Grįžtis į pradžią ir pirminę patirtį Sigito Gedos poezijoje bei eseistikoje
LTStraipsnio tikslas - pasekti, kaip kito S. Gedos pirmapradiškumo samprata, labiau susitelkiant į pirminių patirčių, paliudytų eseistikoje, sąsają su kultūrinės atminties formuota archetipinių vaizdinių samprata. Fenomenologinė žiūra man pasirodė metodologiškai tinkamiausia šiam aspektui atskleisti. [Iš straipsnio, p. 324]Reikšminiai žodžiai: Archetipiniai vaizdiniai; Eseistinė raiška; Gyvavaizdžiai; Sąmonė; Grįžtis; Kartotė; Pirminė patirtis; Archetypal images; Flowing consciousness writing; Return; Repetition; Initial experience.
ENThis article discusses different ways of return in Sigitas Geda’s poetical texts and essay writings. It is characteristic for a person to return to the foundation of his formation or to situations in which his soul was shaken. For an artist it is important to return to origins or to principles, to create a universal language - also to try to shake the reader. The return happens in the modern poetics through imaging (rather than picturing or reflecting). Geda considers imaging as a more intensive form of memory. In the early and middle period of creative work Geda was famous for sharp imagination and rough expression; he managed to join in his metaphors cultural codes with primeval nature and mythological imagination. In this way he created an individual mythology. He emphasized intuition; he mentioned alogisms in the speech; and he tried to deconstruct language into morphs and smaller elements. But he also homologated the necessity of “waking intellect”, which disciplines rambling fantasies into concrete images. In the beginning of S. Geda’s poetic creation Jung’s very popular ideas of archetypes were incorporated into his poems. Also, perhaps through the thought of Heidegger, Geda sympathized with the imaginative thinking of the presocratics (Millete School) - the last collection of his poetic oeuvres was called (by the will of the author) Socrates talks w ith the W in d (2001). In Geda’s bibliography of the last ten years (1998-2008)the essay writings prevailed (along with all the time intensive work of translator). Reasons for this are different: I ) the loss of the outstanding role of the poet in the collapsing society ; 2) a psychological tendency to look back (there is a distance) in the senior age of the person; 3) an inability to create original metaphors, when physical strengths decline, etc. The essay writings by Geda are not like the usual Lithuanian fiction essays.They are like commonplace notes, very fragmented texts, which could be related to contem porary silvae (Ryszard Nycz’s term). Geda himself called them “notes”, “vivid pictures”, “researches”. By “inventing” the genre of “vivid pictures”, he intended to mark footnotes of flowing consciousness (like using a cinematograph of consciousness). A lthough there is written everything that by associated thinking is risen from memory, the reader can see repeated returns, also through the dreams, to the basic, mostly memorized, child experiences of native landscape, home, lake fauna and flora, etc. They were stimuli for the formation of aesthetic criteria and common images. The strongest impression of the things reaches the prelingual time of memory. Both poetic and essay writings by Geda are concentrated in different ways on the return to origins, and on principles. The cultural texts (Archetype Theory, Lacans ideas, etc.) seem exert an influence on selecting the most frequent and important initial experience fragments which we evidence in essay writings by Geda. [From the publication]
