From the author: About the Inner Criticism using the example of a fairy tale. Information about the characters mentioned here: In depth psychology, a method of analyzing a literary text has been adopted, in which characters are considered as subpersonalities of the author - this can be a useful exercise for readers. In this article, I want to invite you to reflect on how the characters in J.K. Rowling about Harry Potter reflect the figures of our Internal Censors or Critics. The Inner Critic is that part of the personality that evaluates our decisions, makes us suffer from doubts, regret mistakes, and plan upcoming things. At the Hogwarts school described by Rowling, we encounter different models of teaching, which are often equally effective. Potions Professor Severus Snape is hated by most of the students, but nevertheless he achieves ideal discipline in his lessons. He achieves this through the fear of punishment - unexpected, severe and often unfair. We act in a similar way when we tear ourselves to smithereens for the smallest flaw or imperfection; being five minutes late becomes the reason for final disappointment in one’s discipline, and a mistake in work completely undermines one’s sense of competence. The critic “Snape” does not take into account our need for rest, the role of external circumstances, the conventionality of requirements - in his eyes we are always not good enough . At the same time, in some paradoxical way, he wishes us well, since he strives to provide a high level of quality, but at the same time we can see that behind this there is a deep trauma of rejection and loneliness, an attempt to grab a high bar as a saving straw, to compensate for the feeling of belonging otherness or inferiority, elevating oneself above others. Professor McGonagall is an example of a different approach to internal discipline; no less strict, but much more fair. She allows for the possibility of mistakes because she understands that you learn from mistakes; she will not demand more from the student than what he is really capable of, but at the same time she will not allow him to relax and show a result unworthy of his potential. McGonagall is always ready for a rational analysis of the situation, weighing the pros and cons. She is unlikely to violate the established order, but will try to do everything to ensure a decent level. For this, she is respected and obeyed, feeling the care underlying the severity. However, McGonagall has a somewhat one-sided and rigid view of things; accepting and consciously maintaining a contradictory reality is not in her character. A much more flexible model of behavior is offered by Professor Lupin, who is distinguished by a creative approach to work, is ready to close his eyes to some weaknesses and liberties, and treats his students with care and empathy. People listen to him because he is interesting and because he relies on an assessment scale that is individual for each student. His tolerance and understanding are born of his own suffering; and each of us should not be too hard on ourselves if we accept the personal history of trauma behind imperfections and mistakes. Lupine is a stickler for a practical approach; and his participation in our lives is manifested in the inner permission to experiment and face our fears. On the other hand, he is constantly on the verge of being possessed by a powerful affect - a blind rage that destroys everything around, regardless of the situation, our plans and tasks, or the feelings of others. This happens to us when the object of the Inner Critic's attention reminds us of bitterness, shame and resentment that we have not yet fully realized. However, it happens that the Inner Critic itself does not cope with its task - we see an example of this in Zlatopust Lokonse, who, despite all the surroundings and pathos, is incapable of either real feats or teaching. All he cares about is image; he is extremely self-centered and desperately needs confirmation of his exclusivity. We are under his.