Donelaičio žodžio skalsa

LTStraipsnyje iškeliamas Kristijono Donelaičio meninio žodžio dialogiškumas, paveikumas ir tvarumas, ieškoma naujesnių jo estetinės gyvybės argumentų ir kontekstų. Formuluojama atraminė tezė: kūrybišką dialogo santykį, užtikrinantį adekvačią recepciją, laiduoja Donelaičio kalba, jos balsų polifonija, kylanti iš unikalios kalbinės klausos ir vaizduotės. Donelaičio hegzametras steigia pasaulio tvarką per gimtosios kalbos tvarką - pačiu natūraliausiu ir patikimiausiu būdu ir šia ontologine prasme mums yra niekuo nepakeičiamas, svarbesnis už Homerą ir Vergilijų. Sveikata ir energija trykštanti klasiko kalba yra įvairiais lygmenimis „žaidžianti“ - žaidžiama žemojo ir aukštojo (hegzametras) stiliaus, hiperbolės ir litotės kaktomuša, fantastiškomis metaforomis, žaidžiama gramatiniais laikais ir veiksmažodžio tranzityvumu, „lėtos“ sintaksės ir žaibiškų kalbinių asociacijų kontrastais. Donelaičio žodžiui būdingas renesansinis apstas ir holistinis junglumas, švietėjiškas praktiškumas ir barokinės vaizduotės aistra. Jo estetika suaugusi su etika, o socialumas įgyja ontologinę perspektyvą. [Iš leidinio]Reikšminiai žodžiai: Donelaičio kalba; Hegzametras; Kristijonas Donelaitis; Žaidimas; Donelaitis's language; Hexameter; Kristijonas Donelaitis; Language of Donelaitis; To play.

ENThe jubilee year of Kristijonas Donelaitis not only has confirmed the continuing relevance of the Lithuanian classic, but also has encouraged us to look for a more personal and intimate relation with his work, to see the possibilities of a dialogue hidden in the text, and to make creative use of these possibilities. The preconditions for a dialogue are already implied in the author’s approach - the narrator addresses us as a Christian addresses the members of his community; speaking in our name, he gives meaning to vertical, sacral community rather than physical, horizontal sociality. By emphasising the existential value of communal unity, communio, Donelaitis builds a sensible opposition to today’s egocentrism and narcissism, and by advancing the principle of ontological order and hierarchy, he seems to question the postmodern ideology of value pluralism. The full-fledged dialogic relation that ensures adequate reception is guaranteed by Donelaitis’s language. This is the underlying thesis of the present paper, which is proved by means of arguments testifying to the vitality of this language: a profound linguistic and literary tradition, original use of the models of Classical Antiquity, Baroque and Classicism, ontological purposefulness of Donelaitis’s hexameter, playful mastery and stylistic ingenuity.Like that of all great classics, Donelaitis’s language is susceptible to the variety of life, and is characterised by the same longing for the meaning of existence and moral order, and the concern for social justice. The author of The Seasons (Metai) also makes use of the element of play, which constitutes the basis of Friedrich Schiller’s aesthetics. To play is Donelaitis’s favourite topos that belongs to a highly productive semantic word family. He plays with the opposition of high and low styles, collision of hyperbole and litotes, grammatical tenses and verb transitivity, and the contrasts of a “slow” syntax and sudden leaps of metaphors. It is a youthful language teeming with energy and vigour, and alternatively asserting the meaning of existence in the presence of society’s existential fatigue and anomie. The studies of Donelaitis’s language place him among the ranks of the greatest classics of Lithuanian literature. His words are noted for Renaissance richness and holistic connectivity, Enlightenment-style practicality and the passion of Baroque imagination. In his work, aesthetics is inseparable from ethics, and sociality acquires an ontological perspective. The richness of his word is consonant with all seasons of the year. [From the publication]