"Plagiarism, imitation or coincidence? For José Luis Díaz-Granados *
say that ideas such as themes of good poetry, are in the air. So we should not be surprised if Australian poet sings to a golden-eyed mulatto woman wearing a purple shirt and pass out every time the sun sets and it turns out that a lady with similar traits, colors, and dizziness, also he is singing a bard in Bolivia.
are constituents of the atmosphere that lead from one to another so detailed that emotional charge.
In times long before the internet, and in another field, the Colombian scientist Federico Lleras Acosta died in Cairo of physical anger, to check that his remedy against leprosy had been discovered and patented years ago by a Japanese scholar.
So far the match. Otherwise, necessary and uplifting, is influence. The tone eloquent and exuberant atmosphere of 's Funeral grandma accuses Gabriel García Márquez strong influence of Grand Burundún-Burunda dead, diatribe rhetoric of his fellow countryman Jorge Zalamea, who in turn was influenced by Praise African queen of Saint-John Perse.
appear in literary matters often issues that do not seem very coincidental. The character of Don Juan, for example, was squeezed over and over again by Lope de Vega, Tirso de Molina, Corneille, Moliere, Pushkin and Byron Merima, until the English José Zorrilla managed to give its real dimension in his famous Don Juan Tenorio. But until mid-twentieth century, Georges Bataille and Tennessee Williams were still scrutinizing the entrails of that individual amoral puppet.
When Pablo Neruda, at the dawn of his literary life, he published his famous book Twenty Love Poems and a Song of Despair , was accused of plagiarism by who later became one of his most endearing friends, and perhaps, in his best biographer: Volodia Teitelboim.
Volodia Let us count the same episode: "One day in fielder Radindranath of Tagore, I rang in the ear number 16 Twenty Love Poems. I compared the texts. They were nearly equal. Only, as he said years later the Mexican poet Efraín Huerta, I'm a thousand times with a paraphrase of Neruda. "
The text of Tagore in his poem 30, said: "You are the tag twilight sky of my fantasies. / Your color and your way is the longing of my love. / You are mine, you are mine, and my infinite dreams live. "
And Neruda in his poem 16: "In my sky at twilight you are like a cloud / and your color and shape are as I want. / You are mine, mine, woman with sweet lips, / And live your life my infinite dreams. "
Well, and what did that Neruda himself? When the book was already in print, the poet asked a friend to remind him to include a warning about the paraphrase of Tagore. The friend said: "Do not be silly, Paul. Do not. He was accused of plagiarism. It will be a sensational propaganda and book will sell like hotcakes.
Neruda actually wrote the paraphrase of the poem just to please Teresa, his muse, who greatly admired Tagore.
Moreover, learning be imitated. The art students start by copying the portraits, landscapes and still lifes of the classical painters. Neruda himself in his memoirs says
"I do not believe in originality. It is a fetish again, created in our time of rapid collapse. I believe in the personality through any language, in any form, in any sense of artistic creation (...) However, it is essential to preserve the interior direction, maintaining growth control nature, culture and social life contribute to develop the excellence of the poet. "
Y adds: "In ancient times, the noblest and rigorous poets Quevedo, for instance, wrote poems with this warning: Imitation of Horace, Ovid Imitation of Imitation of Lucretius."
Inquisitors plagiarism police be pleased to discover cases casts the playwright Bertold Brecht. This, displaying exquisite humor, said on the subject: "Marx says the land belongs to no one. And if the earth does not belong to anyone, let alone the words."
Vargas Llosa has stated more than once that when a foreign text becomes part of a work, already belong to that work. Thus, Quixote paragraphs would be full of others, but they have become permanently from Quixote. The same goes for the vast work of Shakespeare and Goethe (Faust especially of the latter).
Speaking of Shakespeare, is a scene of Act V of Richard II, the character cries, "I have spent my time and I have spent." Borges The other, the same , quiet and sweetly says, "You've spent years, and I have spent."
The examples are endless, especially with the "double column", in which there is evidence of possible plagiarism.
however, sometimes beyond what plagiarism plagiarized. They say the Colombian Porfirio Barba-Jacob he traced his poem "Song of the inner life" of a text of "On the edges of the vase" from French Albert Samain. The Porphyry is nevertheless one of the most beautiful Latin American poetry: "There are days when we're so mobile, so mobile, / as the mild blades to the wind and random / maybe under another sky the glory we smile ... / Life is clear, undívaga and open as the sea. "
Instead, he seems to us a serious thing when an author at the height of celebrity, as Camilo José Cela, having won Nobel prizes, Cervantes, Prince of Asturias, Queen Sofia and Planet, 85, the novel has been plagiarized by an anonymous bidder who participated in an event which was sworn Cela --- as public accusations rocked --- English cultural scene, and has published shortly before his death under the title The cross of St. Andrew With much critical acclaim and sales. Or add anything to his glory and instead resulted in an "unholy" his controversial literary parable.
José Luis Díaz-Granados (Santa Marta, 1946). Colombian poet and novelist. His novel gates of hell (1986), was shortlisted for the Prize "Rómulo Gallegos." His books of poetry are gathered in a volume entitled The party life. Poetry, 1962-2002 (2003).
