"Mano širdis rauda kaip fleita..." Ugavo ir chalilio simboliškumas Senojo Testamento tekstuose

LTSenajame Testamente, arba hebrajiškoje Biblijoje, muzikiniai vaizdiniai yra svarbi simboliškumo apraiška. Įvairiausiuose tekstuose – poetiniuose, istoriniuose, pranašų regėjimuose ir kt. – minimi muzikos instrumentai byloja išskirtinę teksto prasmės sustiprintojo ir emocinės žinios skleidėjo reikšmę. Straipsnis skiriamas Senajame Testamente minimiems pučiamiesiems muzikos instrumentams ugavui ir chaliliui, kurie daugiausia buvo susiję su pasaulietiniu muzikavimu ir gyvenimo ritualais. Aptariamas jų santykis su kitais instrumentais bei semantika bibliniuose tekstuose, lietuviškų jų pavadinimų problema.

ENThe translations of the names of ugav and chalil testify to the complicated classification of traditional Lithuanian winds. The search for Lithuanian equivalents of these instruments yielded the image of “a pipe” which was preserved in a number of Bibles – from that by J. Bretkūnas and J. Quandt to the 20th c. translations of the Old Testament (those by J. Skvireckas, A. Vėlius, K. Burbulys) and the Psalms (those by A Liesis, D. Valentis). This may be accounted for, in the Protestant translations, by relying heavily on M. Luther who mostly referred to these instruments as “Pfeiffe”. In Lithuania, the name of “the pipe” was mostly applied to the winds without the reed such as “švilpos”, “lumzdeliai”, long wooden pipes “dūdos” with holes; still even instrumentologists find it difficult to categorise them due to the terminological intricacy or overabundance of terms. The two terms – “vamzdžiai” and “fleita” (the latter starting with the 2nd part of the 20th c.) – are general names used to cover ugav and chalil, to identify the type of whistling aerophones, thus, the identification of chalil and ugav is erroneous; on the other hand, when ugav and chalil are generally referred to as “birbynė”, this name is correct with reference to chalil, but wrong with reference to ugav. In A. Jurėnas’ translation, both ugav and chalil are given three different names – “- vamzdis / vamzdeliai”, “fleita”, and “skudučiai”; he is the only translator who employed a characteristic Lithuanian folk musical instrument – skudučiai. Based on the treatment of ugav as “the Pan’s flute”, which was popular at the junction of the 18th–20th c. c., the concept of skudučiai as a unit of 5–8 tubes may be etymologically acceptable.