ANNELI MIHKETEV IMITATION IN THE POETIC TFXT has contrccted d:iffc'rent , r , Ll , rl i()lt is an old inter-semiotic phcnomenon which arrd diffcreni works of art, so wc may say th.rt , . rl |t,li6d5, diffcrent cultures ,,,,r ,lr,)il is a cr-rltural crossroacls in a diffcrent sense. Althor'r[5h imiti'rtion can ,, , r rregi,rtive mcanings, for cxample plagiarisrn, copying or counterfciting, it ,l (,,il] activc hurnan mot'lelling pr()ccss which htrs generated and coutit]ut-s , r('ratc variegated ancl changing ctrltttrtrl fonns I6, 128l' lt!'roots of thc treatmcnts of in-ritation c'xtend ttl anticluity and are key cle- alsrr ,,, r,1,, itr P1.rto',s and Aristotic's work. As we know, thc- tcrm'imittltion'is ,rrrr|t.tecl with thc term 'mimc'sis" r,r4rich was used by both philosophcrs. There ,r, t\\,o types of mimesis according to Plakr: the first rcPresents the physical 7, 2lJ2-3101' r,1, , ts artistically, and the sccond rcPrcsents thc'ideas inwardly lscc the , , ,,r.ding kr Plakr's paradoxic.rl opit-lio11 tl-rc artist who crc'ates imitations of somc. kind of decciver: "lmitation, then, is far from 1 trr,,ical objccts seems to be attacks 1,,. l[rth, and apparcntly it manages to rnake all things just because-'it ,,,,1r a small parrt of each, and that an irnagc' Thc painter, for exampie' will paint he has ncr r .. rVC safz a shocmakcr, a ctrrpentcr, aucl all other workmen, though L,,,ivlecigc whatcver of their crafts. But ncvertheless, if he is a good Paintcr, he chil- il,rV ptliltt a carpenter and show thc thing at some distatlce, trnd so cheat ,lr,,rr .rnd stupid mcn into thinking it is rcally a carPenter" [ibid., 286]. Plakn's antl ctrnst't1ut'Irtly art rr li'.r waS that trll re'Prcscntec'l things are already irnitatiotts, L l.rr from knowlcclge. Or as Worton and Still havc written: "ln the case of l,l,rtonic imitation, the 'poet'always copics an earlier act of cteation, which is itlera of rr.;clf alrcacly a copy" [12,31. So, an artist rcPresents orrly thc copy of the tlu' object, i.e. art is a double lie. Aristotle belicves that mimcs'is is governed by thc rtrlcs of its form raih€rl than differ i,v the accuracy with which it represents the object: he means that thc arts vcry rn the methocls through which they creatc imitations. Threc Phenomena ale the llr-rp()rtant for Aristotle, whcn he speaks of imitation: "those of thc mcans, n= )62 KULTURAS KRUSTPUNKI.I 2. ]aiL]ICilS I-I MIKIIEL!]V. IMIIATION IN THF] POE'IIC TEXl' 163 s b1 imitation tn lmrtate' Aristotle11, jl,,ff uy wrwIrICll' ri ch, whatwha t andan ,', ,,lrrctriiy thcre are different modcs and purposes for :T,ilT""--stresses: "To imitate*::. ::i::ord d r..,,,,,,hor't' llrt'l r,,l AII'T]:;l: ,"rirr.,], e ln man from Genctte strcsses thc rencwable energy of imita- men, likewise. nafrlr^ilr,.o-,-:-.^ " his infarrr't. t I ,, 1, r{ .)t difterent ttmes. -^, - of *ll#"J"|#'.T::T1J#:xi::*,."'tilili'.,TlTil,:il:':,Til,,l ,, ,,,,1 llte aspects of in'u'ention trncf imitatiorr in the pre'-modern sense : i'll iliTl ",',: "the discovery of arppropriate material to imitatc' Hil ll; Tli'ff : ,, L,,lr lsee 4,73-751, i.c. :',i:l 1 ilH::l',Tll ll"':::'ll ii,t"*' : : (for ' ----'-'"'-l' rtruluLiy ano rhythm yet in accordance with pre-dispose'd ,':'.":,'ll::iliilii'i,'#:*:y;ii:#;:l':T;'xl';ii'#l1llj'llil:as to metre, it is plai. ' being also nirtrrr,r ,rl,r rrr,tteriai is the'u trrrtrnged ancl'r', thosep"..o,',tnose two polcs are in contact in imrta- rraryIrally tlreserrrese o;o;,,;;;Y":.:i,::'::":::Ythm),propensiiies ;,;- Persons ui*r,n-",,,,,,,in whom .rrgr , ,,r,, 1,'r'S (tlispttsitio)" t6, 1081. [t seems the extemporaneousrxremporaneous -"* ";*::._::':.','""'':ttr ni:turallytl'ltural]y attempfcartemDrs ::,:ti"r^,r.j-r- .:jl:'lt::t.-- .were ledleci toro ruclt,rucrt, ,rr'l,rr '.tIr.'staticanclclynamicorthe.olc]arrdtht:rrew.Thectlntactbctwccn --"r'"' "vtttcrr' Hrddltally improvecl, thc'older I1bid.,226l. gave birth to prx,trr , t\\,{) poles also creartcs a tension betwecn old t-rnd new lt seems in the new agree rt'itrr Mary ,.', I lr,rs a static and balancing function, although it is changcd .I orr's opinion that, arthougrr prat.nic and Aristotelia. rlr, tl-hatbalancingirnclstaticftrncticlnptonrtlte.srecognition.I'dlikctcl :;il" ag, ,, 1r,rlt' this theorctlcal stattlment through Estonian poet Kristian Jaak uatesiiF:::ffffi":t7J::;iln5i*;;l :onlcr or:r",ro";; Aristotc'lian art respcctivc-ly as forn thlr5 ,,11 r r, | .(rn/s Poems. either an illusio' an tmitati.n Mimetic valrre is clicrr.torrrous, .f nature" 16, ,tr'l t; t;;;;r ancl false clependsnotoninnatt :*". "...because minrr,r,r: -l gth """;;;"-.-,;]-ill:" ', ,1(,rsol1 of thc century. He was born or qua, iryi ng u,,,,,, | wrote his poems at the beginning I {r^-".i.i,y, Hc are rheref.re ";il;ff::T:': il.:l,::l,llll ::i::"morntnt... (..) All crrlttrral ,, tr|t,r 1E01 anc'l hc was only 21 ycars old when hc diccl in 1822in ltiga in the rhrall of imitation,s;;i: for.rrn in Rlgn ("Kristiani Petcrsoni ,;i pr r,,t('only two collelctions of poc'ms: Sorrgs lr Jagc'r a to a n d o'-,,i* i,.ol ] laulud' :[T :i ?:llfi ::ifil r,rrlrrLl. Rialinnas", 1Blft) and Sorr,qs in'fttrtrt ("Kristiani Jago l)etersoni lff "; :illi: I ; I "Hf :,,' -l819"), lrrtrrlirtttt-ts, as wcll as some poems in German, which were publishcd ::**n;i',.,:*i;"-'1"iJ.:*'T:11ff il:iltilIif ,llrLrmously. "'i',tT,'.:',::ffi *:l: 1,, ' jffi lrnitation is a vcry important phenomcnon in Pcterson's ptlctic style. 5]il::t".fi than influence' as his m:l*ii::i*,:"JrF,i!:;{ I trlli'rc'flt preclccelssors infh-renced him. In fact, it was more thlluqh Iiteraryimitation: * il*iu:;l influence textuality' r.ro, )lP aitho,grr the term ,int.r, (.r.ics oftcn imitatecl the preclccessors'styles. Although imitation ancl the 1960s' the pl-renomenon perhaps "ri.r"a is , r in sclme ways, we c.ln still perceive the as oltl i' fact much I I ( connectecl and somctimes also simila as ,-'r-llo1societ)z and 'rt,rl. oldt,r, believe culturc Isee also l'erh;rps T.S. Eliot capturcd the essence tlrat inter-tex,tan rel;rtions *.rri,,r]ncr stirl ,lrilcrences betwec.n thc two phenomc.na. are characteristic greatness trf texts [ibid.]. aorl.".nr,-,t'ut of all cliscotrrses aborrl ,,t the cliffcrence clultc preciscly: ""'Poet of the slrPrL'me imitation' they write that "Every ,,,pptr.,rr,''j-ii;,:ilrt iiterary imitarion js ',lr.rkespcare can hardly iufluence, he can onlv be imitatecl: and thc differcnce ancl suppian,t ir tr.ns the original tl-rat cau fc'cundate, whereas imita- at times for,"r,.....t^orllTplete oio ruir.r-, r.rr-'. I ,,,i\veen influence ancl imitation is influencc 'origina' (..) Beside's, imitation j..:, r i rron - especially ur-rconscious irnitation - can oniy stcrilize. force :':: "".;;;;;;";',:;;,1:. ;f,Tfi:;:,n",l* lrerary_and socielinguistic",.i,,",,. oftcn bc profitable becausc we cannot st-tc- at the time .f i. *,,r_,.;.:l cocles in , rl a writer in a foreign languagc can - , i'cd" [2, 181. *,:.lll,;.''".i:tiii"il:;l'*:.T:*:;1j[.[:11*l*tsocrolects jl in an imitativc. text ConcerningKristianJaakl,ete.rsorr'spoetry,wecanseethatEliot,swtlrds libid.l. O, ,n..,o^" timc., the alnclcnt the,_rr"r,n,.',, ,ot ,rrc ;rt least partially applicable. of course, Peterson's moclels were or in terp reta t,.* or_,ty *it.i d epend s on trre etc. and thcre is morc imitirtion than influ- il'JXl'i},:::Ji:11",,il' tplies wriri n g ancl llreats, Pindar, Vcrgil, Anacrcon a'd depc.ds upon a time" tl-rere Iibid., 6J. p.o""r, ;;;;;;;-.;r."" t,nce that connects the ancient poets ancl Pcterson. But at thc samc and is imitation in the foreign lernguages (antique languages and Ccrman)' K U I-'f U RA S I(R 1b5 U STI'U N K I"1 I I i MIKIIFLEV. IMIl'AI'I(]N IN TIJE POF'IIC]'IF'X1' the resnlt of peterson,s . imitation is n r somett I t t' tl e r a c p r tt c m i a r o n t ttt discovered \1 t J ttc t n r u tr f ancl became uncr erstandabr",. nl'lliliT"uo"J,-*iffl llts tttisctttt sttparis: ne gt:lidunt rtcnttts ning of the 20th cerltllry. petc'rson I ;l ;' i r broke t t1 tr I t'zt c s c u r t r S tt t t1 r s cln i ground r n tr rt c for innovati.rr, N 1 t u p h r natio.al poetry, but trrose innovations 'ew rrr were rearized only in the 20th '',tct't'trrrrtt yoPulo ( .) d,ring the intermetriate c(,.rrrI years in the 19th century he was forgotten. Peterson imitated Altrr.rrgrt great and we,-kr-rown preclecessors, irr*r'r his work was n.r rr,r,rl q;rilri ;i ttrr I ttt i,i; , ti/llrtt. i' known to Estonian readers during rris rrre, a'd although :it['!ittti iLtttr ,irltt0 ,'r't litt Cerman, """"".'rr herrL' wrotewroL( ars, rrr lt't lris innovationq u/prp rn,r'rr-.-^.. -__';.. Llortrt. Oc1. l, I [5, 33] rea d e r sh i p *r, i . n.l iJ L6; i:! ; :: iil j; "r.