Laikas ir istorija Bernardo Brazdžionio kūryboje

LTŠio straipsnio tikslas - atkreipti dėmesį į ganėtinai sudėtingą brazdžioniškojo laiko patirtį ir tuo būdu atskleisti nedaugelio (taip pat ir Tomo Venclovos) tik greitomis pastebėtą, bet itin svarbų Brazdžionio kūrybos aspektą. Brazdžionį gerai pažįstame, esame jį ne kartą apibūdinę, analizavę, sakome, kad jis poetas lyrikas, tautos šauklys, religinės poezijos meistras, vaikų numylėtas eiliuotojas, tačiau nerandame termino, kuris apimtų visą Brazdžionio retorinių formų ir apmąstymų įvairovę ir atskleistų jo kūrybos centrą. Nedrąsu teigti, kad laikas yra ta pamatinė patirtis, apie kurią sukasi visa Brazdžionio poezija, tikroji jo poetinių apmąstymų ašis. Kita vertus, laiko svarba Brazdžionio kūryboje neginčijama, nors ji ir nebuvo kritikų išsamiai analizuota. Šio straipsnio objektas - gerai pažįstama Brazdžionio poezija; tikslas - susitelkti ties laiko (ir istorijos) tema, siekiant parodyti, kad laikas yra viena tų pamatinių poeto mąstysenos kategorijų, kurioje skleidžiasi Brazdžioniui būdinga žmogaus egzistencijos patirtis [p. 39].

ENA well-known lyric poet, Bernardas Brazdžionis, has seldom been analyzed in detail from the perspectives that generally receive a great deal of attention from literary critics, e. g. the poet's experience of time and the related subject of history. The purpose of this paper is to discuss Brazdžionis' rendering of these two themes as they traverse the poet's collections of poetry from the early ones, published in pre-war Lithuania, to the last two collections written shortly before the poet's death in 2002. We arrive at the conclusion that Brazdžionis' experience of time is fairly complex. It evolved from linear representations of external time to highly poetic renderings of the inner experience that reinterpret time in a way to block its customary progression from past to present to future. Brazdžionis' time comes close to conveying the unitary experience that some critics and philosophers define as primary; however, it is arrived at not by concentrating on a single, isolated moment in the present, but rather by opening it up to the past as well as the ever present possibility of experiencing yet another instance of time that reaches the poet's consciousness from the future.One can also interpret Bernardas Brazdžionis' experience of time as the other, the poet's constant l'autre, ever the same and yet another along the lines proposed by the French philosopher Emmanuel Levin. Expressed textually through verbal forms, rhythmic patterns, word meanings and repetitions, at times by means of contrasts, binary oppositions, paradoxes, at times by having recourse to words of crystal clear simplicity, Brazdžionis' poetic renderings of temporal experience sometimes rise to yet another level, that of the poet's experience of being that one could call metaphysical. This is especially true of Brazdžionis' last two collections. As for history, Brazdžionis' poetry understands it as event, as discourse, as mythic time, as moments of human experience linked together by the poet's imagination. After 1940, he moved progressively closer to historic events, answering the call to write patriotic poetry. This sense of duty did not overshadow his larger preoccupation with time as a profoundly human, universal experience.