M.: Phantom Press, 2012. - 416, ; 21 cm. ISBN 978-5-86471-647-2 (in trans.)
    • The Unauthentic Life of Sergei Nabokov/ Paul Russell; per. from English. Sergei Ilyin. - M.: Phantom Press, 2013. - 416, ; 21 cm. ISBN 978-5-86471-661-8 (in trans.)
    • Amendment after amendment/ Joseph Heller; per. from English. Sergei Ilyin. - M.: AST, 2013. - 412, ; 21 cm. ISBN 978-5-17-078138-6 (trans.)
    • Canada: Novel/ Richard Ford; per. from English. Sergei Ilyin. - M.: Phantom Press, 2013. - 480, ; 21 cm. ISBN 978-5-86471-676-2 (in trans.)
    • Once and Future King: Novels / Terence H. White; per. from English. Sergei Ilyin; The sword in the stone; The queen of air and darkness - M.: RIPOL classic, 2014. - 590, p.: ill. ISBN 978-5-386-06559-1 (in trans.)
    • Once and Future King: Novels / Terence H. White; per. from English. Sergei Ilyin; Knight who committed a misdemeanor; Candle in the wind - M.: RIPOL classic, 2014. - 592, p.: ill. ISBN 978-5-386-05839-5 (in trans.)
    • Once and Future King: Novels / Terence H. White; per. from English. Sergei Ilyin; Merlin's book - M.: RIPOL classic, 2014. - 176, p.: ill. ISBN 978-5-386-06414-3 (in trans.)
    • Gormenghast: Titus Groan: Roman / Mervyn Peak; per. from English. Sergei Ilyin; [Poems in trans. Alexandra Glebovskaya]. - M.: LiveBook, 2014. - 733, p.: ill.; see ISBN 978-5-904584-79-5 (in trans.)
    • Gormenghast: Gormenghast: Roman / Mervyn Peak; per. from English. Sergei Ilyin; [Poems in trans. Alexandra Glebovskaya]. - M.: LiveBook, 2014. - 765, p.: ill.; see ISBN 978-5-904584-80-1 (in trans.)
    • Gormenghast: Titus alone: Roman / Mervyn Peak; per. from English. Sergei Ilyin; [Poems in trans. Alexandra Glebovskaya]. - M.: LiveBook, 2014. - 413, p.: ill.; see ISBN 978-5-904584-81-8 (in trans.)
    • settling scores: Stories / Woody Allen; per. from English. Sergei Ilyin and others. - M.: AST, 2014. - 224, ; see ISBN 978-5-17-084391-6 (in trans.)
    • Dancer/Colum McCann; per. from English. Sergei Ilyin. - M.: Phantom Press, 2014. - 416, ; 21 cm. ISBN 978-5-86471-665-6 (in trans.)
    • Under the skin: Roman / Michel Faber; per. from English. Sergei Ilyin. - M.: Machines of creation, 2014. - 319, p.: 24 cm. ISBN 978-5-902918-43-1
    • And the Birds Sang...: [Novel] / Sebastian Faulks; [per. from English. Sergei Ilyin]. - M.: Sinbad, 2014. - 600 p.; 20 cm. ISBN 978-5-905891-38-0
    • 50 ideas you need to know about. Physics / Joanne Baker; per. from English. Sergei Ilyin. - M.: Phantom Press, 2014. - 208, ; 21 see ISBN 978-5-86471-688-5
    • Unknown Fields: Novel, Short Stories/ Peter Beagle; (In the lane). - Lviv-Kharkov, 2014. - 446, Gift edition, not for sale.
    • Sports Journalist: Roman/ Richard Ford; per. from English. Sergei Ilyin. - M.: Phantom Press, 2014. - 448, ; 21 cm. (In the lane)
    • Jinx: A Novel/ Sage Blackwood; per. from English. Sergei Ilyin. - M.: Abrikobuks, 2015. - 302, ; 21 see ISBN 978-5-9905904-1-0] (in trans.)
    • Ada, or the Joy of Passion: [Family Chronicle: Novel]/ Vladimir Nabokov; ger. from English. S. Ilyina. - St. Petersburg: Azbuka, 2015. - 702, ; 22 cm. ISBN 978-5-389-09541-0 (trans.)
    • Still Enough Dope: Memories/ Stephen Fry; per. from English. Sergei Ilyin. - M.: Phantom Press, 2015. - 383, ; 21 cm. ISBN 978-5-86471-705-9 (in trans.)
    • Possible Life: [Novel]/ Sebastian Faulks; per. from English. Sergei Ilyin. - M.: Sinbad, 2015. - 350 p.; 20 cm. ISBN 978-5-905891-78-6
    • The Great Gatsby: [Novel]/ Scott Fitzgerald; per. from English. Sergei Ilyin. - M.: EKSMO, 2015. - 224 p.; 20 cm. ISBN 978-5-699-84232-2
    • The Boy in the Dark and Other Stories/ Mervyn Peak; per. from English. Sergei Ilyin, Max Nemtsov; [Il. Mervyn Peak]. - M.: Livebook, 2016. - 248, p.: ill.; ISBN 978-5-9907254-6-1
    • Jinx Magic: Novel/ Sage Blackwood; per. from English. Sergei Ilyin. - M.: Abrikobuks, 2016. - 376, ; 21 cm. ISBN 978-5-9905904-4-1 (in trans.)
    • Tender is the Night: [Novel]/ Scott Fitzgerald; per. from English. Sergei Ilyin. - M.: EKSMO, 2016. - 480 p.; 20 cm. ISBN 978-5-699-84952-9
    • Area of ​​interest: [Roman]/ Martin Amis; per. from English. Sergei Ilyin. - M.: Phantom Press, 2016. - 416, ; 21 see ISBN 978-5-86471-724-0 (in trans.)
    • Mrs Masham's Rest: A Novel/ Terence H. White; per. from English. Sergei Ilyin [ill. Tatyana Kormer] M.: ALBUS CORVUS, 2016. - 288, p.: ill. ISBN 978-5-906640-68-0 (in trans.)
    • The Last of the Unicorns: A Novel. "Two Hearts: A Tale./ Peter Beagle; (In lane)
    • Riot on the Bounty: A Novel/ John Boyne;
    • Independence Day: Novel/ Richard Ford;
    • Owner: Roman/ Terence H. White; (In lane)
    • The Sword in the Stone: Chapters from the First Version of the Novel/ Terence H. White; (In lane)
    • archaic entertainment; Leela, werewolf; Come Lady Death: A Novel, Stories/ Peter Beagle; (In lane)
    • Sonata of the Unicorn: A Novel/ Peter Beagle; (In lane)
    • Gospel of Fire: A Novel/ Michel Faber ; (In lane)
    • King among the branches. Revenge: Tales/ Stephen Millhauser; (In lane)
    • Our gang: Roman/ Philip Roth; (In lane)
    • Adolescence. Youth. Summer: 3 novels/ J. Coetzee; (In lane)
    • Flame Jinx/ Blackwood, Sage; (In lane)
    • Elephant and kangaroo/ White, Terence H.; (In lane)

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    • : Interview with Denis Korsakov // " TVNZ”, August 28, 2007.
    • : Interview with Olga Kopsheva // Newspaper of the Week in Saratov, October 26, 2010.

    An excerpt characterizing Ilyin, Sergei Borisovich

    - Here he is ... ours ... My friend, Kolya ... He has changed! No candles! Tea!
    - Kiss me then!
    - Darling ... but me.
    Sonya, Natasha, Petya, Anna Mikhailovna, Vera, the old count, embraced him; and people and maids, having filled the rooms, sentenced and gasped.
    Petya hung on his feet. - And then me! he shouted. Natasha, after she, bending him to her, kissed his whole face, jumped away from him and holding on to the floor of his Hungarian, jumped like a goat all in one place and squealed piercingly.
    From all sides were shining tears of joy, loving eyes, from all sides were lips seeking a kiss.
    Sonya, red as red, also held on to his hand and beamed all over in a blissful look fixed on his eyes, which she was waiting for. Sonya was already 16 years old, and she was very beautiful, especially at this moment of happy, enthusiastic animation. She looked at him, not taking her eyes off, smiling and holding her breath. He looked at her gratefully; but still waiting and looking for someone. The old countess hasn't come out yet. And then there were footsteps at the door. The steps are so fast that they couldn't have been his mother's.
    But it was she in a new dress, unfamiliar to him, sewn without him. Everyone left him and he ran to her. When they came together, she fell on his chest sobbing. She could not raise her face and only pressed him against the cold laces of his Hungarian coat. Denisov, not noticed by anyone, entered the room, stood right there and, looking at them, rubbed his eyes.
    “Vasily Denisov, your son’s friend,” he said, introducing himself to the count, who looked at him inquiringly.
    - Welcome. I know, I know,” said the count, kissing and hugging Denisov. - Nikolushka wrote ... Natasha, Vera, here he is Denisov.
    The same happy, enthusiastic faces turned to the shaggy figure of Denisov and surrounded him.
    - My dear, Denisov! - Natasha squealed, beside herself with delight, jumped up to him, hugged and kissed him. Everyone was embarrassed by Natasha's act. Denisov also blushed, but smiled and took Natasha's hand and kissed it.
    Denisov was taken to the room prepared for him, and the Rostovs all gathered in the sofa near Nikolushka.
    The old countess, without letting go of his hand, which she kissed every minute, sat next to him; the rest, crowding around them, caught his every movement, word, glance, and did not take their eyes off him with enthusiastic love. The brother and sisters argued and intercepted places from each other closer to him, and fought over who would bring him tea, a handkerchief, a pipe.
    Rostov was very happy with the love he was shown; but the first minute of his meeting was so blissful that it seemed to him that his present happiness was not enough, and he kept waiting for something more, and more, and more.
    The next morning the visitors slept off the road until 10 o'clock.
    In the previous room, sabers, bags, carts, open suitcases, dirty boots were lying around. The cleaned two pairs with spurs had just been placed against the wall. Servants brought washstands, hot water for shaving, and washed dresses. It smelled of tobacco and men.
    - Hey, G "bitch, t" ubku! shouted the hoarse voice of Vaska Denisov. - Rostov, get up!
    Rostov, rubbing his eyes that were stuck together, lifted his tangled head from the hot pillow.
    - What's late? “It’s late, 10 o’clock,” Natasha’s voice answered, and in the next room there was a rustling of starched dresses, a whisper and laughter of girlish voices, and something blue, ribbons, black hair and cheerful faces flashed through the slightly open door. It was Natasha with Sonya and Petya, who came to see if he got up.
    - Nicholas, get up! Natasha's voice was heard again at the door.
    - Now!
    At this time, Petya, in the first room, seeing and grabbing sabers, and experiencing the delight that boys experience at the sight of a warlike older brother, and forgetting that it is indecent for sisters to see undressed men, opened the door.
    - Is that your sword? he shouted. The girls jumped back. Denisov, with frightened eyes, hid his shaggy legs in a blanket, looking around for help at his comrade. The door let Petya through and closed again. There was laughter outside the door.
    - Nikolenka, come out in a dressing gown, - Natasha's voice said.
    - Is that your sword? Petya asked, “or is it yours?” - with obsequious respect he turned to the mustachioed, black Denisov.
    Rostov hurriedly put on his shoes, put on a dressing gown and went out. Natasha put on one boot with a spur and climbed into the other. Sonya was spinning and just wanted to inflate her dress and sit down when he came out. Both were in the same, brand new, blue dresses - fresh, ruddy, cheerful. Sonya ran away, and Natasha, taking her brother by the arm, led him into the sofa room, and they started talking. They did not have time to ask each other and answer questions about thousands of little things that could interest only them alone. Natasha laughed at every word that he said and that she said, not because what they said was funny, but because she had fun and was unable to restrain her joy, expressed in laughter.
    - Oh, how good, excellent! she said to everything. Rostov felt how, under the influence of the hot rays of love, for the first time in a year and a half, that childish smile blossomed in his soul and face, which he had never smiled since he left home.
    “No, listen,” she said, “are you quite a man now? I'm awfully glad you're my brother. She touched his mustache. - I want to know what kind of men you are? Are they like us? No?
    Why did Sonya run away? Rostov asked.
    - Yes. That's another whole story! How will you talk to Sonya? You or you?
    “How will it happen,” said Rostov.
    Tell her, please, I'll tell you later.
    - Yes, what?
    - Well, I'll tell you now. You know that Sonya is my friend, such a friend that I would burn my hand for her. Here look. - She rolled up her muslin sleeve and pointed at her long, thin and delicate handle under her shoulder, much higher than the elbow (in the place that sometimes is closed and ball gowns) red mark.
    “I burned this to prove my love to her. I just kindled the ruler on fire, and pressed it.
    Sitting in his former classroom, on the sofa with cushions on the handles, and looking into those desperately animated eyes of Natasha, Rostov again entered that family, children's world, which had no meaning for anyone except for him, but which gave him one of the best pleasures in life; and burning his hand with a ruler, to show love, seemed to him not useless: he understood and was not surprised at this.
    – So what? only? - he asked.
    - Well, so friendly, so friendly! Is this nonsense - a ruler; but we are forever friends. She will love someone, so forever; but I don't understand it, I'll forget it now.
    - Well, so what?
    Yes, she loves me and you so much. - Natasha suddenly blushed, - well, you remember, before leaving ... So she says that you forget it all ... She said: I will always love him, but let him be free. After all, the truth is that this is excellent, noble! - Yes Yes? very noble? Yes? Natasha asked so seriously and excitedly that it was clear that what she was saying now, she had previously said with tears.
    Rostov thought.
    “I don’t take back my word in anything,” he said. - And besides, Sonya is so charming that what kind of fool would refuse his happiness?
    “No, no,” Natasha screamed. We already talked about it with her. We knew you would say that. But this is impossible, because, you know, if you say so, you consider yourself related word, it turns out that she seemed to say it on purpose. It turns out that you are still forcibly marrying her, and it turns out not at all.
    Rostov saw that all this was well thought out by them. Sonya struck him yesterday with her beauty. To-day, seeing her for a glimpse, she seemed even better to him. She was a lovely 16-year-old girl, obviously passionately loving him (he did not doubt this for a minute). Why should he not love her now, and not even marry her, thought Rostov, but now there are so many other joys and occupations! "Yes, they thought it up perfectly," he thought, "one must remain free."
    “Very well,” he said, “we’ll talk later.” Oh, how glad I am for you! he added.
    - Well, why didn’t you cheat on Boris? the brother asked.
    - That's nonsense! Natasha screamed laughing. “I don’t think about him or anyone, and I don’t want to know.
    – That's how! So what are you?
    - I? Natasha asked, and a happy smile lit up her face. - Have you seen Duport "a?
    - No.
    - Did you see the famous Duport, the dancer? Well, you won't understand. I'm what it is. - Natasha, rounding her arms, took her skirt, as if dancing, ran a few steps, turned over, made an antrash, beat her leg against her leg and, standing on the very tips of her socks, walked a few steps.
    - Am I standing? behold, she said; but she couldn't stand on tiptoe. "So that's what I am!" I will never marry anyone, but I will become a dancer. But do not tell anyone.
    Rostov laughed so loudly and merrily that Denisov felt envious from his room, and Natasha could not help laughing with him. - No, it's good, isn't it? she kept saying.
    - Well, do you want to marry Boris anymore?
    Natasha flushed. - I don't want to marry anyone. I'll tell him the same when I see him.
    – That's how! Rostov said.
    “Well, yes, it’s all nonsense,” Natasha continued to chat. - And why is Denisov good? she asked.
    - Good.
    - Well, goodbye, get dressed. Is he scary, Denisov?
    - Why is it scary? Nicholas asked. - No. Vaska is nice.
    - You call him Vaska - strange. And that he is very good?
    - Very good.
    “Well, come and drink some tea.” Together.
    And Natasha stood up on tiptoe and walked out of the room the way dancers do, but smiling the way happy people smile. summer girls. Having met Sonya in the living room, Rostov blushed. He didn't know how to deal with her. Yesterday they kissed in the first moment of the joy of meeting, but today they felt that it was impossible to do this; he felt that everyone, both mother and sisters, looked at him inquiringly and expected from him how he would behave with her. He kissed her hand and called her you - Sonya. But their eyes, having met, said “you” to each other and kissed tenderly. With her eyes, she asked him for forgiveness for the fact that at Natasha's embassy she dared to remind him of his promise and thanked him for his love. He thanked her with his eyes for the offer of freedom and said that one way or another, he would never stop loving her, because it was impossible not to love her.
    “How strange, however,” said Vera, choosing a general moment of silence, “that Sonya and Nikolenka now met like strangers. - Vera's remark was just, like all her remarks; but, like most of her remarks, everyone became embarrassed, and not only Sonya, Nikolai and Natasha, but also the old countess, who was afraid of this love of her son for Sonya, which could deprive him of a brilliant party, also blushed like a girl. Denisov, to Rostov's surprise, in a new uniform, pomaded and perfumed, appeared in the living room as dandy as he was in battles, and so amiable with ladies and gentlemen, which Rostov did not expect to see him.

    Returning to Moscow from the army, Nikolai Rostov was received by his family as best son, hero and beloved Nikolushka; relatives - as a sweet, pleasant and respectful young man; acquaintances - as a handsome hussar lieutenant, a clever dancer and one of the best grooms in Moscow.
    The Rostovs knew all of Moscow; the old count had enough money this year, because all the estates were remortgaged, and therefore Nikolushka, having got his own trotter and the most fashionable trousers, special ones that no one else in Moscow had, and boots, the most fashionable, with the most pointed socks and little silver spurs, had a lot of fun. Rostov, returning home, experienced a pleasant feeling after a certain period of time trying on himself for the old conditions of life. It seemed to him that he had matured and grown very much. Despair for an examination that was not consistent with the law of God, borrowing money from Gavrila for a cab, secret kisses with Sonya, he recalled all this as about childishness, from which he was now immeasurably far away. Now he is a hussar lieutenant in a silver cape, with soldier George, preparing his trotter for a run, along with well-known hunters, elderly, respectable. He has a familiar lady on the boulevard, to whom he goes in the evening. He conducted the mazurka at the ball at the Arkharovs, talked about the war with Field Marshal Kamensky, visited an English club, and was on you with one forty-year-old colonel, whom Denisov introduced him to.
    His passion for the sovereign somewhat weakened in Moscow, since during this time he did not see him. But he often talked about the sovereign, about his love for him, making it feel that he still did not tell everything, that there was something else in his feeling for the sovereign that could not be understood by everyone; and wholeheartedly shared the feeling of adoration common at that time in Moscow for Emperor Alexander Pavlovich, who at that time in Moscow was given the name of an angel in the flesh.
    During this short stay of Rostov in Moscow, before leaving for the army, he did not get close, but, on the contrary, parted ways with Sonya. She was very pretty, sweet, and obviously passionately in love with him; but he was in that time of his youth, when it seems that there is so much to do that there is no time to do it, and the young man is afraid to get involved - he values ​​\u200b\u200bhis freedom, which he needs for many other things. When he thought of Sonya during this new sojourn in Moscow, he said to himself: Eh! there are still many, many of these will be and are there, somewhere, still unknown to me. I still have time, when I want, to make love, but now there is no time. In addition, it seemed to him that something humiliating for his courage in women's society. He went to balls and sorority pretending to do it against his will. Running, an English club, a revelry with Denisov, a trip there - that was another matter: it was decent for a young hussar.
    At the beginning of March, the old Count Ilya Andreevich Rostov was preoccupied with arranging a dinner in an English club for the reception of Prince Bagration.
    The count in a dressing gown walked around the hall, giving orders to the club housekeeper and the famous Feoktist, the head cook of the English club, about asparagus, fresh cucumbers, strawberries, calf and fish for Prince Bagration's dinner. The count, from the day the club was founded, was its member and foreman. He was entrusted from the club with organizing a celebration for Bagration, because rarely anyone knew how to organize a feast in such a big way, hospitably, especially because rarely anyone knew how and wanted to invest their money if they were needed for arranging a feast. The cook and housekeeper of the club, with merry faces, listened to the count's orders, because they knew that under no one, as under him, it was better to profit from a dinner that cost several thousand.
    - So look, scallops, put scallops in the cake, you know! “So there were three cold ones? ...” the cook asked. The Count considered. “It can’t be less, three…mayonnaise times,” he said, bending his finger…
    - So you will order the big sterlets to take? the housekeeper asked. - What to do, take it, if they do not yield. Yes, you are my father, I had and forgot. After all, we need another entree on the table. Ah, my fathers! He grabbed his head. Who will bring me flowers?
    - Mitinka! And Mitinka! Ride on, Mitinka, to the Moscow region, ”he turned to the manager who had come in at his call,“ jump to the Moscow region and now tell the gardener to dress up the corvee Maximka. Tell them to drag all the greenhouses here, wrap them in felt. Yes, so that I have two hundred pots here by Friday.
    Having given more and more different orders, he went out to rest with the countess, but remembered something else he needed, returned himself, returned the cook and housekeeper, and again began to give orders. At the door was heard a light, masculine gait, the rattling of spurs, and a handsome, ruddy, with a blackening mustache, apparently rested and well-groomed by a quiet life in Moscow, entered the young count.
    - Ah, my brother! My head is spinning,” said the old man, as if ashamed, smiling in front of his son. - If only you could help! We need more songwriters. I have music, but can I call the gypsies? Your military brethren love it.
    “Really, papa, I think Prince Bagration, when he was preparing for the battle of Shengraben, was less busy than you are now,” said the son, smiling.
    The old count pretended to be angry. - Yes, you talk, you try!
    And the count turned to the cook, who, with an intelligent and respectable face, looked observantly and affectionately at father and son.
    - What kind of youth is that, Feoktist? - he said, - laughs at our brother old people.
    - Well, Your Excellency, they only want to eat well, but how to collect everything and serve it is none of their business.
    - So, so, - the count shouted, and cheerfully grabbing his son by both hands, he shouted: - So that's it, I got you! Now take a twin sleigh and go to Bezukhov, and say that the count, they say, Ilya Andreevich was sent to ask you for fresh strawberries and pineapples. You won't get anyone else. It’s not there yourself, so you go in, tell the princesses, and from there, that’s what, you go to Razgulay - Ipatka the coachman knows - you find Ilyushka the gypsy there, that’s what Count Orlov then danced, remember, in a white Cossack, and you bring him here to me.
    “And bring him here with the gypsies?” Nicholas asked laughing. - Oh well!…
    At that moment, with inaudible steps, with a businesslike, preoccupied, and at the same time Christian meek air that never left her, Anna Mikhailovna entered the room. Despite the fact that every day Anna Mikhailovna found the count in a dressing gown, every time he was embarrassed in front of her and asked for an apology for his costume.
    “Nothing, Count, my dear,” she said, meekly closing her eyes. “And I’ll go to the Earless,” she said. - Pierre has arrived, and now we will get everything, count, from his greenhouses. I needed to see him. He sent me a letter from Boris. Thank God, Borya is now at headquarters.
    The count was delighted that Anna Mikhailovna was taking part of his orders, and ordered her to pawn a small carriage.
    - You tell Bezukhov to come. I'll write it down. What is he with his wife? - he asked.
    Anna Mikhailovna rolled her eyes, and deep sorrow expressed on her face ...
    “Ah, my friend, he is very unhappy,” she said. “If it’s true what we heard, it’s terrible. And did we think when we rejoiced so much at his happiness! And such a high, heavenly soul, this young Bezukhov! Yes, I feel sorry for him from the bottom of my heart and will try to give him the consolation that will depend on me.
    - Yes, what is it? both Rostovs, the elder and the younger, asked.



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