Albino Žukausko erotika: "Padravos totoriukė"
ENIn the first poetry collection of Albinas Žukauskas, "Laika ir žmonės" (Times and People), erotic images of women emerge from the misery of daily life as a promise of immortality. In his later works erotic experiences intertwine with reality and deception, sacred belief and insidious temptation. One of the most amazing Žukauskas's erotic poems is "Padravos totoriukė" (Tartar Girl from the Drava River Banks). The first part of the poem takes place on the banks of the Drava River that flows through northwestern Poland. In the second part, the action moves to the Šventoji River (Saint River in Lithuanian). In the first part, the three-fold isotopy of drink-fire-sweetness is being developed while the second part is dominated by the isotopy of sacredness. The first part is framed by the inchoative (sunrise) and terminative (evening, night) time aspects. In the second part; punctual time is replaced by durative: one-time events are located along the flowing river. There are two main actors in the poem: poem enunciator who is identified in the utterance as an elder man from Dzūkija (one of the Lithuanian regions) and a willowy tartar girl. Two narrative programs can be distinguished in the figurative path of the elder man. One object of value is spring fever, another- the lives of saints. The five-line verse tucked in between the two parts introduces the third actor "vėjynas" who is an equivalent image of the Lithuanian mythological Eros - "Bangputys".The temptation of the elder man receives positive sentencing from the judicatory sender. In line with the French semiotician Claude Zilberberg, the poem identifies dual values: thymic, directly connected to the perception of one's body, and duliques, based on the cult of saints. In the narrative path of the elder, the thymic values incite the subject's consciousness thus encouraging him to engage in cultural activities and write the descriptions of the lives of saints. However, the sentient body interferes with the implementation of the program. In the second part of the poem, the Tartar girl is placed on the top of the value pedestal: she is the one whose traps end up entangling the enunciator of the poem.
