Augalų vardai Albino Žukausko poezijoje
LTNe vienas literatūros kritikas ir kalbininkas yra atkreipęs dėmesį į sodrią ir turtingą Albino Žukausko poezijos kalbą. Lingvistiniam tyrimui pasirinkta viena leksinė semantinė žodžių grupė - augalų vardai. Trijuose bene brandžiausiuose Žukausko poezijos rinkiniuose (Poringės (1978), Senmotė (1981) ir Benamė meilė (1983)) rasta apie 140 skirtingų augalų vardų. 104 iš jų žinomi ir vartojami bendrinėje kalboje, o daugiau nei 40 laikytini tarmybėmis arba paties poeto pasidarytais naujadarais. Straipsnyje apžvelgiama, kokius bendrinėje kalboje žinomus augalų pavadinimus savo eilėraščiuose vartojo Žukauskas, aptariama jų semantika ir vaidmuo eilėraščiuose; lingvistiniu požiūriu išsamiau išanalizuotos tarmybės ir naujadarai (aptarta jų daryba, reikšmė ir vartojimo polinkiai). Nustatyta, kad didžiąją dalį poeto sukurtų individualių augalų vardų sudaro žodynuose ir kartotekose nefiksuoti sudurtiniai pavadinimai. Jų darybinė reikšmė lengvai suprantama arba nujaučiama iš eilėraščio konteksto. Žodžių darybos taisyklėms paklūstantys naujadarai sklandžiai įsilieja į eilėraščio visumą, yra meniškai ir stilistiškai įprasminti. Žukausko poezijoje ypač stiprus ir tarminis pradas, padedantis eilėraščiuose atkurti gyvą gimtosios Dzūkijos peizažą su tradiciniais to krašto įvaizdžiais. Gausi tarminė leksika ir individualieji naujadarai poeto kūryboje tampa pagrindine individualumo raiškos priemone.
ENA good many literary critics and linguists have drawn attention to the luscious and rich poetic language of Žukauskas. Here, one lexical semantic group - names of plants - is chosen as the focus of the linguistic research. The plant names were selected from the three most mature collections of Žukauskas's poetry, namely "Poringės" (Tales, 1978), "Senmotė" (Great Grandma, 1981) and "Benamė meilė" (Homeless Love, 1983). There have been over 140 different plant names recorded in these collections. 104 are well known and used in everyday language, but over 40 of the names are considered to be as lexical, semantic or derivational dialecticisms, or inventions coined by the poet himself. Žukauskas's poetic world of plants is very diverse: there are trees, bushes, berry bushes, fruit trees, garden flowers, vegetables, herbs, weeds, crops, as well as fodder, herbal and poisonous plants. Out of the mentioned one hundred common words, these are the ones used most frequently: apple, pine, birch, oak, alder, rye, rue, willow, linden, hornbeam, clover and others. Most of the individual names coined by the poet are compound names. There are eighteen of them. The meaning of these words that have not been included into any dictionary or catalog is easily understandable or can be inferred from the poetic context. Following the rules of word formation and seamlessly blending into the unity of the poem, these compound names are artistically and stylistically conceptualized. Žukauskas's poetry also leans upon a particularly strong vernacular foundation.More than 20 vernacular floral names have been noted in the afore-mentioned collections. Some of them are used widely in Lithuania, but some are better known only in the Southern parts of highlands. Floral motifs in the poems help summon up the vibrant landscape of his native Dzūkija along with traditional images of that land. Albinas Žukauskas's work shows that he was very well familiar not only with the names of plants but also with their properties. In the tale-like poems the narrator frequently speaks about the plants as if he is a botanist or a village priest, with biological accuracy and facts. However, there are many instances when he portrays plants in an imaginative way: the plants in his poems are interpreted subjectively in an attempt to create a new, make-shift world wherein plants bloom at unusual times and with different blossoms from what we are used to and in places we would not expect to find them, etc. It is impossible to confuse Žukauskas with any other poet. He is S easily recognizable by the multitude of new expressive and imaginative words coined by him, by numerous vernacular expressions that deepen g1 and diversify his poetic language, embellish his style while providing g it with extra colors and specificity thus becoming the main means to express the poet's individuality.
