Reminiscence is associative and perspective

2024 Author: Leah Sherlock | [email protected]. Last modified: 2023-12-17 05:25

Reminiscence is a reflection in the new book of individual quotes and, of course, images of a previous famous work, most often created by a classic. It is a fairly subtle and powerful creative tool that affects memory and associative thinking, it should not be confused with plagiarism. After all, if reminiscence in literature is a creative echo, rethought, introducing new colors, affecting the reader's imagination, then plagiarism, appropriation of authorship is, of course, theft. The Ukrainian poet, the classic Kotlyarevsky, even creatively “de alt with” the plagiarist Mr. Matsapura, placing him in his “Aeneid” as one of the characters abused by the devils in hell.

By the way, almost all of us met with reminiscence. Remember how, as children, we asked our elders to “invent a fairy tale for us,” and then listened to stories about Ivan the Fool, Vasilisa the Beautiful, etc. in a free presentation (Reminiscence is also images that pass from fairy tale to fairy tale.) It is also used by a collection of stories, united together by a commonthe main character, and a series similar to him in composition. At the same time, as you know, the later development of the plot allows references from a completely different book, where the common image used has already been met before.

This literary instrument is held in high regard by the classics. Thus, Pushkin and Lermontov often and originally used reminiscence. Examples of this are numerous. When the well-known literary critic Vasily Andreevich Vyazemsky wrote about the beginning poet Alexander Sergeevich that he was a “result” of the poet Zhukovsky, Pushkin himself clarified that he was not a consequence, but a student. In his poem "Ruslan and Lyudmila" Pushkin in the 12th chapter placed a whole mini-parody of the work of his older friend "The Song of the 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 for 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 the young Mikhail Yuryevich Lermontov can even be called a creative presentation of Pushkin's lines. Not only does the beginning of both poems (about Circassians resting in their villages in the evening) coincide in the plot and rhythm, the compositional passages also coincide. The line about the long journey leading to Russia frankly coincides. Often Lermontov's reminiscence is a kind of creative mosaic. With morea deep study of his poem "Circassians" reveals consonance with the works of Pushkin, Byron, Dmitriev, Kozlov. So is it possible to argue 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 "quoted" poet leave his mark on Literature? If the subsequent work is in no way inferior to the previous one in its strength and depth, is it plagiarism? Fortunately, the laws of creativity are different from the laws of business licensing.

Reminiscences are multifunctional: they often reproduce to readers already known quotes and phrases, either transforming them or even leaving them in a form characteristic of the original source. Otherwise, with the help of reminiscence, the names of characters and images from the previous ones suddenly pop up in the new work.

The acknowledged master of reminiscence is our contemporary, classic Viktor Pelevin. His novel "Chapaev and Emptiness" not only "reduces us" with previously known characters, the heroes of Furmanov, but draws a completely different storyline. The main character Peter Void, a decadent poet, appears. The action "bifurcates" between 1919 and 1990. Victor Pelevin uses the style of Vasily Ivanovich's speech from Dmitry Andreevich Furmanov's novel "Chapaev". In particular, in his speeches before going to the front, the same phrases and phrases were used: “there is nothing to mess with”, “we knew what”, “we give a hand”. The image rethought by Pelevin is extremely interestingAnki-machine-gunners. In the modern interpretation, this is both a mysteriously fickle woman and an educated secular lady. She masterfully leads the thread of the conversation, skillfully presents herself. And this is far from the only book by Viktor Pelevin in which reminiscence appears. Another of his novels with a more than laconic title "T" generally famously "twirls images". United by the methodology of Buddhism, it 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 (an analogy with the demiurges). “Swallowing” the novel further, we meet Optina Pustyn, rethought by the writer, associated with Golgotha. The arguments of Pelevin's Count Tolstoy, which constitute his inner spiritual rethinking, are an obvious reminiscence with the autobiographical Notes of a Madman.

Is reminiscence relevant in literature? The postmodern stage of its development asserts: “More and how!” Moreover, he often feeds on it, finds life-giving forces and ideas in it, and sometimes, like Viktor Pelevin, it turns into a creative method.