Naujas požiūris į Kristijono Donelaičio "Metų" kompoziciją

LTStraipsnyje svarstomos metodologinės, teorinės ir praktinės prielaidos Kristijono Donelaičio Metų kompozicijai tyrinėti. Aptariamos ankstesnės šio kūrinio kompozicijos interpretacijos - visų pirma Martyno Liudviko Rėzos ir Georgo Heinricho Ferdinando Nesselmanno Metų koncepcijų santykis. Nusakomi metodologiniai teksto rišlumo kriterijai, diskurso izotopijos samprata bei jos pritaikymas Donelaičio kūrybos analizei, paradigminio ir sintagminio teksto planų santykiai, specifiniai Metų makrokompozicijos ir mikrokompozicijos bruožai. Straipsnyje kritiškai aptariamas Metų pasakojimo ir gamtos bei darbo procesų paralelizmo principas, nurodomi tokio kūrinio skaitymo trūkumai. Metus siūloma laikyti ciklinės kompozicijos kūriniu be fiksuotos pradžios ir pabaigos, o teksto rišlumo ieškoti paradigminiame teksto plane - įtampoje tarp dorybės ir nedorybės kategorijų. Sintagminio plano rišlumų siūloma grįsti sintagminių siūlių ir kontrastinio epizodų siejimo principais. Metai suvokiami kaip natūraliai, be išankstinio kompozicinio sumanymo besiplėtojantis pasakojimas. [Iš leidinio]Reikšminiai žodžiai: Ciklinė kompozicija; Cikliškumas; Dorovė; Interpretacija; Izotopija; Izotopinė struktūra; Kompozicija; Koncepcijos; Kristijonas Donelaitis; Literatūra; Paradigma; Pasakojimas; Poema "Metai"; Sintagma; Teksto rišlumas; Composition; Conceptions; Cyclic structure; Cyclicity; Interpretation; Isotopic structure; Isotopy; Kristijonas Donelaitis; Lithuanian literature; Narration; Paradigm; Syntagma; Text cohesion; The poem "The Seasons"; Virtue.

ENThe paper deals with the basic questions of the composition of The Seasons (Metai) by Kristijonas Donelaitis: as the author himself did not leave specific instructions about the generic definition of this text or its structure (i.e. which of the four parts of the poem is to be considered the first or the last, or if they should be read as independent poems), there are two contradictory compositional conceptions of The Seasons. The first (and most influential) conception, introduced by Martin Ludwig Rhesa in the first edition of The Seasons (1818), regards the poem as a cohesive whole, which is to be read from “Joys of Spring” to “Winter Cares”, i.e. according to the natural course of the seasons, whereas the second conception (advanced by Georg Heinrich Ferdinand Nesselmann who edited the third edition of Donelaitis’s works in 1869) postulates that the four parts are autonomous poems. The paper shows that neither of both conceptions solves the problem of the composition of The Seasons. A new approach to the subject is proposed by analysing the isotopic structure of the discourse and by identifying the principles of its paradigmatic and syntagmatic cohesion. As is shown in the paper, paradigmatic cohesion of the text is based on the opposition between the ethical categories of “virtue” and “vice”, which are embedded in the deep layers of the narrative and thus underlay and semantically unify different events on the surface of the text.The “stories told” within The Seasons may vary, but the main concept - a profound contrast between divine “virtue” and diabolic “vice” - remains, thus producing our perception of the cohesiveness of the text. The syntagmatic structure of The Seasons is much looser: it is obviously devoid of a unifying plot or a macro-compositional plan. However, this does not mean that single episodes arc connected chaotically. Along with the contrastive oppositions in The Seasons (c.g. God-loving and modest birds are opposed to a greedy and cursing lord; the hardworking Pričkus engages in a passionate debate with the lazy Slunkius, etc.), the paper introduces and explains a new principle of how one episode is connected to another by specific “syntagmatic seams”. The results of our analysis show that The Seasons build a cohesive cyclic structure without any given points of beginning or end. The inner coherence of this cycle is based on the paradigmatic level of the narration, whereas syntagmatic cohesion has a less significant role. [From the publication]