Реминисценция - это отражение в новой книге individual quotes and, of course, images of the previous well-known work, most often created by a classic. It is a rather subtle and powerful creative tool that affects memory and associative thinking, it should not be confused with plagiarism. After all, if the reminiscence in literature is a creative echo, rethought, introducing new colors that affect the reader's imagination, then plagiarism and the appropriation of authorship is, of course, theft. The Ukrainian poet, the classic Kotlyarevsky, even creatively "finished off" with the plagiarist Mr. Matsapura, placing him in his "Aeneid" by one of the characters, tattered by devils in hell.
By the way, we met with the reminiscencealmost everything. Remember how we, as children, asked our elders to “come up with a fairy tale for us,” and then listened to the free presentation of the story about Ivanushka the Fool, Vasilisa the Beautiful, and so on. ) It is also used by a collection of stories, joined together by a common protagonist, and a series similar to it in composition. At the same time, as you know, the later development of the plot allows for references from a completely different book, where the common image used has already been met.
This literary tool is especially honoredclassics. So, Pushkin and Lermontov often used reminiscence in the original way. Examples of this are numerous. When the well-known literary critic Vasily Andreevich Vyazemsky wrote about the novice poet Alexander Sergeevich that he was a “consequence” of the poet Zhukovsky, Pushkin himself clarified that he was not a consequence, but a pupil. In his poem "Ruslan and Lyudmila" Pushkin in the 12th chapter placed a whole mini-parody of his older friend's work "A Song of 12 Virgins". At the same time, for all that, Vyazemsky was his friend, and after the duel he was inseparable, until the very end he was by the bed.
In the 18th century, reminiscence is a powerful platform.creative collaboration. 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 Pushkin’s poem of the same name. This work of young Mikhail Yuryevich Lermontov can even be called a creative presentation of Pushkin's lines. Not only that, according to the plot, rhythm, the beginning of both poems (about Circassians resting in their auls in the evening), coincides with the compositional passages. The line about the long journey leading to Russia coincides frankly. Often, Lermontov's reminiscence is a kind of creative mosaic. A deeper study of his poem "Circassians" revealed consonance with the works of Pushkin, Byron, Dmitriev, Kozlov. So is it possible to say that Lermontov allowed plagiarism in his work? Of course not! Creative ideas should not be ossified and perceived as licensed dogmas, they should be developed. Doesn’t the “quote” poet leave his mark in Literature? If the subsequent work is not inferior in its strength and depth to the previous one, is it plagiarism? Fortunately, the laws of creativity are different from the laws of business licensing.
Reminiscences are multifunctional:Often they reproduce to the readers already known quotations and phrases, either transforming them or even leaving them in the form characteristic of the original source. Otherwise, with the help of a reminiscence, the names of the characters and the images from the previous ones suddenly appear in the new work.
Recognized master of reminiscence is ourcontemporary, classic Victor Pelevin. His novel "Chapaev and Emptiness" not only "drives us down" with the previously known characters, the heroes of Furmanov, but draws a completely different storyline. Appears the main character Peter the Void, the decadent poet. The action "forks" between 1919 and 1990. Victor Pelevin uses the style of Vasily Ivanovich's speech from Dmitry Andreyevich Furmanov’s novel “Chapaev”. In particular, in his speeches before going to the front, the same phrases and phrases “I don’t have to piss off anything”, “know what it is”, “give me a hand”. The image of Anka the Machine-gunner reinterpreted by Pelevin is extremely interesting. In modern interpretation, this is both mysteriously inconstant woman and an educated socialite. She masterfully leads the conversation thread, skillfully presents herself. And this is not the only book of Victor Pelevin, in which the reminiscence appears. His other novel with the more laconic title "T" is famously "twisting images". United by the methodology of Buddhism, he introduces the main character Leo Tolstoy. Further, as it turns out, the image of a classic is not independent. It, in turn, is written by five writers (analogy with demiurges). “Swallowing” the novel further, we meet the rethought by the writer Optina Pustyn, associated with Golgotha. The arguments of Pelevinsky Count Tolstoy, which constitute his inner spiritual rethinking, are an obvious reminiscence with the autobiographical "Notes of a Madman."
Is the reminiscence relevant in literature?The postmodern stage of its development asserts: “Even and how!” Moreover, he often feeds on it, finds in it life-giving forces and ideas, and sometimes, like Viktor Pelevin, turns into a creative method.
