Kalbotyros terminai poezijoje

VARIETIES Skirmantas VALENTAS KALBOTYROS DEADLINES POEMS Phonetics of rain on your lips (BE 227) A. Nyka-Niliūnas The terms of colloquialism (example, complement, noun, verb, letter, etc.), when they are discussed in poetry, astonish the readers. In order to clarify this usage, poems containing these terms are sometimes referred to as linguistic poetry. “The efforts to create so-called linguistic poetry are shown by the linguistic terms in (V. Rubavičius’ — S. V.) poems, artificially glued to other words: already sting through the letter; through the sparkling sentences of births..."'. However, linguistic poetry should not be associated with the gluing of one or another term (barba non facit philosophum!) for at least two reasons. Firstly, according to this logic, verses containing mathematical or chemical terms (we would find examples — even if not in Lithuanian poetry) should be called “mathematical poetry” or “chemical poetry”. And that is absurd. Secondly, linguistic poetry is a phenomenon with a rather strict structure. It also has a clear etymology (see section 4.4). words jotvingiai, prūsai, Dubysa ir etc. interpretations of origin S. Geda’s “Green Amber Necklaces”), ir repetition of similar forms in the same adjacent ar lines (plg. A. Žukausko How many pebbles, pebbles, pebbles, pebbles). It is similar to attempts į to create a peculiar, though naive, grammar in poetry. However, we can see the particularly close ir connection of poetry grammar when there are no terms in the text, when there is a hidden analysis of language in the form of alliteration, anagrams, masked etymology. The latter — phenomena can be called the ian linguistics, which the terms of linguistics would fall into only if the logic p o e z of usage could be found. į jų Three decades ago R. Jakobson began his famous article, in which he thoroughly discussed ir the connections between poetry and linguistics, O. In the words of H Mandelstam: rjarojibibix OKOHUaHHAŪ KOJIOKOJI / Mue B Janu yKa3biBaeT "Kniūkšta P. The ir Writer's Word. V., 1981. P. 35. 78 nyTb "And the bell of the verb ends / shows me the way in the distance". Similar verses are found in the poetry of O. Mandelštam himself (the Greek verbs aoristas, augmentas, etc. are mentioned), as well as in the poems of Lithuanian poets (S. Geda, Justas Marcinkevičius, V. Rubavičius, etc.). In the works of some poets, linguistic terms are rare, almost random, in others they are frequent, forming the core of thought. Why do we find linguistic terms in poetry more often than, say, natural science terms? Perhaps it is because language has always seemed to man at the same time to be both very close and mysterious. This is already mentioned in Homer's works, which refer to the words of the language of the gods and the language of men (Iliade XX 72-74, Odyssey X 305-306). In many cases, the use of linguistic terms can be explained by the easy-to-understand isomorphism of the language world, i.e. ir jų structural identity. Language is a structure that man created in the process of evolution. At the same time, man created other ir formations, for example, settlements. There are ir structures that are only partially created by man, such as landscapes. Of iš course, neither the settlement nor the landscape can be directly associated with the language. su Only comparable structures can be used. jų This is not fiction: the method developed in the Copenhagen School of Linguistics (glossematics) is intended for the study of language, but is suitable for another ir kind of objects, cities, etc. — ir — to reveal the structure. Such universality is easy to explain: why did man have to invent gi different structures for each structure? Therefore, we can talk about the grammar of the urban landscape: our ar city was fantasized autumn impersonal grammar streets tattooed advertising women smiles in our hearts dear time only ir an addition your tears o wrongly placed ir (NO 29) I learn the grammar of pine forests, rivers, lakes (FM) 182) It seems that the use of linguistic terms in poetry does not form a tangible system, so we have to stop at each author’s work separately. Perhaps the earliest examples can be found in the J. poem “Spring 1927 m. Grammar” by Žlabis-Žengas: Nusviro, Nusviro nuo galvos Nouns. 79 Enough! Spring is singing flowers: — Flowers, Flowers, Flowers. She when shit Yellow-haired nouns... I] A big big noun descended, O Embracing the west side of the sky. bed Ar remember still you, When once There were stars in the noun. (PG 89--91) The poetry of this quadrivian has undoubtedly been influenced by the Four Windes rebels’ position that poetry and linguistics are inseparable things. ir (this statement is repeated in all issues of the publication). A few decades later, A. Nyka-Niliūnas wrote a line -- that confirms this position, drawing a visible parallel between grammar and the world: The Mighty Grammar, the Empire of the dictionary, where the Noble Verb, the fat Adjective and the bare Noun reign, Where all our Pain <...> <...> April Rain phonetics on your lips, wind Syntax and snow alphabet, -- The only being before time Overflow <...> (BE 227) 80 These A. Nyka-Niliūnas’s description ir of the world’s grammatical connections is often so close that the poem begins with a poetic division of words into parts of a phrase. As a special case can be referred to Right. Marcinkevičius' poem "The House of Language". Let’s highlight only the following verses: Roof of nouns, door of verbs, window of adjectives. (BP 43) Ar are these just metaphors? O if there are ir metaphors (because metaphor — is part of the cognitive ar process), už jų any reality? Iš equality noun roof, verb = door, adjective = window can be = correlated noun roof verb door adjective window. : = : = : A closer look shows that these equations are measured: roof (noun) — something that is solid and does not move, door (verb) — something that moves all the time (because they are folded), the window shows what the world is like, so it is an adjective. Su such a treatment, apparently, would easily agree literary scholars, who believe that “the expressed model of the world is dependent on language” (V. (Dutch). Ši the treatise is widely known as Sapir-Whorf hypothesis, although still XVII a. similar thoughts raised B. Spinoza, who saw a special world reflected in Hebrew grammar. Therefoir re, the idea that the concept “door” should be expressed by a verb, it cannot be considered a purely poetic enterprise. A few decades ago B. Lee Whorf raised a bold question about the imperfect classification of parts of speech In European languages: why the word lightning is a noun if it means a process, o ne a thing? Right. Marcinkevičius’ classification is supported by a ir psycholinguistic experiment carried out by the author of this article. Jo during 100 students (only those who have never read or heard this ar poem) were asked to determine which part of the speech (noun, adjective, verb) belong the following words: roof, door, window. The participants of the experiment were given two conditions: when dividing words, you have to pay attention only to the meaning of į objects, grammatical (o ne į indicators, syntactic ar positions), but each part of speech can only belong to one Word. Summarizing the results, it turned out that during the 2/3 experiment participants believed that the roof is a noun, the window an adjective, the door a verb. — — So the subjects synthesized the same text as we find in the aforementioned poem. In this case, the poetic invention coincides su with the semantic analysis. 6—880 81 A similar approximation of the world and grammar is found in the humorous poetry of O J. Erlick: — the moon — half-part Ir rises, the star points talk, That the circumstances of good manners He left me forever. r Only a stupid particle Singing at the party of participants... (R 152) The abundance of poetry terms V. For some time Rubavičius' poetry had attracted not only the ne attention of readers, but also of ir literary critics and linguists. P. Žemgulytė šį describes the poet’s creative traits as follows: ‘V. In Rubavičius’ poetry, the letter, sentence, grammar, metaphor and other ir concepts often used have very clear boundaries in our consciousness. The poet tries to expand them by using the word in a new form or in an unusual combination (‘with his unready eyes’, etc.)?”. The critic raises an interesting question tries ir ir į jį Answer: “Why V. Rubavičius so attached į to language matters? Maybe a philologist, who ne only now is confronted with this, we were taught in the higher su school?” ko V. In Rubavičius’s work we do not find such linguistic terms that are not known in the iš secondary school course and ir therefore understandable to everyone. Thus, this use of terms probably stems from the iš poet’s preference to depict the world of language, o ne iš the poetry of desire ‘sumocslinti’. What is the logic behind the use of terms? Let's try to answer the į šį question based on the sets "Voltage" ko (1981) ir "An Ordinary Story" (1985). The most ir common and most successful attempts are made when trying to relate the grammar of su the language to the structure of the visible world, i.e. when it is tried to prove that there is a grammar ir of the world: the Ši hour of — eternity the swallow the city quietly chews the sleeping pill of the moon does ir not fall — jo asleep the squads of street loose who betrayed the grammaticį al norms rush the loving brains like late images (L.I. 61) *Low bed P. On the scales of — success and failure // Literature ir is art. 1986 of October | 1. P. 6—7. * Ibid. 82 Iš maximum load of all grammar units V. Rubavičiaus poezijaJojetenka linksniui: pateka She, twisting your destiny to the emptiness (L.I. painful 20) your life my imprisoned dream be strong curse the mastery of sentences the rhythm of ordinary days where the suffering laughs like a ir glass of wine (On the day 46) before the blood order rules teach the world us solve curls ir (The 28) The term lifiksnis here, apparently, is understood as "all possible forms of an object". It is interesting that in the tradition of š antiquity this term (gr. ptosis = lot. case “fall”) was understood very broadly, e.g. all times, except the current, were also called funny. A lot of attention V. Rubavičius devotes to the graphic (visible) aspect of language: we are separated by birds' dots commas ir bluishly distant fish otter with an exclamation insminga your opened lips į (El sharp 32) exclamations of the streets leave our bodies alone (L.I. Spring 90) rain bald hills ironically painful — divorce error (L.I. 52) In those examples, which talk about the graphic aspect of language, the most eye-catching į is the term letter: the wind around the letters is rude and unreadable (EI 49) their death is necessary for the letter (LĮ 70) like spiders that weave a spider web between the music of the sky 83 ir — į Jį flows emptiness — born voice consonanir ts (L.I. 69) The use of the term is very broad. Ji ranges from a clear metaphor a few letters of a bird in the snow (In the air 107) we'll fly when we're forgotten when we're forgotten we'll flatten forever (LĪ to 78) complete absurdity the dog soon silently ir runs past obsessed with letters (L.I. 75) Term letter (att. paraidžiui, vowel, consonant) turned out to be unconscious. Over time, the poet's attention to linguistics gradually faded. In the book ir "Sky other nature's forces" we find ir only: trace letter will fold that memory would be easier ir safe smile (D 14) without letters sip (D 41) can rolled down paraidziu (D 48) unexpectsu edly root iš of the throat tears the first voice (D 58) It can be concluded that the poet apparently ended his su experiment with linguistic terms that shocked the reader. The attempt was interesting, but unsuccessful. The reason 84 for the failure is simple: the terms belong to the scientific style (metalanguage function), while the poem is based on a poetic function. The poetic function of ir metalanguage is — opposite poles: therefore, at least in our time, grammar is not written in verses, we rarely find scientific terms in poems. In the end, I would like to stop at two S. Poems of Sorrow. In the work of this poet, linguistic thought is often very clearly expressed, O linguistic analysis, although ir filled with poetic enterprise and fantasy, is ir interesting easily “giving in” to structural generalization. Such are the poems mona l= Daukantas, writing ,,Fear of ancient Lithuanian ir Samogitians“: the most only Daukantas solution sielojos emanation that in the presence of jo the news to them Samogitians were seen frozen Baltic noun to name the sea adjective always surprised no one does not say began to struggle stony somewhere ir between go going ir (ŽGV 42) ir ‘Note 1985“: Vytautas was not Bložė nei forgotten: one Ancient Jotvingian verbs of the noun Skomantas only in state (ŽGV 43) Comparing the two poems, we see a clearly expressed contradiction: the Žemaičiai who use nouns are jotvingiai, not having nouns. Such a contradiction will ir be even better understood if we 85 remember that the Žemaičiai are eastern Belarusians, the Jotvingis are western Belarusians. So, like Just. In Marcinkevičius’ “Language House”, we have a poetic — classification. But in the latter case it 0 can no longer be supported by any linguistic material — it is only a charming poetic invention. These few remarks lead to the conclusion that in poems linguistic terms, although not creating linguistic poetry, often allow to reflect on the language space surrounding a person. Abbreviations BE — Nyka-Niliūnas A. To be erosion. V., 1989. BM — Žukauskas A. Love without a mother. V., 1983. BP — Marcinkevičius Right. God bless ir you. V., 1980. D — Rubavičius V. Sky ir other nature forces. V., El’ 1988 — Rubavičius V. The ordinary story. V., 1985. Ll - Rubavičius V. The tension of time. V., 1981. PG — Žlabys-Žengė J. Spring Grammar. V., 1992. R — Erlickas J. Writings, ir etc. V., ŽGV 1987. — S. Geda. Green amber necklaces. V., Numbers in 1988. the po abbreviation indicate the page from iš which the quotation is taken. 86