Metaforizavimo strategija J. Baltušio kūriniuose

LITHUANIAN LANGUAGES SANDAROS INVESTIGATIONS LITHUANIAN KALBOTYROS QUESTIONS MAY, XXVI (1987) II JUOZAS ABARAVIČIUS METAPHORA STRATEGY J. BALTUŠIO IN CREATURES A lot is written about metaphor. It has been estimated that if the works dedicated to metaphor «many at the same pace as now, it 2039 m. the total number of metaphor researchers will tų surpass the number of people in the world! *. Such a forecast is not easy to believe. ‘But individual ir bibliographies provide an impressive number of metaphorical works. Antai 1971 m. V. In his bibliography, which includes works in Western languages, thousands of pages are 3 devoted to metaphor. positions?. Therefore, even a ir prominent metaphorologine st can always have illusions that he says what the theory of metaphor has not yet deduced. į Here, without claiming greater į theoretical novelty, an attempt is made to examine J. Metaphor of Baltušis’s works in the context of communication strategy. Strategy is understood here as the organization of language units, such arrangement according to the writer’s jų intention “and a plan that only conveys ne artistic information, but aims to affect the reader’s ir catchy reactions. ir ‘Communication’ ir ‘metaphor’. What can be in common between the tų concepts? Ar may be "metaphor a reliable means of communication? After all, to use a metaphor is to — use a word according to its direct purpose, is, in ne Pikchiling's words, to jo "make a'revolution' in J. semantics". jo Ji is a means of characterising the secondary ir nomination. It is rightly said that the semantic duplicity of the metaphor does not agree with the usual su communicative purpose of the subject — predicate of the ir main sentence — elements: to mark the subject of the language to be too subjective, to signify the ji predicate too "miglota", ambiguous?, But o from the point of view of artistic — communication, the text metaphor is a pragmatic instruction to the reader. It seems, accurately "the latter is defined A. In Okopien-Slavinska's words: I consciously speak as just such an unusual (metaphorically) way: I want you to understand what I’m ką going to say.” In most cases, the metaphor J. In Baltus's works it could be described analogously by such a conditionally abstracted pragmatic instruction to the reader: šič tam ty- «I write metaphorically here, because I want to convey the perceived, felt, depicted essence of phenomena in my own way. ją Reader, note what is said in the figurative word See. 1 Slawinski J. Really moved by the information. — Texts: Theory of literature. Criticism. Interpretatio1980, n, no. 6 (54), s. 1. 2 Shibles W. A. Metaphor: An Annotated Bibliography and History. — Whitewater (Wisconsin), 1971. * Apyrionosa H. HIM, Meradopa. — B xu. : Pycckmii s3mrx. OuuEknonemus. M., 1979, «<. 140, * Okopien-Stawinska A. Metaphor without limits. — Texts 1980, of..., Nr. 6 (54), s. 26. 71 ir jo context. This strategic pragmatic attitude of metaphorization, I would say, is the basis of many personifications of metaphors, especially extended ones. A typical example would be: The forest cried. Large, clear tears jo trembled on each fork of each leaf, ran ir through the crisp waist of the winding, glittered the leaflets, soaked in the pine leaves, hung for a long time on ir the tips of the needles, then fell to the ground, o deafly eating the wolfberry. į The Red Forest R IV 55*. To understand why the writer unexpectedly changes the code — of thought instead of depicting a heavy rain (no „sliding black, thick clouds“ have ir already ,, begun to dust“), — „watering“ the forest, with an extended metaphor depicts “his tears”, all signals of — semantic significance of such information must be evaluated. Ir ne only personification, its elements („the forest cried“, „large, transparent tears“, „the red forest“ jo conveyed, but longer context semantic ...) impulses ir („the sun rises somehow yellowish, sleepy“, „restless crows scatter“, „the grass of the scarf so deafly squeals“, „the rain of the deaf squeals in the leaves“ etc.). ir With all these signals of the importance of the content, ir the artistic whole of visual details, the writer as if says: the forest ‘human’ John. Thus, in order to properly understand, the writer ką has encoded in metaphorical context, it is necessary to have before his eyes the whole metaphor called by text interpreters “horizon of meanings”, or otherwise — the "aureole of associations". It is known that certain conditions are required for the writer’s strategic į decisions, pragmatic ir instructions to be meaningfully encoded in the ir metaphorical context and later to bring to the fore the horizon of desired meaning associations. First must be “exposed” reliable signals of semantic coherence, contextual motivation? — the metaphor itself, its ir surroundings and interactions formed jų interrelated components of important meaning. The reader must be particularly careful when metaphorizing — J. For Baltuši this is characteris- — tic simultaneously, simultaneously covering several nominations of realities, names, but contextual motivation links the semantic signals of content importance to the į object. Such metaphorization we find, for example, in the "Yuzu". Remember the scenes at the end of the novel, when "another winter has come". “Not expected, not called. Iš clouds of the beginning, overwhelmed, unbearable, tin. Ne in the sky slipped, o pressed the earth ir with their bellies, overgrown fields už Kairabales ir itself Kairabalel. Ir ne žorais ar perpuršom lietė, tikrą o tvano nuosmukį nuskrūvė savo iš viduje“. Next, it is depicted how the cold winds swept around Kairaballe, how all that is alive in its ice, caught the cold frost, as around po "the ir wolves roared at night." Ir finally "lost sleep" Juzos "promiegiu" see images vision reality. — "Young, ir cleared by the first frosts [month], true groom, finger ready. He stood by the window and looked inside. į He's ir watching quietly. Look. Ir Trova tarytum nebe ta. As if dreaming, as if waiting The ko R VI 248. 5 following ir examples are given by the writer iš 'Writing' (R): Baltušis J. Writings. — V., 1981 — 1983, t. 1—8 (Roman number for volume, Arabic number for — page). ¢ Okopien-Stawinska A. Up. cit., s. 27. 72 Thus, with a not very balanced, more simultaneous, associative, situational, personalization of reality phenomena su related to Juza’s feelings, the reader is prepared for Vinciūnė’s arrival, for her last conversation mu su Juza. Metaphor especially intensifies semantic processes, į which “strategically” orient the entire language mechanism of the work. For example, the power of metaphor to strengthen and change the narrative tonalities is great. Antai “after the forest has growled”, the concrete, realistic way of depiction is replaced by a more sad, lyrical tonality. O the aforementioned personified images of natural phenomena ir The metaphorical description of Yuza’s visions reinforces the tone of vague expectation, which later į The tone of Vinciūtė- 's conversation with Juza. It is characteristic ir that the writer creates an individual “character” of natural phenomena and manifestations by metaphor: „+++ There stands a white birch, like a hay-cutter in a summer morning, the treble is shaking like a barma girl, there, look, a young man of the woods o has stopped, hugging a cold-blooded hark... " nė su R IV 42. Such metaphorization is characterized by simultaneous enumerations of the manifestations of “natural affairs”, sculpture of relief visual details, individual “characters” of trees, plants and animals, created by metaphorizing, ir personifying noticeably observed characteristics jų („standing white-shirted birch“, „swinging treble“) the subjective ...). O composition of such characters’ peculiarities, distinctive marks makes the whole image of the object individual, unrepeatable. į Sometimes ir metaphors activate word semas, giving the detail a symbolic meaning. This is the meaning according to folk symbolism has the blood — of the cormorants in winter red "real flower hats" flowering carnations. Plg. : Already in the first po summer of the blood of the carrion fell war on the heads of people R VI 143. The meaning of extended metaphors and symbols can be identified based on the signals of volumetric importance of artistic information, passing iš through the context of the semantic potentials of the word, its su interaction. Iš the horizon of meanings emerging from that interaction, as well as the ir strategic positions of the writer, should be kept in mind even when editing a single word of the text. Ir so far abstract statements about strategic provisions can be concreted. After all, we have ir the writer’s own thoughts about individual images, details of ir works, etc. One other such thought of the writer can reasonably be considered typical the interpretation of ‘pragmatic instructions’. Here it would be worth remembering for The controversy over the no correction of the language of Sold Summers. Akad. J. Balčikonis, among others, has corrected the following ir sentence from the aforementioned novel: "in the shade of the (= vineyard sings zyzia, zwimbia) drunk from the sun mosquito"". Writer J. Baltušis ne has remembetą red the correction on one occasion. "I just recorded The writer explained the sentence “In — Sold Summers” as — “a mosquito sings in the shade of the vineyard, drunk from the sun”, and I was immediately told that a mosquito cannot sing, it can only giggle.” The writer is grateful to linguists who have revealed "great secret of uode zyzimo", but unable to use the jų evidence, since the recordings "zyzia drunk from the sun mosquito", sumen- " Balčikonis J. This one for The Language of Sold Summers. — Kn. : Selected Writings. V., 1978, t. 1, p. 288. 73 an intrusive artistic painting depicting the “bewitching beauty of summer noon, the inexhaustible saturation of the sun’s heat, the great celebration of all nature”. The writer of this picture had to highlight the pettyness of the old Dirda. It is not for nothing that this image is followed by Dirda’s illness and death®. Thus, a very specific pragmatic “directive” of the writer is expressed, how the chosen metaphorical, personified meaning of the word should be understood. The reader, of course, can only rely on the abstracted work, its fragment such ‘Directive’. But you have to rely on it. It does not aim to be an arbiter of controversy, especially not to have the last word. But it seems that by the writer's will the mosquito can also sing. Such a variant of meaning is presupposed in Cia even by the minimal context of “drunken from the sun”. Otherwise —regardless of the specificity of fiction, the motivation of metaphorization, the goals, —it is possible to demand, only hardly respecting the right of personification, anthropomorphization, that the creatures of nature ‘bilt’ only "in their own — voice", for example, wolves ne “to ir attack the mourning at night”, and to howl that the sheep not “sigh, but in the Zvengty barn”. And the writer sometimes more consistently motivates and emphasizes his credo — “I believe in spiritualization”. This is how he begins the chapter of the novel: "r heard once in the night: Sirmis is groaning in the barn. It's hard to breathe. In the voice of a real man” R VI 101. It is rightly said that metaphorization is stimulated by the characteristics of realities, not by the meaning of Zodia?. This is especially true of J. Baltušis’ metaphorical stimuli. Not a local writer would say nu “draws” a iš metaphorical relief image of nature, caused by a direct impression. Here's what a plastic view of clouds seen while flying į America: „+... 0 below, as far as the eye can see, there are quiet snowy clouds. Somewhere fantastic į rocks break through the top, in places entire mountain ranges, deep su dark gorges, sloping foothills, ir elsewhere, look, good-hearted giants raise their bare hands to the sun... " R III 112. Metaphors often condense the fact of reality, bearing the mark of situational perception, by giving meaning to the impression that spontaneously arose in the writer. This is how the impression of the moment is expressed in context, where it is depicted as Juza wants to pull out iš akivaro The corpse of Karuse: Even breathed a sigh Carousel. As if he iš really breathed. Ir waited for Juza would be placed in bed ją į woven chip in a coffin carved with your own hands R VI 87. Metaphor helps to give meaning to what ir otherwise keeps the reader’s attention. Being a kind of dominant of thought, it is well combined with real concepts. Of su course, the space of the artistic text, which is affected by the metaphor, becomes an important structural element of the whole. The parallelism between the modified, figurative meaning of the main meaning of ir the word metaphorized creates a duality of reference, together with the emphasis arising o from the new ir metaphorical comparison of the usual ir perception of "vision". Pyz. : Užkabino Juza honeycomb melt this porridge, ir į mouth, on the tongue ir po the tongue. Ir iš time lightning in his eyes, it is ir such that the earth shook under his feet po nightir 8 Baltušis J. About creative work. — Kn. : Writings. V., 1959, t. 3, p. 71—72. Apyriorosa H. HIM. There you are. cou., c. 140. 74 tis overtook iš the top. Nė not reached the well Juza, falling down with his fists at Ropes. (...) long drank mud-scratching water, with his 0 hands soaked jį ir crossed wherever he reached, until he took off the lightning, saw the sun above again Kairabalės R. VI 108 — 109. As can be seen from this and iš many other ir examples, metaphor is a way of harmonizing signals of content importance, a means of placing them in a jų stronger-weaker order. ar A good portion J. The metaphors in Baltuši's works have the function of characterizing a person, describing external and internal characteristics. ir For example: : Kazytė had become as dark as a night, and she walked in darkness. ir R V 233. The old one is no longer good, the face is — pure earth, the lips are white, blackened at the corners. RV 115. Juza hasn't spoken for a long time, glowing with anger. R VI 106. As alive stood before my eyes [Vinciūnė] all those years In Kairabalė. Decades of long years, a sharp nettle grown into the į blood itself Youza, unsweetened, unwashed with the saltiest sweat... R VI 148. Synesthetic metaphors, based on the interaction of the meanings of words belonging to different sensory thematic groups, help to characterize a person’s sensations. Jų the basis is more often made up of "visible" smells (plg. : „...a smelly, gray, limp, ir drowned in a huge vodka pot, you could catch with your nose)“ R V 141, ir "sensory combinations". Of course, it should not be said that all J. Baltuši metaphors are very original. Some of them, especially related su to the daily life of people (not of nature) elements, are of the nature of conventional images. Jų the framework image is usually the result of the use of folk metaphorization postulates, often of a more stable stereotypical nature. True, in one case ne the image of stereotypes is activated, “updated”, acquires suggestions due to the unusual context. Let's recall the stereotypes of metaphors of the already given example — "lightning in the eyes", "the po earth shook", "night fell", "caught the lightning". They are triggered by the context of ir an unusual situation, an element of hyperbole. The writer does not shy away from referring to folk symbolism, semantics of conventional images. Such a nature of metaphorization could conditionally be described by the following strategic position of the writer: I use more universal jo ways of different expression of folk metaphorization, ir because there are means of clarity, suggestion of condensation of thought that are not inferior to the most original means. ir These means correspond to the writer's objective-- to-something specific way of representation, the visual nature of thinking. Just a few examples: „Until autumn Alexy lay down, until he covered the holes R I 235. The Wild One R 1 255. Ir saw: no longer his own he (Juza) here, in the river R VI 38. I wouldn't say that love was burning very hot, yet the trench did not burst out of iš pity. R VI 39. o Such metaphors are based on ir conventional ir images and images. But their connection,. contextual meaningfulness still reflects a certain interpretation of the concept of world phenomena, in many places it shows the traditional “spiritualization” of household and cultural phenomena, meaning a different universe than in reality. ir iš jų Ir as follows, i.e. By combining stereotypical, conventional means of expression with original ones, the writer su creates a far from stereotypical, non-standard ne effect. Of course, the tradi15 the non-creative use of electronic means of expression can reinforce the inertia of thought. The writer avoids this by developing the visual basis of stereotypes, very subjectively composing them into an artistic whole. į Be therefore, the inertia of thought is more suggested by metaphorizatione n, the o expression of metonyms. Pasak Ziomeko, metaphor aims to "reclassify the already known world", metonymy being a kind of o cultural text record. tų Its metaphorical semantics su is limited ir by the precise connotatiiš on taken from the paradigm. "Metamorphosis is more than just a metaphor". It has long been accepted that metaphor is dominant in poetry, metonymy o in prose. — J. Baltušis’s works are dominated by a metonymy way of thinking, ir thus the semantic figure of metonymy. Su its traditional conservatism can be linked to ir greater dangers of the writer’s thought inertia. But the figure itself can be added to ir nothing. It's important how it's used. In general, the horizon of metaphorical meanings, associations J. In Baltušis’s works it is especially high where the realities of nature are depicted plastically, stereoscopically, where they are personified, “spiritualized”. Metaphors, especially extended ones, here incredibly activate the semantic processes of contexts related to the writer’s su strategic positions. The writer creates less original metaphors where he depicts the daily life of people, the lives of the characters. The writer relies heavily on the semantics ir of conventional metaphorical images, symbolism of folk origin. The traditional associativeness of meanings of such instruments is activated, semantics is creatively jų developed. CTPATETHSA META®OPMU3AILUH B IIPOH3BEJLEHHSX IO. BAJITYUIHCA Pe310Me craTthe B paccMaTpHBaeTCA CAMOGLITHOCTL MeTadOpH3aIlIHH B TIpOH3BeJICHHSX 10. Bajirrmca. 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