Prūsijos Lietuvos giesmynai Donelaičio laikais

LTPrūsijos Lietuvoje gimęs ir gyvenęs Kristijonas Donelaitis (1714-1780) buvo liuteronų kunigas, todėl nenuostabu, kad jo „Metuose“ – kaip seniai pastebėta atsiskleidžia tais laikais Prūsijoje vyravusi liuteronų ideologija. Iki šiol nepakankamai ištyrinėti Donelaičio kūrybos ryšiai su tuometiniais Prūsų Lietuvos giesmynais, nors juose išspausdinti aukšto meninio lygio tekstai, daugiausia išversti iš vokiškų originalų, turėjo prisidėti prie brandžios poetinės išraiškos, kurią jis parodė rašydamas savo poemą, laikytiną pirmuoju lietuvių grožinės literatūros šedevru. Šis klausimas iškeltas žinomoje L. Gineičio monografijoje „Kristijonas Donelaitis ir jo epocha“, tačiau nenustatant, per kokius konkrečius giesmynus Donelaitis galėjo susipažinti su jo poetinę vaizduotę veikusiomis bažnytinėmis giesmėmis: tai yra suprantamas dalykas, nes tarybinio režimo sąlygomis keli itin svarbūs užsienyje saugomi giesmynai buvo nežinomi ar sunkiai prieinami lietuvių mokslininkams. [Iš leidinio]Reikšminiai žodžiai: Bažnytinės giesmės; Liuteronų Bažnyčia; Mažoji Lietuva; Prūsijos Lietuva (Prūsija); Prūsijos giesmynai, Kristijonas Donelaitis; Verstinė literatūra; Vokiški šaltiniai; Church hymns; German sources; Kristijonas Donelaitis; Lithuania Minor; Lithuanian hymnals in Prussia; Lutheran Church; Prussian Lithuania (Prussia); The Lutheran Church; Translated literature.

ENAs a Lutheran priest, poet Kristijonas Donelaitis had an extensive knowledge of Lithuanian hymns sung in the churches of Prussia. When Donelaitis was born, Lithuanian churchgoers were using the third edition of D. Klein's hymnal "Naujos giesmju knygos" [New Hymnals] published by F. Schuster in 1705 in Königsberg. The prospective poet learned his first Lithuanian church hymns from that book, which was replaced by a new hymnal "Jß naujo pėnveizdėtos ir pagerintos Giesmü Knygos" [Newly Revised and Improved Hymnals] in 1732, when Donelaitis was eighteen years old. The hymnal of 1732, published by Bishop J. Behrendt in Königsberg, was a very significant book, since it applied the principles proposed by M. Mörlin in his famous treatise "Principium primarium in lingva Lithvanica", published in Königsberg in 1706, i.e. to write for ordinary people in a simple and intellegible way. Thus, the new texts of the hymnal were characterized by the presence of various linguistic patterns of the Lithuanian folklore, well familiar to ordinary people. The hymnal of 1732 would influence Donelaitis' poetic language more than the editions of 1738 and 1740, where only twenty new hymns were added to the texts of the first edition. The following edition, which presented fifty new hymns, the majority of which were excellent translations by A. F. Schimmelpfennig, was published in 1745, when Donelaitis was in his thirties and when the essential elements of his poetic language had already been established.In 1736, i.e. four years after the publication of the Behrendt's important hymnal, Lithuanian pietist F. Glaser published a collection of 78 church hymns translated by him from German sources; unfortunately, its exact content is unknown, since no copy ofthat book appreciated by Donelaitis has survived. Currently, only the third edition of 1740 is available which contains 128 hymns, all translated from German sources. Since the style of those texts was very similar to that of the new texts published in the hymnal of 1732, Glaser's collection did not play an important role in the formation of Donelaitis' poetic language. In 1750, nearly all Glaser's texts were included in Behrendt's hymnal "Jß naujo pėrveizdėtos ir pagerintos Giesmü Knygos" and formed its second part; the linguistic expression of half of them was noticeably modified by A. F. Schimmelpfennig who proposed variants more similar to Donelaitis' style. The paper provides examples to confirm the unquestionable fact that the above-mentioned hymnals of the 18th с influenced Donelaitis' style. Therefore, the vernacular character of Donelaitis' poetry may have originated from the texts of Behrendt and his followers who borrowed some stylistic elements from the Lithuanian folklore. [From the publication]