Aldonos Liobytės pasaka apie Žaliabarzdį: tarp folklorinės autentikos ir autorinės kūrybos

LTViena iš žymesnių Aldonos Liobytės sukurtų pasakų yra Pasaka apie narsią Vilniaus mergelę ir galvažudį Žaliabarzdį (1970). Straipsnyje analizuojama ši pasaka ir ją supantis kultūrinis kontekstas, Liobytė įvertinama kaip pasakos sekėja: kiek naraty ve atsispindi liaudiška tradicija ir kiek atsiskleidžia rašytojos kūrybiškumas bei asmeninis pasaulėvaizdis. Tuo tikslu analizuojama, kaip ši pasaka sukonstruota: kokiais tautosakos šaltiniais Liobytė rėmėsi, kokia autorinės pasakos istorinių detalių kilmė, kaip ir kodėl įkomponuojamos specifinės siužeto detalės. Pastebėta, kad šiame naratyve persipina keli sluoksniai: tautosaka, istoriniai-etnografiniai duomenys ir galiausiai autorės gyvenamojo laikotarpio suformuotos pažiūros. Pagrindine pasakos veikėja mergaitę rašytoja pasirinko tęsdama savo kūrybos "moterišką" liniją: daugelio jos kūrinių centre yra moteris. [Iš leidinio]Reikšminiai žodžiai: Tautosaka; Kontaminacija; Moteriškumas; Pasaka; Vilniaus istorija; Folklore; Contamination; Femininity; Fairy tale; History of Vilnius.

ENIn the world of Lithuanian literature, Aldona Liobytė-Paškevičienė (1915-1985) is known as a promoter of folklore and a lover of folk tales. She wrote works for children on a variety of themes, was a playwright and a translator, and yet her largest and most significant contribution was to Lithuanian fairy-tales. One of her best known fairy-tales is "Pasaka apie narsią Vilniaus mergelę ir galvažudį Žaliabarzdį" (1970; A Tale about the Valiant Girl of Vilnius and Greenbcard the Robber). The article deals with this fairy-tale and its cultural context. Here, Aldona Liobytė is evaluated as a follower of the genre of the fairy-tale: to what extent the folk tradition is reflected in her narrative and how the writer’s creativity and her personal worldview unfold. To answer these questions, the author looks at how this fairy-tale was composed: the folklore sources the writer used, the origin of the historical details in her fairy-tale, and how and why specific episodes of the plot were inserted. The narrative of the fairy-tale contains several intertw ining layers: folklore, historicalethnographic data, and, finally, the worldview shaped by the period of the author’s lifetime. The writer chose a girl as the main character of the fairy-tale thus continuing the "feminine" thread in her creative work: the woman is a central figure in many of her works. In the fairytale analysed, the girl is depicted not only as one who is fam ilial and attains the clim ax of feminine happiness by getting married and having children, but also as one who is capable to outwit a bunch of robbers and their chief. In this respect, Lioby te s work is highly feminist as the writer imparts the protagonist of the fairy-tale with new traits and abilities. Such an attitude towards the woman should be related with the social trends of the historical period of the writer’s lifetime.The analysis of the fairy-tale reveals a new aspect in Liobytes portrait - an expert in the history of Vilnius. She had known the city from her early childhood and therefore her attention to its past is related primarily with her sentiments. The writer had always been interested in the history of Vilnius: she used to read both academic historical works and romantic legends about her native city. Having thus directed her work, she planned the preparation of a book about the legendary past of Vilnius, and although the writer did not realise her dream to publish "The Legends of Vilnius", she paid tribute to the past of Vilnius with the fairy-tale about Žaliabarzdis in which the city is depicted quite romantically. As for the process of writing the original fairy-tale from the chronological perspective, the primary idea of this fairy-tale came to the writer’s mind after she had read historical material about the robbers that raged in the hills of Paneriai and their notorious chief. Later, when she studied collections of fairy-tales and started preparing publication of fairy-tales for children, she came across the plots of novella fairy-tales about robbers that perfectly matched the historical material on the robbers of Paneriai. Thus, while writing her original fairy-tale, Liobytė closely studied fairy-tale collections compiled by the Lithuanian cultural figure Jonas Basanavičius, selected the novella fairy-tales about robbers, and merged them into an integral narrative about the adventures of the girl and the robbers. In her work, the writer made ingenious use of contamination, a phenomenon that is often seen in folk novella fairy-tales where a chain of unusual adventures are merged into the whole of the plot.The fairy-tale is saturated with the author-narrator’s witty tone, but a considerable number of rarer words and word combinations are borrowed from Basanavičius’s collections of fairy-tales, which only confirms the fact that the writer enriched her lexicon by reading fairy-tales. Although Liobytė used the material of Lithuanian folk fairy-tales abundantly, one can assert that she created an original narrative in an individual style. [From the publication]