Simono Daukanto pėdsakas Šatrijos Raganos kūryboje

LTReikšminiai žodžiai: Šatrija Ragana; Simono Daukanto įtaka; Šatrijos Ragana; Influence of Simonas Daukantas.

ENThe paper presents an analysis of the impact of the historiographic text by Simonas Daukantas (1793-1864) on the creative work of Šatrijos Ragana (real name Marija Pečkauskaitė, 1877–1930). Daukantas is not only the first to write a history of Lithuania in Lithuanian and a recognised moderniser of the standard language and orthography; he was the first among his contemporaries who developed an original style and created memorable examples of rhytmic prose. After Kristijonas Donelaitis (1714–1780), he was the second most influential creator of the paradigm of the Lithuanian national tradition: the national character, nature, morals, and spiritual-creative life. In the late nineteenth–early twentieth century, Daukantas' works were an essential source of the nurturing of the spirit of nationalism and historiographical concepts and analogies; examples of his work were used for the assessment of Lithuanian-Polish relations, and the like. The first researchers into Daukantas' work emphasised his influence on Lithuanian literature. Šatrijos Ragana, who in her young days spoke Samogitian only a little, took Daukantas' texts into her hands in around 1895 and, as can be guessed from her autobiographically coloured works, read them with the help of priest Kazimieras Bukontas. The first influences of Daukantas in her texts appeared in the works written in 1897. These influences were absorbed from Maironis' history and Daukantas' "Būdas" (1892) and "Lietuvos istorija" (vol. 1 – 1893, vol. 2 – 1897). The fragments of rhythmic prose in the texts by Šatrijos Ragana are relatable to the pecularities of Daukantas' style. Although her understanfing of the meaning and linguistic expression of his writings was still weak, she was captured by the writer's stylistic expression.Following Daukantas' texts, she was learning to create the primary mood of a literary work and to convey the individuality and feelings of characters through the rhytmic sentence and intonation. In want of words, Šatrijos Ragana used to repeat them in her texts, created new words, and changed the accepted meanings. She used predicated of different expression and secondary predicative constructions, changed the order of the subject and the verb in sentences, which was characteristic of Daukantas. Representative of both writers was the priority of rhythm over the narrative, re-coding of the inner structure of the text by intonation anfd thus softening unevenness at the semantic and intellectual level. The magic of Daukantas' style with the rudiments of the myth and the epic served Šatrijos Ragana as an ideological and poetical foundation in creating unique fragments of rhythmic prose that were significant for the overall aesthetic value of her works. From Daukantas, she drew themes for her texts, descriptions of nature, plots, motifs, images, characters of her heroes, and linguistic expression. A chronological analysis of her work reveals that her each new work contained more of Daukantas' intertexts. She updated Daukantas' lexicon, absorbed new word combinations, cited fragments of sentences, and tried to derive desirable word forms and compounds. Taking the reader into account, Šatrijos Ragana brought the style of her historical narrative close to the shorthand style and deromanticised Daukantas' text. Although her historical stories are written in a mora straightforward language, she preserved expressive rhythmic sentences. [From the publication]