Reminiscence is associative and promising.

Reminiscence is a reflection in a 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. Indeed, if reminiscence in literature is a creative echo, rethought, introducing new colors, affecting the reader’s imagination, then plagiarism, attribution of authorship is, of course, theft. The Ukrainian poet, the classic Kotlyarevsky, even creatively “finished off” the plagiarist Mr. Matsapura, placing him in his “Aeneid” as one of the characters who are tormented by devils in hell.

By the way, we met with reminiscence almost everything. Remember how we, as children, asked the elders to “come up with a fairy tale for us,” and then listened freely in the story of Ivanushka the Fool, Vasilisa the Beautiful, etc. (Reminiscence is also images that go from fairy tales to fairy tales. ) It is used by a storybook, combined 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 mentioning from a completely different book, where the general image used has already been encountered earlier.

This literary instrument is especially appreciated by the classics. So, Pushkin and Lermontov often and originally used reminiscence. Examples of this are numerous. When the famous literary critic Vasily Andreyevich Vyazemsky wrote about the beginning poet Alexander Sergeyevich that he was a “consequence” of the poet Zhukovsky, Pushkin himself specified 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 on the work of his elder friend “Song of 12 Maidens”. With all this, Vyazemsky was his friend, and after the duel, he was inseparable, until the very end he was at bedside.

In the 18th century, reminiscence is a powerful platform for creative collaboration. Continuing to discuss the reminiscences of the classics, let us recall Lermontov, who in his famous poem "The Prisoner of the Caucasus" made extensive use of 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 exposition of Pushkin’s lines. Not only that, in the plot and rhythm, the beginning of both poems coincides (about the Circassians having a rest in the evening in their villages), compositional passages also coincide. The line about the long journey leading to Russia - frankly coincides. Often Lermontov reminiscence is a kind of creative mosaic. A deeper study of his poem "Circassians" reveals a consonance with the works of Pushkin, Byron, Dmitriev, Kozlov. So can it be argued 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. Does a "quoted" poet leave no trace in literature? If the subsequent work is not inferior in its strength and depth to the previous one, is it plagiarism? Fortunately, creative laws are different from business licensing laws.

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

A recognized master of reminiscence is our contemporary, classic Victor Pelevin. His novel “Chapaev and the Void” not only “brings us together” with previously known characters, the characters of Furmanov, but draws a completely different storyline. The main character, Peter Nether, a decadent poet, appears. The action "bifurcates" between 1919 and 1990. Victor Pelevin uses the style of Vasily Ivanovich’s speech from the novel by Dmitry Andreevich Furmanov “Chapaev”. In particular, in his speeches before going to the front, the same phrases and phrases were used: “nothing to pitch,” “they knew for what,” “we give a bail”. Pelevin’s reinterpreted image of Anka the Machine Gunner is extremely interesting. In the modern interpretation, it is both a mysteriously unstable woman and an educated socialite. She masterly leads the thread of conversation, skillfully presents herself. And this is far from the only book by Victor Pelevin, in which reminiscence appears. His other novel with a more than laconic name "T" generally famously "twists images." United by the methodology of Buddhism, he introduces the main character of Leo Tolstoy. Further, as it turns out, the image of the classic is not independent. It, in turn, is written by five writers (analogy with demiurges). “Swallowing” the novel further, we meet the writer Optina Deserts, reinterpreted by the writer, associated with Golgotha. The arguments of Pelevinsky Count Tolstoy, which make up his inner spiritual rethinking, are an obvious reminiscence with autobiographical "Notes of a Madman."

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