Vilnius Czeslawo Miloszo ir Juditos Vaičiūnaitės poezijoje

LTStraipsnis yra skirtas Vilniaus vaizdiniui Czesławo Miloszo (1911-2008) ir Juditons Vaičiūnaitės (1937-2001) kūryboje aptarti. Remiamasi Miloszo eilėraščių ciklu "Miestas be vardo" (1969) ir Vaičiūnaitės Vilniaus tematikos eilėraščiais. Panašiu metu parašyti tekstai leidžia lyginti, ieškoti paralelių ir kontrastų. Abiejų poetų likimai susiję su Vilniumi. Vilnius - Cz. Miloszo jaunystės ir studijų miestas. Yra išlikę paliudijimų apie jo artimumą šiam miestui. J. Vaičiūnaitės gyvenimas praėjo dviejuose didžiuosiuose Lietuvos miestuose - Kaune ir Vilniuje. Atvykusi studijuoti septyniolikos metų ji keletą dešimtmečių gyveno Vilniaus senamiestyje - iki pat savo mirties. Vilnius yra tapęs svarbiausia jos kūrybos tema, išskiriančia ją iš lietuvių lyrikos konteksto. Kalbant apie Vilniaus sampratą Miloszo ir Vaičiūnaitės poezijoj, negalima kalbėti apie tiesioginį poveikį vienas kitam. Tai dvi skirtingos poetinės sistemos. Tą skirtingumą galėtų padėti apibrėžti Jurijaus Lotmano pateikta miesto kultūros samprata, kuria ir remiamasi šiame straipsnyje. Lotmanas miestą yra pavadinęs sudėtingu semiotiniu mechanizmu, įvairių semiotinių kolizijų zona: "Miestas - mechanizmas, nuolat iš naujo kuriantis savo praeitį, kuri sinchroniškai atsiduria greta dabarties (...). Miestas yra besipriešinantis laikui mechanizmas" [Lotmanas 2004, 337]. Lotmanas įvardijo du galimus požiūrio į miestą aspektus: žiūrėti į miestą iš toli ir žiūrėti iš miesto į pasaulį. [...] [p. 29-30].

ENThis paper is dedicated to the discussion of the image of Vilnius in Cz. Milosz's (1911-2008) and J. Vaičiūnaitė's (1937-2001) poetry based on Milosz's cycle of poems titled "The town without a name" (1969) and Vaičiūnaitė's poems on Vilnius. Jurijus Lotmanas distinguished two possible outlooks on the town: looking at it from afar and looking at the world from it. The first outlook is obvious in the Milosz's cycle of poems "The town without a name". Vilnius, the town of Milosz's youth, is easily recognized among the many realities. It is being looked at from the perspective of time and space. The views of Vilnius are arranged by the principle of collage: there many reminiscences of culture and history, motives of nature, personalities and abstract concepts. Some aspects of Vilnius, namely: Vilnius at the begining of XIXth century (Adomas Mickevičius, philomats) and the period of prewar, as well as the World War II time stand out in the background. The theme of jews' holocaust, the activities of university, scenes of townsmen's life are also integrated. The multiform past of Vilnius seems to have been lively then and the present of the subject on the contrary - is declining, full of cofusion and losses. Ethic dimension is distinct in the reflection of impermanence and death. The attitude towards the town in Lithuanian poetry is in essence negative because of the fixed approach, which was presupposed by expressionists - the town is opposite to man's spirit, imprisoning and standardizing him. The only poet, namely Vaičiūnaitė has coherently humanized the town's culture, enlarging immensely the very possibility of town's approach and thus occupying the exclusive place in the Lithuanian literature. The experience of those people, who live in Vilnius and feel its being and conditions of life, is unfold in her poetry.Vilnius in Vaičiūnaitė's poetry is revealed by three aspects: mythological-historical Vilnius, architectural Vilnius and Vilnius as nature’s town. One of the main aspects in Vaičiūnaitė's town lyrics is ecclesiastical, sacral Vilnius. The building of the temple in the poem "Cathedral" is being interpreted as hierophany, ie. the invasion of sacrality into the profane town's being and transforming it's life into a place of order and sacredness. The town is often treated as axis mundi, joining the sky, the earth, the underworld, the living and the dead. Two objects - and the Our Lady of Vilnius (Aušros vartai) - are constantly felt, experienced even euphorically. The poem "Vilnius. The town's gate" can be interpreted as the the subject's searching of his own Self, extreme openness to Vilnius' history and culture. History and the present time, also the holiness of the city are being experienced together. The picture of Vilnius - the maze of streets, architectural ensembles, squares, gates, churches, monasteries, rivers - most of all Vilnelė, sometimes Neris - is being re-created in Vaičiūnaitė's poems. The town's space is not isolated from the eveiyday life's rituals (for example, die passing through gate or arc is considered ar being almost ritual). The places, related to the subject's conditions of life, namely - the shop, the cafe, the patisserie, the pub are important to his being The town's space in Vaičiūnaitė's lyrics is open to nature, it’s rhythm. There is no opposition between civilization and nature (Vilnius is called "stony plant" in one of the poems). Vilnius is being perceived by all human senses - sight, hearing taste, smell, touch, it is being felt by nerves ("the maze of old town's streets/ you feel like nerves”), is being seen during various seasons, the experience of which differs greatly.Vilnius is being treated as the form of spiritual life in the poetty of both poets: Milosz and Vaičiūnaitė, though with emphasis to different aspects. This is the main parallel, enabling to analyse, compare two poetic systems and search for their similarities and differences.