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50 Romantizmis Nacionaluri Invariantebi. Nacionaluri Identobis Sakitxi Da Kulturuli Markerebi National Invariants of Romanticism

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50 Romantizmis Nacionaluri Invariantebi. Nacionaluri Identobis Sakitxi Da Kulturuli Markerebi National Invariants of Romanticism romantizmis nacionaluri invariantebi. nacionaluri identobis sakiTxi da kulturuli markerebi National Invariants of Romanticism. The Issue of the National Identity and Cultural Markers ūRaTė LaNDSBERGyTė-BEChER Lithania, Vilnius Lithuanian Culture Research Institute The Road of Romanticism in Lithuanian Culture and its Turn into Baltic Identity Romanticism is a very important and fundamental issue for formation of the Lithuanian identity. Its source was in the poetry written by the great romantic poets of XIX century like Adam Mickewicz, Julius Slowacki, and later the Lithuanian patriot Maironis who called for national uprising. His verses are like eternal inspirational motifs for formation of the Lithuanian identity, based on the great past of the medieval state and its heroes. His poetry opened up the images of old castles, forest, sea, nature at night and human loneliness, with turning points of God’s love and the church, organ, bells, towers, and the architecture of Vilnius, its old Baroque style, inspiring even contemporary images. Romanticism transforms itself into a new Baltic identity for the fight with darkness of the night of history and the sunrise of the post-apocalyptic Nordic horizontal. Key words: past, road, turn, freedom, power. Introduction This research corresponds with the research of German and other colleagues who discuss the turn of romanticism to modernism. A few important topics are explored here which mark out some significant differences in interpretation of romanticism. Lithuania is the state with awakened self-awareness, constantly losing and reconstructing its statehood. Profound moral points being a state with European values lie hidden in its sovereignty. Both Lithuanians and Polish “are pressured 50 to think historically”. And from this point of view Lithuanian romanticism can be discussed and understood. Formation of Lithuanian identity and national self-consciousness started with images of creators of the Romantic era and the glory of the medieval Lithuanian state. It also inspired the works of the great Polish poets-romantics: A. Mickiewicz (“Gražina”, “Konrad Walenrod”), J. Slowacki, I. Kraszewski (“The Crusaders 1410”). The grandeur of the past is the image of the Grand Duchy of Lithuania from the Baltic to the Black Sea and the image of the Polish– Lithuanian Commonwealth known as the “Republic of the Two Nations“. It has become an indispensable source for national self-awareness and creative political romanticism awakened motivation. It shaped the idea of statehood−the national state, the national rebirth in the late XIX century and the call of its most important messengers (V. Kudirka, J. Basanavičius, Maironis, M. K. Čiurlionis). The outcry for the grandeur of the past with breakthroughs of waves of romanticism excited Lithuanian cultural consciousness in the last two centuries. The main road of Lithuanian romanticism: Maironis. During this period (the end of the XIX and the XX century), the prophet of romanticism and of the freedom and the messenger of national renaissance becomes poet Jonas Mačiulis Maironis (1862-1932). He is a priest and a prelate whose romantic passionate poetry, as the essential power, remains an inexhaustible source of inspiration for the Lithuanian spirit. Two poets can be compared: Maironis and Adam Mickiewicz (1798-1885); they both called Lithuania as their Homeland almost in the similar way: Litwa, ojczyzna moja, Ty jestesz jak zdrowie (Lithuania, my homeland, You are like health…) (Adam Mickiewicz, “Pan Tadeusz”, 1834, Mickiewicz 1978:15) Lietuva brangi mano tėvyne, Šalis, kur miega kapuos didvyriai… (Lithuania, my dear homeland, The country, where heroes are sleeping in graves) (Maironis, “Dear Lithuania”, 1888, Maironis 1956:173) Several archetypes of Lithuanian identity can be listed here, which have been awakened by Maironis’s romanticism and continue to act as an “unrestrained river flow” (Maironis, 1956: 86) up to now. They are: 1) The forest, the mysticism of the darkness and the rustle of trees, and the power of resurrection of the past, which hides in it. The first poem by 51 Maironis was “The Forest Sounds” published in “Aušra” (literally: dawn), the first underground Lithuanian newspaper, founded by J. Basanavičius. Actually it was an illegal newspaper because it was prohibited to publish anything in the Lithuanian language using the Latin alphabet because of the Polish–Lithuanian Uprising in 1862-64 against Russian Empire. Publication lasted about 40 years and inspired the national movement, deeply grounded on romanticism. Miškas ūžia, miškas gaudžia Vėjas žalią medį laužo Nuliūdimas širdį spaudžia Lyg kad replėmis ją gniaužo [Forest sounds with rage, forest hums Wind breaks a young green tree Sorrow holds the heart Feels like being gripped with claws] Girios tamsios, jūs galingos, Kur išnykote plačiausios, Dienos praeities garsingos, Kur pradingote brangiausios… [Deep dark forests, you are powerful, Where you disappeared, The broad days of the famous past, Where you got lost, my dearest ones...] Miškas verkia didžiagirių Baisūs kirviai jas išskyrė Verkia Lietuva didvyrių Jų neprikelia Tėvynė [Woodland cries for lost forests The horrible axes separated them Lithuania cries for heroes Homeland cannot resurrect them] (1883) (Maironis, 1956:53) The image of the forest is a deeply rooted archetype of Lithuanian subconsciousness and spiritual existence, accomplishing this mission throughout the XX century. After 1945 it transformed itself into a true defense of the nation, when resistance to the Soviet occupation was concentrated in the forests and the forest brothers−the heroic fight of Lithuanian partisans. This paradigm line “forest nation” in Lithuanian culture and the formation of Baltic identity is especially deeply connected with the various layers of creative consciousness and with the archetypal essence of intersection of paganism and Christianity, with resistance against the evil which means the survival of the nation through nature. 52 In XXI century the image of a forest still remains in Lithuanian consciousness as the voice of a bird, untouched by darkness, which represents the pure sacrality of nature (Algirdas Martinaitis Cantata “The Path of the Sun”, 2011). 2) The second archetypal support of Lithuanian identity is the sacrality through Catholicism and the Catholic church which marks the universality of Lithuania. These are the bells, hymns, organ and spirituality−paradigm of belonging to brotherhood of the spirit of the world. Maironis’s poem, which became the second national song “Dear Lithuania”, also brings up this image of church towers, bells and organ into the consciousness of identity of the Lithuanian Christianity. Kai ten per sumą visi sutarę Graudžiai užtraukia “Pulkim ant kelių”, Jausmai bedievio vėl atsiradę Tikėti mokos iš tų vaikelių. (“Lietuva brangi”, Maironis, 1956:173) [During the midday mass in full agreement Crowd sings “Get down on the knees“ Reappeared feelings of the godless person Learn from of these little children how to believe.] (“Dear Lithuania”, Maironis, 1956: 173) The poem-song by Maironis symbolized the very essence of Lithuanian selfhood and became the second anthem of Lithuania, and its music was written by a composer, organist and patriarch of ecclesiastical music Juozas Naujalis (1869-1934). Christian sacrality at the turn of the XX-XXI centuries transforms itself into the essential value of poetics of Baltic minimalism, forming a new category of post-apocalyptic sacral minimalism as the prayer in the field of music (A. Pärt, P. Vasks, B. Kutavičius). It is a geopolitically evolving paradigm of musical style, which intrinsically integrates into the space of globalization with its primary aesthetics of romantic breakthrough, the sunrise of minor cell of life, yet inspired by the mysteries of alternative existentialism − not of depressive frustration, but of survival. 3) Maironian dimensions of romanticism are the Baltic Sea (“Stretching Widely...”, Maironis, 1956:73), crumbling castles (“Trakai Castle”, Maironis, 1956:65), especially important the architecture of Vilnius and its night vision, tirelessly awakening the music of Lithuanian composers: “Just look at this! This is Vilnius, the palace looms widely between the hills. The night covers it in dark clothes with a fog, and it is deeply asleep... ”(Maironis, 1956: 63). Here is also music created for Vilnius by contemporary composers: V. Montvila with his “The 53 Gothic Poem”, 1975, A. Martinaitis with his “Cantus relictus Vilnensis”, 2015, also M. Natalevičius’s “Urban Landscapes”, 2010, O. Narbutaitė’s “Centones meae urbi”, 1998, B. Kutavičius’s “Epitaph for Passing Time”, 1990, and others. The architecture of Vilnius is like a gravity of infinity, linking the past and the future with structures of the cathedral of eternity. 4) Another fundamental category of romanticism, transforming itself into Baltic minimalism, and into the music of contemporary authors is the human loneliness, absorbing the signs of God’s closeness, night’s voices, longing for intimacy, which runs through the most beautiful poems of Maironis with marvelous lyrics of unfulfilled and hidden love which gentle intensity became the famous songs over time. Užmigo žemė, tik dangaus Negęsta akys sidabrinės. Ir sparnas miego malonaus Nemigdo tik jaunos krūtinės. (“Užmigo žemė”, Maironis, 1956:91) [The earth fell asleep, only the heaven’s Silver eyes do not fade away. And the wings of a sweet sleep Cannot put to rest a young heart. ] (“The Earth Fell Asleep”, Maironis, 1956:
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