Vilniaus krašto dainos baltarusių ir lenkų kalbomis
- Vilniaus krašto dainos baltarusių ir lenkų kalbomis
- Vocal repertoire of Polish-speaking Lithuanian inhabitants and their ethnic and cultural identification
LTVilniaus krašto gyventojai, save vadinantys lenkais, kalba arba baltarusiškai, arba lenkiškai ir patys tai suvokia, bet kiti, netgi tyrėjai - dažniausiai ne. Baltarusiškai kalbantieji savo gimtąją kalbą vadina "prosta mova", bet visada teigia, kad jie esą lenkai, tik kalbantys "po-prostu". Lenkiškai kalbantys žino, kad kalba lenkiškai, bet ne literatūrine kalba, o "po-prostemu", kaimiškai. Vilniaus krašto "paprastoji" kalba ("prasta mova") yra šiaurės rytų baltarusių kalbos tarmės variantas. Abi kalbos, tiek baltarusių, tiek ir lenkų yra ne fizinio etnosų pasikeitimo, o vietinių lietuvių suslavėjimo rezultatas. Iki XIX a. vidurio į lietuvių etninę teritoriją iš pietų gaivališkai plito baltarusių kalba, о XIX a. antrojoje pusėje suintensyvėjo lenkų kalbos plitimas. Jį stiprino katalikybė, kurią ir dabar tebevadina "lenkišku tikėjimu" ("polska wiara"). Ilgainiui, ypač įsisiautėjus rusifikacijai, vietiniai baltarusiai ir lietuviai pradėjo suvokti save lenkais. Nuo XIX a. pabaigos, susidūrus kilusiam lietuvių tautiniam atgimimui su gaivališku lenkėjimu, vadinamieji "polomanai" pradėjo kryptingai diegti ir platinti lenkų kalbą. Vilniaus krašto baltarusių kalboje atsirado daug lenkiškų žodžių ir formų, o vietos lenkų - baltarusiškų; vienoda ir abiejų kalbų garsų tartis. Taip pat ryški yra ir senųjų autochtonų lietuvių kalbos substrato įtaka. Pateikiamos 9 baltarusiškai dainuojamos dainos su žodžiais, užrašymo metrika ir natomis. Atskirai komentuojama transkripcija, jos principai.Tyrimai rodo, kad kalbantys baltarusiškai turi kur kas turtingesnę folklorinę tradiciją negu kalbantys lenkiškai. Pastarųjų tautosaka naujesnė, susijusi su šlėktų folkloru. Tiek baltarusiškai, tiek lenkiškai kalbantys vertė ir adaptavo lietuvių dainas bei pasakas. Kadangi lenkų kalba visiems šiems žmonėms yra prestižinė, labai dažnai folkloriniai tekstai baltarusių kalba gausiai "papuošiami" polonizmais.Platesni komentarai skiriami tik vienai dainai: dėl „Dainos apie Vytautą“ suabejojama, ar galėjo ji būti parašyta 1510 m. Toliau aptariamo 1917 m. lotyniškąja abėcėle V. Lastausko paskelbto šios dainos baltarusiško teksto analizė rodo, kad neatmestina versija, jog Lastauskas šią dainą galėjo pats išversti iš lenkų kalbos. Apskritai vertimas yra būdingas šio krašto tautosakos bruožas. Ne viena daina būdavo atliekama su kitos kalbos akcentu. Kartais susidaro įspūdis, kad atlikėjai, norėdami "pagražinti" dainą, stengiasi dainuoti lenkiškai, nes lenkų kalba buvo laikoma prestižine, kultūringa, "delikačia", tačiau prastai mokėdami šią kalbą padaro nemažai klaidų. Straipsnyje atskleidžiama daug tokių nesutapimų, nukrypimų ir pateikiama jų analizė. Transkribuojant tekstus stengtasi perteikti autentiškus atlikėjų tariamus garsus, jų tartis nebuvo norminama, todėl tame pačiame tekste pasitaiko skirtingų to paties žodžio tarimo variantų, naujadarų ar net okazionalizmų. [Iš leidinio]Reikšminiai žodžiai: Baltarusių dainos; Baltarusių liaudies dainos; Lenkų dainos; Lenkų liaudies dainos; Lietuvių liaudies dainos; Tautosaka; Vietiniai lenkai; Vilniaus kraštas; Belarussian folk songs; Belarussian songs; Folklore; Lithuanian folk songs; Local Poles; Polish folk songs; Posish songs; Vilnius region.
ENThe study of the vocal repertoire of Polish-speaking Lithuanians is based on songs written down on expeditions in 1989-1998. The methodology of A. Kloskovska was used, which is based on the purification of the cultural canon of the society group under investigation. M. Krupoves determined what constitutes the cultural canon of the Lithuanian Poles: a few romantic poetry texts, the most important of which are the texts of A. Mickiewicz, H. Sienkiewicz, J. Kraszewski and E. Orzeszkowa; moreover, the symbolism of the Polish state - a white-red flag and white eagle of Poland; two religious symbols - paintings of the Blessed Virgin of the Gate of Dawn and Częstochowa; the style of festive childrens clothing represents the national clothing of the Krakow region; similarly, the style of clothing of the folklore ensembles resembles the style typical for the Krakow region. One of the elements of national identification is songs. In different places, Lithuanian Poles perform songs differently: in Polish, Belarusian or Lithuanian. The choice of languages and songs depends on the national consciousness. Szlachta descendants in Lithuania still identify their origins with Polish culture. The social cultural division into the nobility and peasantry coincides with the national division into the Poles and Lithuanians. The Belarusian speaking peasants do not feel being lower than szlachta, which, according to them, differs from them only by speaking Polish. Until the interwar period, the general situation around Šalčininkai was as follows: Belarusian was spoken in most of the villages, however Polishspeaking areas were established around the estates; there were still Lithuanian- speaking village areas. The common language was Belarusian.During the interwar period, more villages were established where the Polish language has become spoken more often, meanwhile the inhabitants without the documents proving their nobility called themselves "szlachta-like". They began to use the Belarusian language only as a low-style language, usually around the household, or talking to animals. With the increased use of Polish language, villages started to be divided into "light", "lighter" and "dark": in the first group, Polish was spoken everywhere; the second group spoke Polish only in public, and Belarusian at home; in the third group, although the inhabitants called themselves Poles, they always spoke Belarusian. During the interwar period szlachta strengthened the exaltation of Polishism by the national Polish patriotism, and the prevailing "self-consciousness of the land" transformed into "the self-consciousness of belonging to the Polish stat"”. The peasants also took the direction of orientation towards the Polish state, as most of the people began to consider themselves Poles, because they were born in Poland. The Belarusian speaking Poles even now regard themselves as "local Poles" (tutejszy Polak), and belonging to the Catholic Church is their indicator of being Polish. Another key indicator for them is being local (tutejszość). Even those who do not speak Polish at all, only Belarusian, never call themselves Belarusians. There is also a group of formerly Polish-speaking residents in the narrow area between Molėtai and Dubingiai who were left on the Lithuanian side when a demarcation line was drawn up. Their Polishness is very weakened, they call themselves "mixed" (mieszane), they speak Lithuanian, and use Polish only with their old neighbors.Traditional manor songs, patriotic, labor, wedding and calendar holiday songs of the 19th century uprising period prevail in the repertoire of Polish nobility song repertoire. Literary songs that earlier were sung only in the manors, for example, S. Moniuszka's "Czerwone korale", W. Syrokomla's poetry, songs by the unknown poets, for example, "Żeń się, Jasiu lub Odkryj, Eluniu, firankę", have survived until now. The repertoire of Kaunas and Vilnius region nobility songs differs, and as in the region of Vilnius, it has been considerably supplemented by patriotic Polish songs and songs sung by the scouts (poi. harcerze) during the interwar period. In this region, szlachta knows also Belarusian songs, but they are less valued and called simple - "prosta pieśnią", for example, "Ad zary da zary". [...] The inhabitants of the Lithuanian and Polish border area near Molėtai and Dubingiai sing in both languages, sometimes they even say that it does not matter in which language they sing. In this region, it is said that during the interwar period at the weddings people spoke Polish, while singing in Lithuanian. This situation is referred to as either a dual cultural situation or not named in any way. The manner of nobility and peasantry singing, as well as the pronunciation of sounds is different. When the representatives of szlachta are singing for strangers, they try to pronounce only the sounds corresponding to the norms of Polish literary language, and as a result of overexpression hypernormalizations appear. Szlachta representatives tend to keep a restrained - delikatna - manner of performance, meanwhile peasants sing with a continuous voice, enriching melisma and ornamentation of the songs with many melodic figures, and therefore their singing does not differ from Lithuanian or Belarusian singing manner. [From the publication]
