Išnykstančio pasaulio dainius

LTKristijono Donelaičio sprendimą rašyti lietuviškai, be kitų aplinkybių, galėjo paskatinti ir XVIII a. viduryje pasirodžiusi pirmoji istorinė studija apie lietuvių kalbą (autorius Pilypas Ruigys), kurioje ji buvo kildinama iš senosios graikų kalbos. Apsispręsdamas rašyti lietuviškai, Donelaitis tarsi ėmėsi atkartoti Homero kūrybinį aktą - duoti pirmąjį lietuvių tautos epą. Jis pajuto ir sugebėjo atkartoti dar beveik pirmapradžio lietuvininkų buvimo ir sodrios jų kalbos atitiktį. Vis dėlto nors ir įžvelgęs galimybę lietuvišką poeziją per hegzametrą susieti su klasikinės poezijos viršūnėmis, Donelaitis labai aiškiai suvokė būtinybę ne mėgdžioti klasikus, kuriant idilinius kaimo vaizdelius kaip buvo įprasta to meto Europoje, o gyvu žodžiu atsiliepti į pakitusias gyvenimo realijas. [Iš leidinio]Reikšminiai žodžiai: Antikinė tradicija; Dainius; Elgetystė; Kristijonas Donelaitis; Lietuvininkai būrai; Literatūra; Nykstanti lietuvių kultūra; Poema; Poema "Metai"; Savitumas; Vyžos; Antique tradition; Bard; Bast shoes; Kristijonas Donelaitis; Lithuanian literature; Lithuanian peasants; Mendicancy; Peculiarity; Poem; The poem "The Seasons"; Vanishing Lithuanian culture.

ENKristijonas Donelaitis’s decision to write in Lithuanian, beside other circumstances, may have been encouraged by the first historical study of the Lithuanian language (author Philipp Ruhig), which appeared in the middle of the 18th century, and, according to which, Lithuanian had its roots in Old Greek. By choosing to write in Lithuanian, Donelaitis as if attempted to repeat Homer’s creative act - to produce the first epic of the Lithuanian nation. He felt and succeeded to capture the correlation of the almost primeval existence of Lithuanians of Lithuania Minor and their rich language. However, even though having perceived a possibility to relate Lithuanian poetry to the peaks of classical poetry through hexameter, Donelaitis, as his letter shows, realised very clearly the necessity to respond to the changing reality of life with a live word rather than imitate the classics by creating idyllic pastoral views (as was customary in Europe at that time). Donelaitis the educator and moralist ponders on each situation in the peasants’ life independently. He also demonstrates the same kind of independent stance regarding certain decrees of Prussian authorities. He agrees with some official prohibitions or requirements (e.g. to abstain from drinking and stealing, to handle fire with caution and protect forests), and disputes with others.For example, despite the fact that the authorities strictly prohibited peasants from wearing bast shoes (vyžos) as early as 1724, in Donelaitis’s work this footwear is not only part of daily wear of Lithuanians living in Lithuania Minor, but also a sign of their identity and, alongside, an element of the authentic world vanishing into oblivion. By the author’s will peasants are settled in the village of Vyžlaukis, and the unhappy life story of Didvyžis (it was the original name of Krizas in the first version of The Seasons (Metai)) is opposed to the heroes celebrated in ancient epics. Krizas’s fate in The Seasons is a constituent part of Donelaitis’s sad argument with the Age of Enlightenment in which he lived. Besides, it is also a pretext for reflecting on the theme of mendicancy anew. With the story of Krizas Donelaitis as if once again puts to test the myth of earthly success earned with one’s own hands, which enjoyed popularity in the 18th century. Following the example of the most authoritative Writers of Classical Antiquity, Donelaitis attempts to give existence to the little known, the poorest, and the most unenlightened and socially restricted ethnic group of the Kingdom of Prussia - Lithuanian peasants - through their own words put into the forms of classical literature. The melancholic tone of Donelaitis’s work is determined by the deep metaphysical reflection on the inexplicability and misery of human fate. [From the publication]