Because the reflection, exactly that disregarded for the citizen of its universe, of – in the instant where the workmanship obtains to penetrate all in the citizen with its artistic text. Robert Iger insists that this is the case. Or, let us say that: in the instant that the subject one starts to discover in the workmanship peculiar elements its life or strangers it e, therefore, passveis to an investigation and reflection. The lapse that if finds in the education of Literature describes, paradoxicalally, to this point of view: its use as instrument that it severely educates through ' modelos' or as support for the education of other knowledge. In the truth, literature does not impose nothing to no citizen, for the opposite, it provides through its language the construction of a singular universe, constructed of different form as each reader by means of its culture, its formation, its conception of world and, essentially, its sensitivity. We stand out, then, the participation of the reader as co-author of the text and, therefore, considering this affirmation, each fictitious scene, exactly that either of one same workmanship, consists of peculiarities. Robert Iger has plenty of information regarding this issue.

The proper PCN (2000, P. 60) if lean over in this perspective: The literary text is par excellence polissmico, allowing always more than an interpretation, and if we admit that each reader reacts differently in face of one same text, we think that the initial step of a literary reading is the individual reading, quiet, intent and reflexiva. This solitary moment of almost corporal contact between reader and the workmanship is essential, because sensitivity is the form most efficient of approach with the text. We can observe I break up through it extracted of the PCN (2000) that the polissmico character of the literary text if raises and therefore, is a way it educator to work the sensitivity of its pupils and to explore in the same ones, forms to express its sensibilidades and aptitudes.