Iš lietuvių literatūros mokslo terminijos istorijos: XIX amžius

110 Asta Mitkevičienė | From the From the History of Lithuanian Literary Science Terminology: 19th Century AstA mitKEvičIENĖ Institute of Lithuanian Language Literary studies as an independent discipline began to form in Lithuania volumes of early 20th centuries (LTE VII 1981: 55), the number of literary works increased, they works devoted to scientific issues have been published earlier. In the late 19th and became more diverse, although most of them were syncretic, “they contained the rudiments of literary theory, literary history and literary criticism” (LLI 2001: 206). In the 19th century, these works were printed and translated into Lithuanian, and Lithuanian terminology of literary science was created. SOURCES OF THE TERM In the first half of the 19th century, literary subjects were discussed not in individual works, but in the prefaces or other parts of various publications. In the 1824 edition of Aesop’s and K. Donelaitis’ tales, L. Rėza added a Lithuanian talk about the fairy, the fairy tales and so on. The supplement to K. Nezabitauskas’ Elementarium, published in the same year, Collecting all kinds of Lithuanian, Žemaitic and Prussian Lithuanian writings, is the first summary bibliography of Lithuanian writings in Lithuanian (with some brief commentaries) (Gineitis 1982: 125, 126). S. Stanevičius added the prefix Skaitysiantiems (Lithuanian writing briefly discussed) to the Latin grammar of Lithuanian language reprinted in 1829. An unknown author – J. J. V. Lietuvis from the region of the river Šventa – wrote a preface (dated 1828) for the 1829 edition of the tales of S. Stanevičius and S. Daukanto, which is “the first text related to poetry written in Lithuanian” (Girdzijauskas 2006: 77). The first work of theoretical poetry written in Lithuanian is considered to be S. Daukanto’s study The Way of the Fairy Tale (very broadly understood theory of the fairy tale and the storyteller’s theory) included in the book Fairy Tales of Fedro (printed in 1846, prepared in 1824) (ibid.: 79; LLI 2001: 214). In it, S. Daukantas “defines and explains concepts, justifies their entire system, adheres to strict logical consistency” (Girdzijauskas 2006: 79). In the episcopate of Žemaitija (1848) M. Valančius devoted himself to religious literature. 19th century terminology of Lithuanian literature... Terminology | 2007 | 14 111 page was written in Lithuanian about folklore. Short discussions can be found in S. Stanevičius, „mokslynynka lyteraturas“, books Dainos žemaičių (1829) and Pažymės žemaitiškos gaidos (1833). S. Daukantas discusses folk songs in the preface to Dainės žemaičių (1846), in which he “tells such things that are important not only for folklore, but also for poetry in general” (Girdzijauskas 2006: 82). J. Želvavičius wrote briefly about fairy tales in the preface to I. Krylov's collection of fairy tales Pasakos (1863). Literary works (especially criticism) increased in the late 19th century, with the proliferation of Lithuanian fictional literature and the emergence of Lithuanian periodicals. It published literary articles, reviews, annotations, biographies of writers and obituaries. The Lithuanian literary criticism states that during the first twenty years of the existence of the Lithuanian periodical press there appeared about 400 critical articles on literature, language and folklore, half of which were published in Aušra and Varpa (LLK I 1971: 138). The book has been translated and reprinted several times. J. Šliūpas, J. Mikšas, J. Koncevičius, S. Dagilis, M. DavainisSilvestraitis, J. Mačys-Kėkštas, J. Zauerveinas and others wrote about literature in Aušra, and in Varpa (at the end of the 19th century) P. Mašiotas, V. Mačys, V. Kudirka, J. Jablonskis, A. Kriščiukaitis-Aišbė, S. Matulaitis and others. In the second half of the 19th century, literature and writers or individual works were also more or less discussed in the Lietuviška ceitung, Garsas, Žemaičių ir Lietuvos apžvalga, Naujoji lietuviška ceitung, Tėvynės sarge, ūkininkas, Žinytis, as well as in periodicals published in the USA – Lietuviškajame balse, Vienybėje lietuvninkų, Apšvietoje, Naujoje gadynėje, Garse Amerikos lietuvių, Lietuvoje, Tėvynėje, etc. At the end of the 19th century, the first history of Lithuanian literature was published – J. Šliūpo Lietuviškieji raštai ir raštininkai (1890), which grew out of a series of articles published in the Lietuviškasis balsas in 1887–1889 (one article was published in the Aušra calendar in 1885). In America, J. Žilius-Jonila published a booklet Lithuanian Songs of the Early 19th Century (printed from Dirva). A review of Lithuanian literature in the 19th century was presented by A. Milukas in the second part of Lithuanian Album (1900). The works listed, from which material was collected for this article1 (see list of main sources), are very diverse in terms of terminology (no doubt, 1 Periodical literature was not read in full. Articles, reviews, etc. published in periodicals, which are discussed or mentioned by literary scholars (based on A. Sprindis 1957, LLK I 1971, L. Gineitis 1982, LLI 2001, J. Girdzijauskas 2006) were used. Additionally, several other works published in periodicals (e.g., in the New Lithuanian Newspaper) on literary issues were reviewed. 112 Asta Mitkevičienė | From the Lithuanian terminology of literary science... pages of V. Kudirka’s poetry contain about 120 terms of literary science, while in J. Šliūpo’s 234 pages of Lithuanian literature history there are not many of them (about 150 with publishing terms). Other works on the history of terminology are also of varying value: some contain only one term, while others contain definitions of terms, notes on the terms themselves, etc. The focus of this article is on those works in which the term system is clearly visible, terms are defined. The terminology of such terms is usually not in doubt. They are taken as a basis for revealing the position and characteristics of terminology of literary science in the 19th century. The main focus is not on individual terms, but on groups of terms, relationships between terms, systemicity, i.e. the overall image of terminology. It is also based on the evaluations of concepts and terms now presented by literary scholars. TERMS AND THEIR RELATIONSHIPS The relationships of terms are best seen in works of literary theory. In S. Daukanto’s work The Way of Tales, the hierarchical system of fairy tale “telling” is reflected. The term fairy tale is related, and its generic terms are: 1) wejkalĩne fairy tale or istorĩja DaukPB VII (about what was), 2) môkslĩne fairy tale DaukPB VIII (about what is doubtful), “didactic (literary) narrative”, 3) źebele or zauna DaukPB VIII (about what wasn’t) “fairy tale”2. The basis for classification is clear, and the terms are connected only by semantic links. "The Story of the 2000-2001 WWE Raw Tag Team Titles: WrestleMania XXVII". Systematic operative antonyms sùmesgĩmas ĩr ĩssĩmesgĩmas DaukPB X S. Daukantas calls the concepts "užuomazga" and "atomic node". In 1883, an article by J. Koncevičius about K. Donelaitis with J. Šliūpas' notes in the footnotes was published in the newspaper Aušra. This is “the first modest attempt to classify literature, to understand its whole system <...>” (Girdzijauskas 2006: 85). Main hierarchical microsystems of terms: writings A 1883 7 204: folk writings A 1883 7 204 “tautosaka” (proposed to be replaced by the term źodinistē A 1883 7 204) and fine writings “mokitu viru sudēti” A 1883 7 204 (by origin); national writings: tales A 1883 7 204 and songs A 1883 7 204; fine writings: prose A 1883 7 205 and poetry A 1883 7 205 (according to the language, cf. „poetry is still called the combined language” A 1883 7 205). J. Šliūpas immediately criticizes J. Koncevičius that he “does not distinguish between art and means (or) 2 The theory of narrative S. Daukantas either created himself, or took from some other (unknown to us) author, and the theory of the narrator is certainly not original (the Polish preface of S. Čerski to the publication of Fedro’s tales is taken). (see Girdzijauskas 2006: 465, 466). also differs linguistically and subjectively). In some, for example, about 6 Terminology | 2007 | 14 113 nů mokslo“ A 1883 7 204, i. e. fictional literature from the scientific. In an unfinished article published in Aušra in 1886, S. Dagilis rejects the distinction between prose and poetry according to language (form) as a phenomenon of “older misunderstandings”, but the change in perception is reflected only in the semantic level of the terminology system (the basis for classification and the content plan change), while the species terms of the term rasztai A 1886 1 6 remain the same – proza A 1886 1 6 “scientific literature and so on.” and poēzija A 1886 1 6 “~fiction”3. The author already defines the difference in an abstract way: “the first shows things as they really are, and the second – how they should or should not be” A 1886 1 7. He distinguishes between the terms poetry and singing in A 1886 1 6: the latter is considered narrower – "singing or singing verses". After reviewing the listed works, you can see more or less significant groups of terms, the most prominent of which are poetry terms, names of artistic instruments, names of literary genres. Ei lė da ro s t er mi na i. J. J. V. In the Lithuanian dialect of the region of the river Sventos, although the poem is not discussed separately, there are several terms of this significant group. First, these are the antonyms suryszta kaɫba, tay ira, eyɫos liet V (eyłos tay ira suryszta kałba Liet VII) and liuosa kaɫba Liet IV. It should be noted that composite antonyms are formed systematically: suryszta – liuosa (see also J. Koncevičius’ joint language quoted earlier). In the work of S. Daukanto this opposition is expressed by the terms dajnîne kałba and priprastĩne kałba DaukPB XVI. J. J. V. Lietuvis links the terms piedos "feet" in Liet IV and mieros Liet IV "meters?" (LKŽ ummiera 1. "unit of measurement, measure", cf. gr. metron – measure): "eyɫas piedomʼs tay ira mieromʼs gàleme raszity" in Liet IV, "ràszima bùdas piedomʼs (pedes poetici) or mieromʼs eyɫû tay ira surysztos kaɫbos" in Liet VII. Whether they are related by synonyms or hierarchical relationships is difficult to say. In the 1980s, the term hexameter and its variants were used. In the aforementioned article, J. Koncevičius briefly defines the meaning of this term: eksamētras, t. i. szeszmierinēs eilēs A 1883 7 208 (also cf. hexamētras, t. i. szeszmērinės eilēs Šliūp 22). Or maybe this is not an interpretation, but a synonym? The term hexameter is defined by M. Juodišius at the beginning of his article about K. Donelaitis (Keli žodžiai apie supratimą poezijos...)4, published in Vienybė lietuvninkų (1887, No. 41–42): “When there are six mires in a line, 3 at the very end of the 19th century V. Kudirka used the terms epic and lyric (April 1898, 3 42), epic poetry and lyric (April 1898, 6 93). In the sources of the last decade the terms fine literature Vrp 1894 3 36 (also belletristika Vrp 1894 8 116), fine literature Mlk. 4 The original of this article could not be found, so an excerpt published in LPP 1985: 327-331, an adapted text, has been used. 114 Asta Mitkevičienė | From the terminology of Lithuanian literary science... Greek – six-foot line)”. It is also commonly used as an adjective, but not as a noun (e.g., the bridge). In addition, the author apparently considers the term poetry unclear, since he writes next to it in Polish: „everything is written in verses (wierszami)“ (see K. Nezabitauskas’s bibliography of 1824: apraszitas Eyłomis (or wyrszays) Nz 47). One of the main terms in J. Adomaitis-Schern’s article About our poetry, published in the Lietuviška balsas in 1886, is contractuality [line] LB 172. This term refers to both the poetry system and the rhyme (see Girdzijauskas 2006: 86). There are three generic terms for the term ‘consonance’: syllabiszkas consonance LB 172, metryczna consonance LB 172 (cf. mēra [eilu] LB 172 ‘meter’, syllabiszka measures / measures syllabiszka LB 172), aleksandriszkas sounding consonance LB 172 (sounding consonance LB 172; ‘syllabotonic poetry?’). As you can see, the species spots are made differently. When speaking about rhyme, the author, in addition to its Lithuanian name, “sutartinumas”, gives an international synonym in brackets – “sutartinumas” (rym) LB 172, and a couple of times uses only the rhyme LB 172 (cf. TŽŽe rima < French rime < Greek rhythmos – harmony, proportionality). The article also uses the similarly expressed term consonance (but only as the main point) – widurinis sutarimas LB 172 (see sutarimai syllabiszki LB 172). It may be assumed that this is the name of the rhythm, because the comma is followed by bałsakięa (rhythm) LB 172 (hereinafter referred to as bałsakięa LB 172)5. J. Adomaitis-Šernas does not define the terms, only slightly defines the terms poēzija mērinē LB 172 and eilēs battos LB 172 features. The system of poetry terms is clearly seen in V. Kudirka’s study “Writing Verses of Truth”, which consistently explains the concepts, classifies them, and in some places presents the equivalents of the terms in other languages. Terms – both Lithuanian or Lithuanianized and non-Lithuanised – are distinguished by italics. In particular, the following terms are defined: verse “a superficial form of poetry that distinguishes itself from prose” Vrp 1898 1 14, verse Vrp 1898 1 14 “a line” (previously V. Kudirka used verse Vrp 1895 6 100, later both variants eilė and eilė Vrp 1898 6 93, in his study there is also a line Vrp 1898 1 14), the international term rhythm Vrp 1898 1 14 (cf. rhythmic foot Vrp 1898 1 15, rhythm Vrp 1898 1 15) and still Lithuanian response Vrp 1898 1 14 “rym”6, crossing Vrp 5 Others at the time used the international term rhythm A 1884 5–6 201, ŽLA 1895 22 174, Vrp 1895 6 100, TS 1898 8 33 et al. 6 Atsiliepimas (see S. Didžiulio eilių atsiliepimas ŽLA 1892 7 50) competed with the synonymous rhyme ŽLA 1895 22 174, L 1897 49 2 at the end of the 19th century. or so-called feet, that is, six bars, then the line is called hexameter (from Terminology | 2007 | 14 115 1898 1 14 „caesura“, foot Vrp 1 14 et al., at the end – verse Vrp 1898 3 41. The word "miera7" with its Greek equivalent is used only in the definition of the term foot. Latin equivalents are added to apparently less well-known or less widespread terms, e.g.: caesura Vrp 1898 1 14 (hereinafter varies – this is a caesura (see TŽŽe Latin caesura – transfer), this is caesura, also see second-line caesura Vrp 1898 2 28, male / female caesura Vrp 1898 2 28), diaeresis Vrp 1898 3 40 “dieresis” (see LTŽ II 1998 gr. diairesis – tearing, division), saphic verses (versus saphicus) Vrp 1898 2 29, adonitic verses (versus adonius) Vrp 1898 2 29, poets’ licentia (licentia poëtica) Vrp 1898 3 41, etc. The equivalent is also written to hexameter Vrp 1898 1 15, but only for the first time, henceforth it is used alone, from it the term hexametric work Vrp 1898 3 40. V. Kudirka explains not only relative but also species terms. Species terms are mostly systematically formed, e.g.: rhythm: metric rhythm Vrp 1898 1 14 “antique quantitative poetry”, tonal rhythm Vrp 1898 2 28 “syllabotonic poetry”, syllabic rhythm Vrp 1898 3 41 “syllabic poetry”; verses Vrp 1898 1 14: metric // tonic // syllabic verses Vrp 1898 1 14 (according to rhythm), choreic // jambic // amphibrachic // dactyl // anapestic // mixed verses Vrp 1898 2 29 (according to foot) (verses mixed: saphic // adonitic verses Vrp 1898 2 29), masculine // feminine verses Vrp 1898 3 40 (according to last syllable), calyptic // calyptic verses Vrp 1898 3 40; feet Vrp 1898 1 14: two-syllabic feet „two-syllabic feet“ Vrp 1898 1 14, three-syllabic feet Vrp 1898 1 14 (cf. 13 syllabic // 11 syllabic verses Vrp 1898 3 41) etc. The singular noun of the species terms of foot is presented in non-Lithuanian (Latin) language, e.g. : Pyrrhichius, Spondeus, Trochaeus or Choreus, Tribrachys, Dactylus, Anapaestus (Vrp 1898 1 14), Dispondeus, Antispastus, Jonicus a majori „the great Ionic“, Epitritus I, Epitritus II (Vrp 1898 1 15), and to other consonants and plurals after the apostrophe an ending is added, e.g.: trochaeusʼai, spondeusʼu Vrp 1898 1 15 and others, although adjectives made from them with Lithuanian suffixes. With Lithuanian lexical antonyms systematically formed the terms of the continuous sequence Vrp 1898 2 29 and the interlaced sequence Vrp 1898 2 29 (now isosyllabical sequence and heterosyllabical sequence). 7 In the same year Vaižgantas used the Lithuanian substitute for this term mąstas / mastas tS 1898 8 30 (also cf. maiszytas mastas TS 1898 8 30) (cf. LKŽe 1 scale – 4. ‘matas’; 3 scales –3. "strophe, verse (in a poem)"). 116 Asta Mitkevičienė | From the terminology of Lithuanian literary science... cf. the mentioned variant of J. Adomaitis-Šerno), but, for example, only of the white line Vrp 1898 3 40. The content of some terms has changed now, for example, the term continuous sequences are now called astrophic sequences (see LTŽ II 1998: 10), and what V. Kudirka called catechetical sequences Vrp 1898 3 40 is now referred to as hypercatalectic sequences (ibid.: 26). At the turn of the 19th and 20th centuries (in 1900) a comprehensive article by K. Macius (Samogita) about folk songs was published in the newspaper Žinyčia. Although this is a folklore article, it contains poetry terms. The author uses the terms meter Znč 1900 1 72, metric Znč 1900 1 83, and miera Znč 1900 1 82, which seem to mean both “meter” and “rhythm” (“does our poetry have a regular pace, or rhythm, i.e. does the voice strike correctly in the verbalized lines on the limited strings” Znč 1900 1 82). Specific terms of the latter term are used: metric peace / metric peace Znč 1900 1 82, tonic peace Znč 1900 1 82, syllabic peace Znč 1900 1 82, pre-temporal peace Znč 1900 1 83, trocaic peace Znč 1900 1 83, dactylical peace / dactylical peace Znč 1900 1 83, trocaic - dactylical peace Znč 1900 1 83, jambic peace Znč 1900 1 83. All species of foreign origin are made with the same suffix. The Lithuanian term atsiliepimas Žnč 1900 1 82 is called „rimas“ (cf. V. Kudirkos atsiliepimas). It is important to note that K. Macius chose the international term strofa Žnč 1900 1 83 (not found in other sources) instead of the previously used Belarusian term strofa. The latter term can already be found in the works of S. Daukanto (DaukD VII)9, this term is linked by comparison with an older folk term of the same expression (“thread fiber”) by J. Koncevičius: “Poetry is still called a combined language, not always happening in źodźiai, conveniently connected, densely in posmūs, likely laid and verses surisztas thread srūgos or tacziaus graźiejie źiedai, isz darźu and field collected and beautifully suriszti one kvētkon (riszelin)” A 1883 7 205. S. Stanevičius used the later unestablished term atgranųa StnD 52/5310 for the meaning of "posthumous". The 8-bit format is rarely used. 9 In an article by F. Kuršaitis published in 1852 in „Keliautojas iš Karaliaučiaus“ <...>, the Germanic word perkšmas Klv 1852 59, which according to J. Girdzijauskas means „verse“, is used in the poem. The name is derived from the Latin word for line, lineus, but the article refers to a line. 10 J. Lebedys claims that this term corresponds to the “etymological meaning of the strophe and antistrophe (turning, turning back)” (Stanevičius 1967: 586; cf. TŽŽe strofa < gr. strophē – turning, twisting; LTŽ II 1998 antistrofa < antistrophḗ – reversal). V. Kudirka uses the nominative variant8 of the white line Vrp 1898 3 40 (also Terminology | 2007 | 14 117 In the same article K. Macius defines the names of artistic means, most of which are used for the first time. It also lists non-folklore artistic means. The author explains the terms epithet Znč 1900 1 72, tropa Znč 1900 1 73, poetic figure Znč 1900 1 72. These terms are considered to be of the same rank. Specific terms of tropes and poetic figures are explained below (purely literary ones are only mentioned) – tropes: comparison Znč 1900 1 72, metaphora Znč 1900 1 76, prosopopea Znč 1900 1 77, hyperbole Znč 1900 1 78 “exaggeration – enlargement and reduction”; metonymy Znč 1900 1 82, synecdoche Znč 1900 1 82; poetic figures: invocation (invocatio) Znč 1900 1 72 (hereinafter – the figure of invocation (invocatio), or the addressed Znč 1900 1 79, invocation Znč 1900 1 79) “rhetorical exclamation and appeal” (cf. LLŽ 2007 Latin invocātio – exclamation; appeal), repetition Znč 1900 1 79 (the difference from literary repetition is indicated), antithesis Znč 1900 1 80, irony Znč 1900 1 81; gradation (gradatio) Znč 1900 1 82, release (ellipse) Znč 1900 1 82, silence Znč 1900 1 82 “silence”. As you can see, some (borrowed, international) terms have found Lithuanian names, others – not. Lietuviški terminai buvo parenkami atsižvelgiant į tarptautinio termino (lotynų ar graikų kilmės žodžio) etimologinę reikšmę, dar plg. apostropa, arbaatsigręžimas Žnč 1900 1 43 (apostrofa Žnč 1900 1 43; atsigręžimas Žnč 1900 1 79) (cf. TŽŽe apostropha < gr. apostrophō - I turn back). The term was not yet established at that time, as can be seen from the comparison of the term Tėvynės sargas (The Guardian of the Fatherland) with the meaning of the epithet used in TS 1898 10 29. In other 19th-century works one can also find another name for artistic means (e.g., parallelism ZLA 1895 22 174). Names of literary genres. In the 19th century, the term was used to refer to the drama genre. Vydūnas explains in an article about theatre in the New Lithuanian Newspaper (1895): dramas – “where a person with better or worse intentions is lost through his own guilt”; tragēdije – “where a man in a high [?] mood and with good will is lost through dark fate or evil people”; ko me di je – “which makes all meetings [?] a laughing stock and ridicules everything, without taking hold of virtue” (NLc 1895 5 1). It connects the definitions of the first two terms (what is the main character and what causes him to perish). Drama is here defined as a genre (drama in the narrow sense?)11, so all three terms would be equations. Later (1897) these drama terms were used (only drama was called 11 V. Mačys used the term piēsa Vrp 1893 2 23. 118 Asta Mitkevičienė | From the terminology of Lithuanian literary science... we see surrender, how a person struggles with all kinds of imperfections, with his own bad intentions, then such a thing is called drama in general, if everything ends horribly, then it is called tragedy, if it ends funny, then, as you already remember, it is called comedy” TS 1897 8 25. So he defines tragedy and comedy by raising only one distinctive feature of the concept each. The terms of drama are inseparable from the titles of the works of stage music: after the opera TS 1897 8 25 and the operetta TS 1897 8 25, the vaudeville is interpreted as “short funny nudism without deeper instruction” TS 1897 8 25. Aušra describes some of the epics: "Iz svietiszkos poiēsies turime taip pat giesmes ir ēpus, t. i. tautos veikalu apraszimus" A 1883 7 206 (example – K. Donelaičio Metai). Also in Aušra the term epigrams is explained in parentheses: „trumpos dumos, iszzmingiai ir jůkingai eilēmis paraszitos“ A 1884 1–2–3 16 (J. Šliūpo variant epigrams LB 1888 17 132, Šliūp 24). Other terms are not defined or explained in the sources (except for the already mentioned S. Daukanto terms źebele or zauna)12, so it is often difficult to determine whether a specific term is the name of the genre. The reviewers and critics of the works relied mainly on the genre subtitles of the works, but “the subtitle does not always identify the genre dependence of the work” (Sprindytė 1996: 53). For example, the term novel, which is quite common in the sources, is now perceived as the name of a genre, while in the 19th century “the concept of novel still marked not so much genre as species characteristics of literature <...>, novel was for a long time a kind of general name of fiction, not obliging to precisely define the genre of the work” (ibid.: 54). As a term of broader meaning, the novel is also used instead of the poem (e.g., Vrp 1898 6 92). The term novella was unpopular at the time, and has been used in different sources. Its meaning is more or less the same as that of a short story (for example, in the quotation, a short story is used, and in the author’s text – a novella Vrp 1898 3 47). The narrative (not as common as the narrative and its variants) was also used in a non-literary sense. It (also synonymous with narrating A 1883 3 75, retelling Vrp 1898 3 42) meant the narrative in general (see Zalatorius 1971: 19). After all, their first lexical meanings are the names of actions. The 220-inch (590 mm) wingspan is the same as the 220-inch (620 mm) wingspan of the 220-inch (690 mm) wingspan. Poēmatas A 1883 8–10 246, NG 1896 19 5, ēpas A 1883 7 206 / ēposas Šliūp 21, ēpopēja NG 1896 19 5, kaimiszka idylla NG 1896 19 5, poė12 Folklore terms are not specifically discussed in this article. drama) and their meanings were described by Vaižgantas Tėvynės sargas: “If