"Dilgėlė vėjo rankoj": tėvynės kraštovaizdžio sakralizavimas Sigito Gedos, Leonardo Gutausko ir Jono Juškaičio poezijoje

LTStraipsnyje analizuojami artimu laiku, XX a. septintame-aštuntame dešimtmetyje, sukurti lietuvių poezijos tekstai, kuriuose Tėvynės kraštovaizdis skleidėsi sovietinei lietuvių poezijai nebūdingais regėjimų plastais. Sigito Gedos, Leonardo Gutausko ir Jono Juškaičio kūryboje kraštovaizdis buvo ta terpė, kuri absorbavo ir spinduliavo kitoniškus simbolinius įrašus, nei teikė to laikotarpio kultūra. Kraštovaizdžio sakralizavimas, religinio jo patyrimo tendencija autorių tekstuose aptariami ryškinant palimpsestinę šventumos vaizdijimo ir jį grindžiančių idėjinių-pasaulėžiūrinių kompleksų kitimą, atpažįstant baltiškos kultūros pėdsakus krikščioniškų Europos kultūros epochų - Viduramžių ir Romantizmo - įtaka pažymėtoje literatūros ir meno tradicijoje. [Iš leidinio]Reikšminiai žodžiai: Lietuvių poezija; Kraštovaizdis; Metafizika; Romantizmas; Krikščioniškoji ikonografija; Lithuanian poetry; Landscape; Metaphysics; Romanticism; Christian iconography.

ENThe author of this article presents an analysis of Lithuanian poetry from the 1960s-1970s where the Homelands landscape was conveyed in visions uncharacteristic of Soviet Lithuanian poetry. The sacredness afforded to the landscape in the early work of Sigitas Geda, Leonardas Gutauskas and Jonas Juškaitis and its religious experience is discussed by highlighting the palimpsest depiction of holiness and the change in ideological-world view complexes substantiating it, distinguishing the influence of traces of Baltic culture in the literary and art tradition in the Christian European cultural epochs (the Middle Ages and the Romanticist epoch). Geda, Gutauskas and Juškaitis each conveyed the synthesis of metaphysical ideas of the ancient Baltic culture and Christianity, the unity of the religious world, and the sense of sacredness in existence in their own way. Geda took a philosophical approach to the mystical unity of God, man and existence: by guessing Gods name, experiencing the world as a source of undying love and beauty, harnessing forms from nature to delve into the sphere of mysterious experiences where supernatural phenomena are expressed via illumination. In Gutauskas' poetry, the Homeland emerges as a place of expression of the essence of godliness - its love. Gutauskas illustrates his abstract image of love for the Homeland through figures from the landscape and the image of the nettle, while the Homeland as a sacred object is juxtaposed to, yet not directly identified with the image of the Madonna. The nettle is a semantic mediator, an epiphenomenon that symbolically relates three different plastic expressions of abstract ideas (the Homeland landscape, the Madonna and the spirit enveloping the metaphysical world).The semes of pain and distress that accompany the image of the nettle in literature give authors the chance to thematise another problematic node - the mutual interrelation and importance of history, community and religion, and the ideas that convey this essence of Romanticism. During the Soviet period, they could only be voiced in an Aesopian way. So when Juškaitis writes about the experience of the pleasures of love emanated by nature and man in the throes of ecstasy, the landscape not only mediates the transition between the subject and the cosmic perspective, but also entrenches the botanic paradigm in the metaphor of the suffering existence of a plant, determined by the historically given elements of time and place. The Baltic metempsychotic botanic imagery in the verses of these Lithuanian poets who all created their works at a similar time offer accents of stoicism to the Christian metaphysical world view. [From the publication]