Kirčių dygliai teksto gyvatvorėje

LTTekstologams įprasta su didele atida žvelgti į autografų prierašus. Dažnai jie yra tas siūlo galas, už kurio patraukus išsivynioja teksto genezė, veikalo istorija, paaiškėja iki tol nereflektuoti kūrybiniai veiksniai. Šiuo požiūriu dėmesį patraukia Juditos Vaičiūnaitės (1937–2001) rankraščiai. Jų apimlūs ir beveik netyrinėti pluoštai saugomi keliose Lietuvos paveldo institucijose, bene didžiausi – Lietuvos literatūros ir meno archyve bei Maironio lietuvių literatūros muziejuje. Poetė kaupė ir saugykloms perdavė įvairias literatūrinio darbo stadijas (nuo ankstyvų juodraštinių užrašų iki leidyklinių korektūrų) liudijančius dokumentus, iš jų galima rekonstruoti dešimčių eilėraščių kelias ar net keliolika versijų, daryti prielaidas apie kūrybinio proceso būdingumus. [p. 259].

ENThe article analyses the drafts of the poems by Judita Vaičiūnaitė from the 1970s. She was an icon of emancipation and free artistic life, but holographs, which have not been studied so far and are very complicated and complex, speak of her linguistic self-censorship. They contain ample signs showing that the poet put much effort into adapting to standard stress. Sometimes doing this she fell into despair. As an example, we have presented the poem ‘Féérie’. In the drafts, it consists of two parts. After making considerable corrections to the second part and having already rewritten it in a clean copy, Vaičiūnaitė realised that when she used normative stress in the second line, the metre fell apart. It seems the poet gave up for she published only the first part. Meanwhile, in the poem published under the title ‘Electra’, Vaičiūnaitė struggled with normative stress until she reached a satisfactory result. The avant texte reconstructed from six manuscripts and the published version shows that only the first line and the last word of the poem remained unchanged by the author. It suggests that the creative impulse was of some other nature than textual. Rather than developing a phrase, a consonance, or a poetic metaphor, the poet sought to verbalise a visual motif and a certain narrative construct. The beach in the winter, the actress who played Electra, the illness she overcame, and the start of a new stage of life – these are the structural elements on which the poem is built. This leads to the assumption that the work had a prototype – a real person, a real situation, and its perception, from which Vaičiūnaitė did not want to depart. At the end of 1968, Sophocles’ Electra was staged at the Latvian National Theatre, and the role of the protagonist was played by Lidija Freimane.In an interview, her daughter remembers the complicated surgery the actress underwent at that time. The article suggests that the meeting with Freimane in Jūrmala was the poem’s genetic trigger. There is almost no epitextual information on Vaičiūnaitė’s work. Thus, it was the analysis of the draft holographs that prompted the search for factual data correlating with the plausible extratextual initiation of the poem. The manner of the author’s corrections appeared to be too persistently ‘clinging’ to the thematic nucleus, which implies a reference to reality, while all other textual elements were changed for the reasons of adhering to normative stress.