Literary reminiscences. What is reminiscence? What is reminiscence in psychology

(in psychology) (from Latin reminiscentia - memory) - reproduction of long-learned and forgotten material, delayed recall of information with later layers. Usually the initial reproduction, immediately following the perception of the material, turns out to be less complete than the delayed, reminiscent one.

REMINISCENCE

in psychology - a more complete and accurate reproduction of material stored in memory compared to what was originally imprinted (memorized); reproduction - some time after memorizing something that was, as it were, inaccessible during direct perception. It can be observed when memorizing a wide variety of verbal and visual material, as well as when consolidating sensorimotor skills. It especially often manifests itself when working with a large volume of logically or substantively related material that has an emotional impact on a person. More pronounced in childhood- especially at preschool and junior school ages.

The effect of reminiscence can be observed when working with various verbal or visual material, which can be texts, poems, lists, pictures, objects, especially if the material is logically connected, large in volume and has an emotional impact.

A number of hypotheses have been proposed to explain the phenomenon of reminiscence. According to one of them, fatigue during learning material leads to a deterioration in its immediate reproduction. The delay allows you to restore the optimal functional state and thus improves the reproduction of the material. Another hypothesis is based on the assumption that there are processes of hidden repetition of material that continue after the cessation of explicit learning and lead to better reproduction after a delay. Reminiscence can also be explained by the fact that after a delay, the interference of information stored in memory decreases. But so far, none of the hypotheses can claim to be a complete explanation of all cases of reminiscence.

REMINISCENCE

from lat. reminiscor - I remember) - reproduction some time after memorizing something that was not available during direct reproduction. This effect can be observed when working with various verbal or visual material, which can be texts, poems, lists, pictures, objects, especially if the material is logically connected, large in volume and has an emotional impact on a person. It is especially often observed in preschool age and among younger schoolchildren.

Reminiscence

Word formation. Comes from Lat. reminiscor - I remember.

Specificity. This effect can be observed when working with various verbal or visual material, which can be texts, poems, lists, pictures, objects, especially if the material is logically connected, large in volume and has an emotional impact on a person. It is especially common in preschool age and in younger schoolchildren.

REMINISCENCE

1. General value similar to the meaning of the term recollection, except that it is often seen as the unconscious retrieval of information, while recollection is considered the result of mental efforts to retrieve information from memory. 2. Chaotic, sequential retrieval from memory of information about some more early experience. The implication is that this process is quite leisurely and enjoyable. 3. Simple: synonym for remembering (1). In meanings 2 and 3 there is no unconscious aspect. See oblivion, loss of information from memory.

REMINISCENCE

from lat. reministentia - recollection, vague recollection) - delayed reproduction of something that was initially temporarily forgotten (not reproduced) during immediate reproduction. The result is a partial or even overall improvement in delayed reproduction compared to immediate reproduction. R. is observed in the process of memorizing a wide variety of verbal and visual material (texts, lists, sets of pictures, objects). R. manifests itself most clearly when working with logically related material that is large in volume and has an emotional impact on a person. In different people there are very noticeable individual characteristics. R. manifests itself most clearly in childhood.

§ 3. REMINISCENCE

Reminiscence is the reflection in a new book of individual quotes and, of course, images of the previous one famous work, most often created by a classic. It is quite thin and powerful creative tool, which affects memory and should not be confused with plagiarism. After all, if reminiscence in literature is a creative echo, rethought, introducing new colors, influencing the reader’s imagination, then plagiarism, appropriation of authorship is, of course, theft. Ukrainian poet, the classic Kotlyarevsky, even creatively “dealt with” the plagiarist Mr. Matsapura, placing him in his “Aeneid” as one of the characters bullied by the devils in hell.

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

This literary instrument is held in special esteem by the classics. Thus, Pushkin and Lermontov often and originally used reminiscence. Examples of this are numerous. When the famous literary critic Vasily Andreevich Vyazemsky wrote about the aspiring poet Alexander Sergeevich that he was a “consequence” 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 an entire mini-parody of the work of his older friend “The Song of the 12 Virgins”. At the same time, Vyazemsky was his friend, and after the duel he was constantly at his bedside until the very end.

In the 18th century, reminiscence was a powerful platform for creative collaboration. Continuing to talk about the reminiscences of the classics, let us remember Lermontov, who in his famous poem “ Prisoner of the Caucasus» used this one extensively literary device, relying on poem of the same name Pushkin. This work young Mikhail Yuryevich Lermontov can even be called a creative presentation Pushkin's lines. Not only do the beginnings of both poems (about Circassians resting in their auls in the evening) coincide in plot and rhythm, but the compositional passages also coincide. Line o long journey, leading to Russia - frankly coincides. Often Lermontov's reminiscence is a kind of creative mosaic. A deeper study of his poem “Circassians” reveals consonance with the works of Pushkin, Byron, Dmitriev, Kozlov. So is it possible to say that Lermontov committed plagiarism in his work? Of course not! Creative ideas should not ossify and be perceived as licensed dogmas, they should be developed. Doesn’t a “quotable” 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 quotes and phrases already known to readers, either transforming them, or even leaving them in the form characteristic of the original source. Otherwise, with the help of reminiscence, the names of characters and images from the previous ones suddenly appear in a new work.

A recognized master of reminiscence is our contemporary, classic Victor Pelevin. His novel “Chapaev and Emptiness” not only “brings us together” with previously known characters, Furmanov’s heroes, but paints a completely different storyline. Appears main character Peter Emptiness, decadent poet. The action “bifurcates” between 1919 and 1990. Victor Pelevin uses the stylistics 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’s no point in blaspheming”, “they knew what it was”, “we’ll give you a hand.” The image of Anka the Machine Gunner, rethought by Pelevin, is extremely interesting. In modern times, a mysteriously fickle woman and an educated socialite are at the same time. She masterfully leads the thread of conversation and skillfully presents herself. And this is far from the only book by Victor Pelevin in which reminiscence appears. His other novel with the more than laconic title “T” generally famously “twists with images.” United by the methodology of Buddhism, it introduces Leo Tolstoy as its main character. Further, as it turns out, the image of a classic is not independent. It, in turn, is written by five writers (analogy with the demiurges). “Swallowing” the novel further, we meet the writer’s reinterpretation of Optina Pustyn, associated with Golgotha. The reasonings of Pelevin's Count Tolstoy, which constitute his internal spiritual rethinking, are an obvious reminiscence of the autobiographical “Notes of a Madman.”

Is reminiscence relevant? The stage of its development states: “Yes, and how!” Moreover, he is often nourished by it, finds life-giving forces and ideas in it, and sometimes, like Victor Pelevin, turns into a creative method.

§ 3. Reminiscence

This term refers to the “references” to previous literary facts present in literary texts; individual works or their groups, reminders about them. Reminiscences, in other words, are images of literature in literature. The most common form of reminiscence is a quotation, exact or inaccurate; “quoted” or remaining implicit, subtextual. Reminiscences can be included in works consciously and purposefully, or arise independently of the will of the author, involuntarily (“literary recollection”).

Among the implicit, only guessable (presumably!) reminiscences is the word “beggars” in the 1915 poem that opens Akhmatova’s book “The White Flock” (a quarter of a century later, according to L.K. Chukovskaya, A.A. Akhmatova called it the best of of all the poems she wrote): (253)

We thought: we are beggars, we have nothing,

And how they began to lose one after another,

So what happened every day

On a memorial day, -

We started composing songs

About the great generosity of God

Yes about our former wealth.

In combination with the supporting plural pronoun “we”, “we”, “our”, instead of the “I” and “you” that prevail in the lyrics (including Akhmatov’s) the words “beggar” and “former wealth” take on a historical meaning, and the whole poem has a civil, almost journalistic sound. And associations arise with a wide stream of judgments of the pre-revolutionary years about the supposedly eternal Russian squalor and poverty, to which both Bunin and Gorky paid tribute, to some extent Chekhov with his “Men,” and Blok with his memorable words about love for “ impoverished Russia" with its gray huts ("Again, like in the golden years...", 1908).

Reminiscences in the form of quotations constitute a significant type of non-author's word. They mark either the writer’s acceptance and approval of his predecessor, following him, or, on the contrary, a dispute with him and parody of a previously created text: “... with all the diversity of citations, different and often dissimilar “voices” are always placed in a context that allows for in someone else’s word to hear the author’s (agreement or disagreement with this someone else’s word)” 3.

At the same time, the sphere of reminiscences is much wider than the field of citation as such. Reminiscences often become simple mentions of works and their creators, coupled with their evaluative characteristics. Thus, in the sixth chapter of the first part of the novel by M. de Cervantes, the priest and the barber sort out the books read by Don Quixote in order to burn some of them, and talk about them, so that the image of literature (mainly chivalric novels) is created in the complete absence of quotation.

Reminiscences as individual links in verbal and artistic texts are of the same nature as the borrowing of plots, the introduction of characters, previously created works, imitation, as well as free translations of foreign language works, the origins of which are in Russian classical poetry - poems and ballads by V.A. Zhukovsky.

Actually, literary reminiscences are also related to references to creations of other types of art, both real ones (the majestic monument of Gothic architecture in V. Hugo’s novel “Notre-Dame de Paris” or Mozart’s “Requiem” in the little tragedy of A.S. Pushkin) and a fictional writer (“ Portrait" (254) by N.V. Gogol or "Doctor Faustus" by T. Mann, extensively "drawing" pictorial and musical creations). Artistic reminiscences are widespread in the literature of the 20th century. A lot is said about painting in A. Blok’s “Italian Poems”; musical images form the basis of his “Carmen” cycle; Outside of persistent appeals to the motives of architecture, the work of O.E. is unimaginable. Mandelstam: “I am talking with the architect’s Muse again...” (from the draft version of the poem “Admiralty”). According to D.S. Likhacheva, “Poem without a Hero” by A.A. Akhmatova “belongs to the number of works that are thoroughly imbued with literary, artistic, theatrical (in particular, ballet), architectural and decorative-painting associations and reminiscences” 1 .

Reminiscences constitute one of the links in the meaningful form of literary works. They embody (realize) the cultural-artistic and genre-stylistic problems of writers’ creativity, their need for an artistic and figurative response to the phenomena of previous art, primarily verbal. Expressing comprehension and assessment of literary facts, reminiscences often turn out to be a kind of literary critical speech - a kind of essay criticism that has invaded the world of artistic texts themselves, which is clear in Pushkin’s “Eugene Onegin” (for example, judgments about the ode and elegy), “The Poor people" by Dostoevsky (where Makar Devushkin, apparently expressing the writer's opinion, speaks enthusiastically about Pushkin's "The Station Agent" and very unkindly about Gogol's "The Overcoat"), in the cycles of poems by M.I. Tsvetaeva and B.L. Pasternak, dedicated to Alexander Blok.

Reminiscences are deeply significant in the artistic literature of different countries and eras. Thus, in the works of Russian literature (not only ancient but also modern times) there are countless direct and indirect references to canonical Christian texts 2 . Writers' references to previous fiction are abundant and very varied. There are endless responses to “The Divine Comedy” by A. Dante, “Don Quixote” by Cervantes, “Hamlet” by Shakespeare, “The Bronze Horseman” by Pushkin, “Dead Souls” by Gogol, and the works of L.N. Tolstoy, F.M. Dostoevsky, A.P. Chekhov.

In the works of writers, including major, original ones, (255) there is a huge number of reminiscences from a variety of sources. Thus, Pushkin’s works—his lyrics, poems, “Eugene Onegin,” “Belkin’s Tales”—are filled to the limit with references (often implicit) to literature, both domestic and Western European, including the contemporary poet. Here Dante, Shakespeare, Byron, Derzhavin come to life again; K.N. is present Batyushkov, V.A. Zhukovsky, E.A. Baratynsky, P.A. Vyazemsky and many others. In Pushkin’s infinitely varied reminiscences, one can feel the poet’s grateful acceptance of the art of his predecessors and contemporaries, and creative polemics with them, and ridicule of late classicist and sentimental-romantic stereotypes, cliches, and clichés.

Let us turn to the story “The Station Warden,” which Pushkin slyly attributed to the inexperienced provincial writer Ivan Petrovich Belkin. So the narrator listened to Samson Vyrin’s sad story, accompanied by tears, about how he lost his only daughter. Next we read (we have highlighted the reminiscence phrases in italics): “ These tears They were partly excited by the punch, of which he drew five glasses in the continuation of his story; but, be that as it may, they touched my heart greatly. Having parted with him, I could not forget the old caretaker for a long time, I thought for a long time I'm about poor Duma...". (Remember: from Vyrin’s story it is clear that Dunya is not “poor” at all: she lives in wealth and luxury, is loved by Minsky and loves him herself.) Here, attention is drawn to the reproduction of a motif that wandered from one sentimental story to another (the narrator is the traveler, enriched by another sadly touching story, indulges in “long” thoughts about it on the road), and the stylistic incompatibility of vocabulary that characterizes Belkin’s naive literary consciousness (the juxtaposition in one phrase of the archaic-elevated phrase “these tears” and the sentimentalist stereotype “strongly touched my heart “with five glasses of punch, which the caretaker “pulled out”), and the narrator’s helpless reservation associated with this detail (be that as it may, he was heartily touched), and, most importantly, the inapplicability of the cliched epithet “poor” to Dunya’s fate (Pushkin’s contemporary recalled not only Karamzin’s poor Liza, but also the “unhappy” Mashas, ​​Margaritas, etc. who followed her). A similar “flaw” of Belkin the writer was slyly ridiculed by Pushkin in the last episode of the story: “In the entryway (where poor Dunya once kissed me) a fat woman came out” and reported that the caretaker had died. The close juxtaposition of the stylistically polar phrases “poor Dunya” and “fat woman” is very funny. In the given episodes of Belkin's cycle (the number of examples can be greatly increased), Pushkin's penchant for reminiscences of a playful, playful, parody nature was clearly reflected. A significant fact: upon returning from Boldin in 1830, Pushkin (256) told P.A. Pletnev that Baratynsky, reading Belkin’s stories, “laughs and fights” 1. Apparently, it was the reminiscences that caused this uproarious laughter:

Reminiscences are also very significant in post-Pushkin literature. Thus, explicit and implicit references to the work of Gogol are numerous in the works of Dostoevsky. But the most persistent appeals of Russian writers to Pushkin and his texts. The lyrical poems of the great poet, “Eugene Onegin”, “The Bronze Horseman”, “The Captain’s Daughter” have their own, so to speak, reminiscent history. Pushkin's works, perceived by writers primarily as the highest examples of art, sometimes become reasons for familiar re-enactments. Thus, in the chapter of the poem “Good!”, dedicated to the political conversation between Miliukov and Kuskova, V. Mayakovsky parodies Tatyana’s conversation with the nanny. I.A. Brodsky dramatically transforms the text of the poem “I loved you...” to express his mercilessly tough view of man, the world, and love:

I loved you. Love still (perhaps

that it's just pain) drills into my brain.

Everything was blown to pieces.

I tried to shoot myself, but it was difficult

I loved you so much, hopelessly,

how God would give you others - but he won’t!

In the literature of the last two centuries, freed from the traditionalist “one-voice”, from genre and style norms, rules, canons, reminiscences have acquired especially great significance. According to I.Yu. Podgaetskaya, “poetry of the 19th century begins where “one’s own” and “someone else’s” are understood as a problem” 1 . Let’s add to this: literary reminiscences mark the discussion of “one’s own” and “their” both in poetry and in prose, and not only in the 19th, but also in the 20th century.

The art of words from eras close to us is reminiscent to varying degrees. References to literary facts are an integral and, moreover, the dominant component of the works of V.A. Zhukovsky (almost all yours told them about the stranger and in his tracks). Reminiscences are abundant and varied in A.S. Pushkin, A.A. Akhmatova, O.E. Mandelstam. But they are not nearly as significant in L.N. Tolstoy, A.A. Fe(257)ta, S.A. Yesenina, M.M Prishvina, A.I. Solzhenitsyn: the reality comprehended by these word artists is most often removed from the world of literature and art.

The internal norm of literary creativity of the 19th–20th centuries is the active presence of reminiscences in it. The isolation of writers and their works from the experience of their predecessors and contemporaries marks their limitations and narrowness. However, hypertrophied, self-sufficient reminiscence, coupled with the isolation of literature in the world of artistic phenomena, interests, problems, is by no means favorable for culture and art itself. This idea is embodied in the novel by the Austrian writer of the beginning of this century R. Musil “Man without properties”. Here the author, in his words, set himself the task of “showing people who are entirely composed of reminiscences of which they are unaware” 2. A number of ironic judgments by M.M. are similar. Prishvin about what he called “meaningfulness” - about the complete, and therefore one-sided and even flawed immersion of a person (in particular, an artist) in the world of other people’s thoughts and words, which are far from living life. Distrust of “book culture” and the “principle of quotation” was repeatedly expressed in Blok’s poetry. It was clearly reflected in the free verses of the second volume: “She came from the cold...”, “When you stand in my way...”. In the latter, the poet addresses a fifteen-year-old girl with the words:

<...>I would like to,

So that you fall in love with a simple person,

Who loves the earth and the sky

More than rhymed and unrhymed

Speeches about earth and heaven.

Blok’s quotation “carries in itself at the same time a supply of “cultural poisons” and the high pathos of Vita nuova” 3.

The reminiscent layer of literary works, for all its enormous significance, does not need to be absolutized, to be considered as some kind of indispensable center of literary creativity: a truly artistic work is necessarily marked by direct contacts not only with previous literature, but also with “extra-artistic” reality. The words of one of the Russian cultural philosophers of our century are significant: Pushkin’s sounds were inspired by Russian (Zhukovsky) and world literature (antiquity, Horace, Shakespeare, Byron), “but also, perhaps more, by the Kremlin fire, snows and battles 1812, and the fate of the Russian people, and<...>Russian village and nanny" 1. Let me also recall the harsh words of A.A. Akhmatova about the critics of N.S. Gumilyov: “Deaf and mute<...>literary critics do not understand at all what they are reading, and see Parnassus and Lecomte de Lisle where the poet bleeds<...>His scary burning love is passed off as lecomte-de-lilevshchina<...>Is the whole history of literature really structured in this manner?” 2

§ 3. Reminiscence

This term refers to the “references” to previous literary facts present in literary texts; individual works or their groups, reminders about them. Reminiscences, in other words, are images of literature in literature. The most common form of reminiscence is a quotation, accurate or inaccurate; “quoted” or remaining implicit, subtextual. Reminiscences can be included in works consciously and purposefully, or arise independently of the will of the author, involuntarily (“literary recollection”).

Among the implicit, only guessable (presumably!) reminiscences is the word “beggars” in the 1915 poem that opens Akhmatova’s book “The White Flock” (a quarter of a century later, according to L.K. Chukovskaya, A.A. Akhmatova called it the best of of all the poems she wrote):

We thought: we are beggars, we have nothing,

And how they began to lose one after another,

So what happened every day

On a memorial day, -

We started composing songs

About the great generosity of God

Yes about our former wealth.

In combination with the supporting plural pronoun “we”, “we”, “our”, instead of the “I” and “you” that prevail in the lyrics (including Akhmatov’s) the words “beggar” and “former wealth” take on a historical meaning, and the whole poem has a civil, almost journalistic sound. And associations arise with a wide stream of judgments of the pre-revolutionary years about the supposedly eternal Russian squalor and poverty, to which both Bunin and Gorky paid tribute, to some extent - Chekhov with his “Men”, and Blok with his memorable words about love for “ impoverished Russia" with its gray huts ("Again, like in the golden years...", 1908).

Reminiscences in the form of quotations constitute a significant type of non-author's word. They mark either the writer’s acceptance and approval of his predecessor, following him, or, on the contrary, an argument with him and a parody of a previously created text: “...with all the diversity of citations, different and often dissimilar “voices” are always placed in a context that allows for someone else’s word hear the author’s (agreement or disagreement with this other person’s word).”

At the same time, the sphere of reminiscences is much wider than the field of citation as such. Reminiscences often become simple mentions of works and their creators, coupled with their evaluative characteristics. Thus, in the sixth chapter of the first part of the novel by M. de Cervantes, the priest and the barber sort out the books read by Don Quixote in order to burn some of them, and talk about them, so that the image of literature (mainly chivalric novels) is created in the complete absence of quotation.

Reminiscences as individual links in literary and artistic texts are of the same nature as the borrowing of plots, the introduction of characters, previously created works, imitation, as well as free translations of foreign language works, the origins of which are in Russian classical poetry - poems and ballads by V.A. Zhukovsky.

Actually, literary reminiscences are also related to references to creations of other types of art, both real ones (the majestic monument of Gothic architecture in V. Hugo’s novel “Notre-Dame de Paris” or Mozart’s “Requiem” in the little tragedy of A.S. Pushkin) and a fictional writer (“ Portrait" by N.V. Gogol or "Doctor Faustus" by T. Mann, extensively "drawing" pictorial and musical creations). Artistic reminiscences are widespread in the literature of the 20th century. A lot is said about painting in A. Blok’s “Italian Poems”; musical images form the basis of his “Carmen” cycle; Outside of persistent appeals to the motives of architecture, the work of O.E. is unimaginable. Mandelstam: “I am talking with the architect’s Muse again...” (from the draft version of the poem “Admiralty”). According to D.S. Likhacheva, “Poem without a Hero” by A.A. Akhmatova “belongs to the number of works that are thoroughly imbued with literary, artistic, theatrical (in particular, ballet), architectural and decorative-painting associations and reminiscences.”

Reminiscences constitute one of the links in the meaningful form of literary works. They embody (realize) the cultural-artistic and genre-stylistic problems of writers’ creativity, their need for an artistic and figurative response to the phenomena of previous art, primarily verbal. Expressing comprehension and assessment of literary facts, reminiscences often turn out to be a kind of literary-critical speeches - a kind of essay criticism that has invaded the world of artistic texts themselves, which is clear in Pushkin’s “Eugene Onegin” (for example, judgments about the ode and elegy), “The Poor people" by Dostoevsky (where Makar Devushkin, apparently expressing the writer's opinion, speaks enthusiastically about Pushkin's "The Station Agent" and very unkindly about Gogol's "The Overcoat"), in the cycles of poems by M.I. Tsvetaeva and B.L. Pasternak, dedicated to Alexander Blok.

Reminiscences are deeply significant in the artistic literature of different countries and eras. Thus, in the works of Russian literature (not only ancient but also modern times) there are countless direct and indirect references to canonical Christian texts. Writers' references to previous fiction are abundant and very varied. There are endless responses to “The Divine Comedy” by A. Dante, “Don Quixote” by Cervantes, “Hamlet” by Shakespeare, to “The Bronze Horseman” by Pushkin, “Dead Souls” by Gogol, to the works of L.N. Tolstoy, F.M. Dostoevsky, A.P. Chekhov.

In the works of writers, including major, original ones, there is a huge number of reminiscences from a variety of sources. Thus, Pushkin’s works - his lyrics, poems, “Eugene Onegin”, “Belkin’s Tales” - are extremely saturated with references (often implicit) to literature, both domestic and Western European, including the contemporary poet. Here Dante, Shakespeare, Byron, Derzhavin come to life again; K.N. is present Batyushkov, V.A. Zhukovsky, E.A. Baratynsky, P.A. Vyazemsky and many others. In Pushkin’s infinitely varied reminiscences, one can feel the poet’s grateful acceptance of the art of his predecessors and contemporaries, and creative polemics with them, and ridicule of late classicist and sentimental-romantic stereotypes, cliches, and clichés.

Let us turn to the story “The Station Warden,” which Pushkin slyly attributed to the inexperienced provincial writer Ivan Petrovich Belkin. So the narrator listened to Samson Vyrin’s sad story, accompanied by tears, about how he lost his only daughter. Next we read (we have highlighted the reminiscence phrases in italics): “ These tears They were partly excited by the punch, of which he drew five glasses in the continuation of his story; but, be that as it may, they touched my heart greatly. Having parted with him, I could not forget the old caretaker for a long time, I thought for a long time I'm about poor Duma..." (Remember: from Vyrin’s story it is clear that Dunya is not “poor” at all: she lives in wealth and luxury, is loved by Minsky and loves him herself.) Here, attention is drawn to the reproduction of a motif that wandered from one sentimental story to another (the narrator is the traveler, enriched by another sadly touching story, indulges in “long” thoughts about it on the road), and the stylistic incompatibility of vocabulary that characterizes Belkin’s naive literary consciousness (the juxtaposition in one phrase of the archaic-elevated phrase “these tears” and the sentimentalist stereotype “strongly touched my heart “with five glasses of punch, which the caretaker “pulled out”), and the narrator’s helpless reservation associated with this detail (be that as it may, he was heartily touched), and, most importantly, the inapplicability of the cliched epithet “poor” to Dunya’s fate (Pushkin’s contemporary recalled not only Karamzin’s poor Liza, but also the “unhappy” Mashas, ​​Margaritas, etc. who followed her). A similar “flaw” of Belkin the writer was slyly ridiculed by Pushkin in the last episode of the story: “In the entryway (where poor Dunya once kissed me) a fat woman came out” and reported that the caretaker had died. The close juxtaposition of the stylistically polar phrases “poor Dunya” and “fat woman” is very funny. In the given episodes of Belkin's cycle (the number of examples can be greatly increased), Pushkin's penchant for reminiscences of a playful, playful, parody nature was clearly reflected. A significant fact: upon returning from Boldin in 1830, Pushkin told P.A. Pletnev that Baratynsky, reading Belkin’s stories, “laughs and fights.” Apparently, it was the reminiscences that caused this uproarious laughter:

Reminiscences are also very significant in post-Pushkin literature. Thus, explicit and implicit references to the work of Gogol are numerous in the works of Dostoevsky. But the most persistent appeals of Russian writers to Pushkin and his texts. The lyrical poems of the great poet, “Eugene Onegin”, “The Bronze Horseman”, “The Captain’s Daughter” have their own, so to speak, reminiscent history. Pushkin's works, perceived by writers primarily as the highest examples of art, sometimes become reasons for familiar re-enactments. Thus, in the chapter of the poem “Good!”, dedicated to the political conversation between Miliukov and Kuskova, V. Mayakovsky parodies Tatyana’s conversation with the nanny. I.A. Brodsky dramatically transforms the text of the poem “I loved you...” to express his mercilessly harsh view of man, the world, and love:

I loved you. Love still (perhaps

that it's just pain) drills into my brain.

Everything was blown to pieces.

I tried to shoot myself, but it was difficult

I loved you so much, hopelessly,

as God may give you others - but he won’t!

In the literature of the last two centuries, freed from the traditionalist “one-voice”, from genre and style norms, rules, canons, reminiscences have acquired especially great significance. According to I.Yu. Podgaetskaya, “poetry of the 19th century begins where “one’s own” and “alien” are understood as a problem.” Let’s add to this: literary reminiscences mark the discussion of “one’s own” and “their” both in poetry and in prose, and not only in the 19th, but also in the 20th century.

The art of words from eras close to us is reminiscent to varying degrees. References to literary facts are an integral and, moreover, dominant component of the works of V.A. Zhukovsky (almost all yours told them about the stranger and in his tracks). Reminiscences are abundant and varied in A.S. Pushkin, A.A. Akhmatova, O.E. Mandelstam. But they are not nearly as significant in L.N. Tolstoy, A.A. Feta, S.A. Yesenina, M.M Prishvina, A.I. Solzhenitsyn: the reality comprehended by these word artists is most often removed from the world of literature and art.

The internal norm of literary creativity of the 19th–20th centuries is the active presence of reminiscences in it. The isolation of writers and their works from the experience of their predecessors and contemporaries marks their limitations and narrowness. However, hypertrophied, self-sufficient reminiscence, coupled with the isolation of literature in the world of artistic phenomena, interests, problems, is by no means favorable for culture and art itself. This idea is embodied in the novel by the Austrian writer of the beginning of this century R. Musil “Man without properties”. Here the author, in his words, set himself the task of “showing people who are entirely composed of reminiscences of which they are unaware.” A number of ironic judgments by M.M. are similar. Prishvin about what he called “meaningfulness” - about the complete, and therefore one-sided and even flawed immersion of a person (in particular, an artist) in the world of other people’s thoughts and words, which are far from living life. Distrust of “book culture” and the “principle of quotation” was repeatedly expressed in Blok’s poetry. It was clearly reflected in the free verses of the second volume: “She came from the cold...”, “When you stand in my way...”. In the latter, the poet addresses a fifteen-year-old girl with the words:

<…>I would like to,

So that you fall in love with a simple person,

Who loves the earth and the sky

More than rhymed and unrhymed

Speeches about earth and heaven.

Blok’s quote “carries in itself at the same time a supply of “culture poisons” and the high pathos of Vita nuova.”

The reminiscent layer of literary works, for all its enormous significance, does not need to be absolutized, to be considered as some kind of indispensable center of literary creativity: a truly artistic work is necessarily marked by direct contacts not only with previous literature, but also with “extra-artistic” reality. The words of one of the Russian cultural philosophers of our century are significant: Pushkin’s sounds were inspired by Russian (Zhukovsky) and world literature (antiquity, Horace, Shakespeare, Byron), “but also, perhaps more, by the Kremlin fire, the snows and battles of 1812, and the fate of the Russian people, and<…>Russian village and nanny." Let me also recall the harsh words of A.A. Akhmatova about the critics of N.S. Gumilyov: “Deaf and mute<…>literary critics do not understand at all what they are reading, and see Parnassus and Lecomte de Lisle where the poet bleeds<…>His scary burning love is passed off as lecomte-de-lilevshchina<…>Is the whole history of literature really structured in this manner?”