Reminiscence is a reflection in a new bookseparate quotations and, of course, the images of the previous famous work, most often created by a classic. It is a fairly thin and powerful creative tool, affecting memory and associative thinking, it should not be confused with plagiarism. After all, if reminiscence in literature is a creative echo, reinterpreted, bringing new colors that affect the imagination of the reader, then plagiarism, appropriation of authorship is, of course, theft. Ukrainian poet, classic Kotlyarevsky, even creatively "broke" with the plagiarist Mr. Matsapura, placing him in his "Aeneid" one of the characters, trampled hell in hell.
By the way, we met with a reminiscencealmost everything. Remember how we, as children, asked the elders "to invent a fairy tale for us," and then listened in a free-flowing story about Ivanushka the Fool, Vasilisa the Beautiful, etc. (Reminiscence is also images that pass from a fairy tale to a fairy tale. ) It uses a collection of stories, joined together by a common protagonist, and a series similar to him on composition. At the same time, as you know, a later development of the plot allows for a mention from a completely different book, where the common image used has already been encountered.
This literary instrument is particularlyclassics. So, Pushkin and Lermontov often and originally used reminiscence. Examples of this are numerous. When a famous literary critic Vasily Andreevich Vyazemsky wrote about the beginning poet Alexander Sergeevich that he was a "consequence" of the poet Zhukovsky, then Pushkin himself specified that it was not a consequence, but a disciple. In his poem "Ruslan and Lyudmila" Pushkin in the 12th chapter placed a whole mini-parody of the work of his elder friend "Song of the Twelve Devas". At the same time, for all Vyazemsky was his friend, and after the duel - always, until the very end was at the bedside.
In the XVIII century, reminiscence is a powerful platformcreative cooperation. Continuing to talk about the reminiscences of the classics, let us recall Lermontov, who in his famous poem "The Prisoner of the Caucasus" widely used this literary device, relying on the poem of the same name by Pushkin. This work of the young Mikhail Yurievich Lermontov can even be called a creative exposition of Pushkin's lines. Not only does the rhythm of the story coincide with the beginning of both poems (about resting at Circassians in the evening), compositional fragments coincide. The line about the long way leading to Russia - openly coincides. Often Lermontov's reminiscence is a kind of creative mosaic. With a deeper study of his poem "Circassians", there is a consonance with the works of Pushkin, Byron, Dmitriev, Kozlov. So can we say that Lermontov allowed plagiarism in his work? Of course not! Creative ideas should not ossify and be perceived as licensed dogmas, they should be developed. Does not the "quoted" poet leave his mark in the Literature? If the subsequent work is not inferior to the previous one in its strength and depth, is it plagiarism? Fortunately, the laws of creativity are different from licensing laws of business.
Reminiscences are multifunctional: often they reproduce readers already known for them quotes and phrases or transforming them, or even leaving them in a form characteristic of the original source. Otherwise, with the help of reminiscence, suddenly in the new work the names of the characters and images from the previous ones emerge.
A recognized master of reminiscence is oura contemporary, a classic Victor Pelevin. His novel "Chapaev and Emptiness" not only "brings us together" with the well-known characters, Furmanov's characters, but draws a completely different storyline. Appears the protagonist Peter the Emptiness, the poet is a decadent. The action "bifurcates" between 1919 and 1990. Victor Pelevin uses the style of the speech of Vasily Ivanovich from Dmitry Furmanov's novel Chapaev. In particular, in his speeches, before sending to the front, the same phrases and phrases were used: "Neches to corn", "they knew on the STO," "We give the Zaruka". Extremely interesting is Pelevin's image of Anka the Pulemetchitsa. In modern interpretation, it is simultaneously a mysteriously inconstant woman and an educated socialite. She masterfully leads the thread of conversation, skillfully presents herself. And this is by no means the only book by Victor Pelevin, in which reminiscence appears. Another of his novel with more than a laconic name "T" in general famously "twists the images." Combined with the methodology of Buddhism, he introduces the main hero of Leo Tolstoy. Further, as it turns out, the image of the classic is not dependent. He, in turn, writes five writers (an analogy with the demiurges). "Swallowing" the same novel further, we meet the reinterpreted by the writer Optina Pustyn, associated with Golgotha. The reasoning of Pelevinsky Count Tolstoy, which constitute his internal spiritual rethinking, is an obvious reminiscence with autobiographical "Notes of a Madman".
Is it relevant to the literature? The postmodern stage of its development claims: "More and how!" Moreover, often he feeds on it, finds in it life-giving forces and ideas, and sometimes, like Victor Pelevin, turns into a creative method.
