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Kurianti Priklausomybė Lyginamieji Lietuvių Dramos Klasikos Tyrinėjimai

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Kurianti Priklausomybė Lyginamieji Lietuvių Dramos Klasikos Tyrinėjimai VILNIAUS PEDAGOGINIS UNIVERSITETAS LITUANISTIKOS FAKULTETAS VisuotinėS LITERATŪROS KATEDRA Reda Pabarčienė Kurianti priklausomybė Lyginamieji lietuvių dramos klasikos tyrinėjimai Monografija VILNIUS, 2010 UDK 888.2.09-2 Pa-05 Monografija apsvarstyta Vilniaus pedagoginio universiteto Lituanistikos fakulteto Visuotinės literatūros katedros posėdyje 2010 m. lapkričio 9 d. (protokolo Nr. 1), Lituanistikos fakulteto tarybos posėdyje 2010 m. lapkričio 9 d. (protokolo Nr. 1) ir rekomenduota spausdinti. Recenzentės: doc. dr. Loreta Mačianskaitė (Lietuvių literatūros ir tautosakos institutas) dr. Donata Mitaitė (Lietuvių literatūros ir tautosakos institutas) Knygos leidimą pagal „Nacionalinės lituanistikos plėtros 2009–2015 metų programos“ projektą (Nr. LIT-10531) finansavo Lietuvos mokslo taryba. © Reda Pabarčienė, 2010 © Vilniaus pedagoginis universitetas, 2010 ISBN 978-9955-20-586-9 Turinys ĮVADAS. LYGinAMOsiOS ANAliZėS UžduOtis / 5 LitERATūRA istOriJOJE. IstOriJA litERATūROJE / 11 IstOriJOS REKOnstrAvimO BūDAI ir drAMOS tipAI / 15 Ikireagediniai orientyrai / 20 Herojinis epas / 20 Kurtuazija, „gotika“, melodrama / 27 Tragedinės vaizduotės kontūrai / 36 Vincas Krėvė ir Williamas Shakespeare‘as / 43 Istorijos dramatizavimas / 44 Tragiškasis herojus / 54 Tragedijos modernizacija ir „mirtis“ / 69 Balys Sruoga. Tarp herojinės dramos, komedijos ir klasikinės tragedijos / 70 Pašaipusis diskursas / 72 Tragizmo raiška / 82 Interscriptum / 102 Kritinė tragedijos refleksija. Kazio Binkio Generalinė repeticija / 102 Infernalinis groteskas. Dieviškoji komedija Dievų miške / 107 Renesanso stilizacija. Balio Sruogos Barbora Radvilaitė / 118 3 Grįžimas prie ištakų: Juozas Grušas / 126 Viduramžiai herojinėje ir egzistencinėje perspektyvoje. Herkus Mantas / 128 Dialogai su Baliu Sruoga / 136 Dvi Barboros Radvilaitės / 136 Švitrigaila – Milžino paunksmė / 153 Unija – Barbora Radvilaitė / 156 Rekviem bajorams – Kazimieras Sapiega / 160 TAutiniAI mitAI / 164 Lietuvis – kilnus laukinis / 164 Nepriklausomas sovietmečio lietuvis. Juozo Grušo ir Justino Marcinkevičiaus dramos / 170 VIETOJE IŠVADŲ / 193 Summary. Building upon Creative Interdependence. Comparative Study of the Lithuanian Classical Drama / 198 Cituojamų šaltinių sąrašas / 206 Asmenvardžių rodyklė / 209 Įvadas Lyginamosios analizės užduotis Priklausomybė šioje knygoje apibūdina praturtinantį, o kartais ir ap- ribojantį, lietuvių literatūros santykį su tradicija, klasikos patyrimu. Pri- klausomybės akcentavimas komparatyvistikoje atrodytų kaip iš XIX am- žiaus paveldėtos pozityvistinės įtakų teorijos išraiška1, kai „duodanti“ ir „imanti“ literatūros suvokiamos kaip nevienodo statuso ir reikšmės – kaip mokytojų ir mokinių, centro ir periferijos santykiai, turintys nemalonią hierarchiškumo ir galios santykių žymę. Ji ypač išryškėja postmoderniz- mo, globalizacijos, naujojo „tautų kraustymosi“ kontekste gerokai priblė- sus „kultūringųjų“ Vakarų mitui. Vis dėlto mažos tautos literatūros lygi- namuosiuose tyrinėjimuose šis santykis sunkiai išvengiamas, be to, jame esama abipusės naudos ir privilegijų, ir jis nėra vienintelis. Nepaneigiamos lieka žymiausio lietuvių komparatyvisto Vytauto Kubiliaus tezės, kad „nacionalinės literatūros raidos logika yra pagrindinė jėga, absorbuojanti ir transformuojanti svetimą meninį patyrimą“, kad „ne išgarsėjusio kūrinio objektyvi vertė, o receptuojančios literatūros reikmės bei raidos sąlygos lemia, ar tas reiškinys bus priimtas, ar atmestas“2. Ly- ginamųjų tyrinėjimų paskata – per santykį su kita literatūra, kita kultūra „Įtakos“ terminas kartais laikomas nepageidautina atgyvena, net jei vartojamas iš inercijos, ir geriausiu atveju siūlomas tik kaip pagalbinis (Диониз Дюришин [Dionýz Ďurišin], Теория сравнительного изучения литературы, перевод со словацкого, Москва: Прогресс, 979, c. 43). Plačiau žr.: Nijolė Vaičiulėnaitė-Kašelionienė, „Komparatyvistinė metodologija“, in: XX amžiaus literatūros teorijos, sudarė Aušra Jurgutienė, Vilnius: Vilniaus pedagoginio univer- siteto leidykla, 2006, p. 327–328; Vytautas Kubilius, Lietuvių literatūra ir pasaulinės literatūros procesas, Vilnius: Vaga, 983, p. 6. 2 Vytautas Kubilius, op. cit., p. 22. 5 įprasminti savosios literatūros buvimą, atskleisti jos dialoginę prigimtį ir gyvenimo realybę, pademonstruoti, kaip mūsų literatūroje veikia bendroji literatūros atmintis, kaip daugiakultūriniame (nors kiek ir abstrahuotame) fone nušvinta jos nacionalinis savitumas. Viena receptuojančios literatūros privilegijų lyginamuosiuose tyrinėji- muose yra ta, kad ji dažnai atrodo dinamiškesnė ir plastiškesnė nei litera- tūra-donorė: pirmoji kultūros procese daugiau įsivaizduojama kaip auganti ir turtėjanti, antroji – kaip stabili ir užbaigta; pirmoji siejama su ateitimi, antroji – su praeitimi. Kita vertus, įtakas sugerianti literatūra, adaptuodama „teikėjos“ patirtį, įrodo pastarosios paklausumą ir atnaujina ją. Kultūrų ir literatūrų dialogas domina (gal net labiau) ir negatyvią- ją – nesusikalbėjimo – prasme: kodėl jis neįvyksta arba kodėl yra įma- nomas tik iki tam tikros ribos, kada gali virsti spąstais, būti išsekimo, nekūrybingumo įrodymu? Bet ir tuo atveju jis prasmingas – kaip atmesta arba neprieinama patirtis. Knygoje, išskyrus dvi, manytume, pateisintas išimtis, aptariamos is- torinės dramos, rašytos nuo Aušros romantizmo laikų iki „niūrių istorijos sutemų“3, t. y. nuo XIX šimtmečio pabaigos iki paskutiniųjų, stagnaci- ja paženklintų Leonido Brežnevo valdymo metų XX amžiaus devintame dešimtmetyje. Suprantama, kad žanrinė apibrėžtis „istorinė drama“ yra nekanoniška ir netiksli – klasikinis jos pavidalas, „siekiamybė“ yra tra- gedija, į kurią ji vienu ar kitu laipsniu gravituoja. Tai įtakoms itin imlus, kultūrinę vaizduotę provokuojantis žanras. Apskritai, dramos gyvenimo realybė nuo seniausių laikų iki mūsų dienų – migruojantys siužetai, atpa- žįstami personažai. Istorinių dramų intertekstualumą lemia jau vien tai, kad jų autoriai, tiesiogiai arba per tarpininkus, naudojosi rašytiniais šalti- niais, istorikų darbais. Be to, jose veriasi platūs geografiniai horizontai, ko gero, plačiausi visoje lietuvių literatūroje, kryžiuojasi žvilgsniai iš Rytų ir Vakarų, iš išorės ir iš vidaus, ryškėja europietiškasis politinis ir kultūrinis Lietuvos kontekstas. Anot Vytauto Martinkaus, „menas, kaip ir visa kul- 3 Čia perfrazuojami Jono Lankučio žodžiai apie vieną Grušo dramą (Jonas Lankutis, Lietuvių dra- maturgijos tyrinėjimai, Vilnius: Vaga, 988, p. 560–56). 6 tūra, sienas pirmiausia nugriauna laiko pasaulyje. Istorinė dimensija yra pagrindas šiandieniams meno rūšių ir nacionalinių menų dialogams“. Knygoje nesiekiama pateikti išsamų lyginamąjį lietuvių istorinės dra- mos tyrimą, suregistruoti visas autorių patiriamas įtakas (ir kas šiandien tai galėtų padaryti?!) ar pademonstruoti kuo platesnį lyginamosios anali- zės galimybių spektrą. Joje susitelkiama ties pačias žymiausiais Vinco Krė- vės, Balio Sruogos, Juozo Grušo, Justino Marcinkevičiaus ir jų pirmtakų Aleksandro Fromo-Gužučio, Marcelino Šikšnio-Šiaulėniškio, Gabrieliaus Landsbergio-žemkalnio, Maironio, Liudo Giros bei vieno kito pakeleivio kūriniais, bendrus, dažnai kartojamus teiginius (pavyzdžiui, kad Krėvė yra „šekspyriškas“ dramaturgas) bandant pagrįsti tvirtais argumentais. Galima sakyti, kad tai lietuvių dramos klasikos dialogų su klasika tyrimas. Jame ryškėja įvairūs „maitinančios“ literatūros integravimosi būdai, įvairios lyginamų objektų santykių formos ir variantai. Erdvės ir laiko dis- tancijos požiūriu tyrimas aprėpia tarptautinius ryšius ir ryšius savo kultūros viduje (vidinė komparatyvistika), ryšius su istoriškai senesniais ir su nau- jesniais objektais. Analizuojami nuo tiesioginių kontaktų priklausantys – genetiniai – ryšiai ir nuo jų nepriklausantys – tipologiniai – panašumai (pastariesiems nesvarbus ir laiko atstumas). Regimos sąsajos vieno žanro viduje ir tarp skirtingų – draminių ir nedraminių – diskurso formų, ryšiai tarp literatūros ir kitų menų (intermedialumas). Aptariami teminiai pana- šumai (tematologija), kitų tautų vaizdiniai (imagologija). Šalia vienas kito sustatomi, gretinami autoriai (Krėvė ir Williamas Shakespeare‘as, Sruoga ir Shakespeare‘as, Grušas ir Sruoga, Grušas ir Grušas, Grušas ir Marcin- kevičius), žanrai (herojinis epas ir herojinė drama, gotikinis romanas ir ne- oromantinė drama, herojinis epas ir tragedija), istorinės epochos (tautinis atgimimas ir Viduramžiai, „barakų kultūra“ ir Renesansas), menai (dailė ir literatūra). Pagrindinis priklausomybės objektas yra Shakespeare‘as, akty- viausias lietuvių autorius, besireiškiantis ir kaip įtakų perėmėjas, ir kaip jų teikėjas, – Sruoga, populiariausias – Barboros Radvilaitės intertekstas. 4 Vytautas Martinkus, „Istorija – dabarties citadelė: lietuvių istorinio romano transformacijos“, in: Kultūrų dialogai šiuolaikinėje lietuvių literatūroje: Lyginamieji aspektai, sudarė Vytautas Martin- kus, Reda Pabarčienė, Vilnius: Vilniaus pedagoginio universiteto leidykla, 2009, p. 64. 7 Tyrime atsiskleidžia įvairaus intensyvumo ir kokybės ryšiai: nuo sko- linių, sekimų, imitacijų, stilizacijų, adaptacijų iki aliuzijų, asociacijų, pa- rafrazių, poleminių variacijų... Priklausomai nuo to įvairuoja ir kito teksto įvedimo būdas. Vienur jis dalyvauja „individualiau“, energingiau – tuomet detaliai demonstruojamas tekstų panašumas ir jų fone išryškėję skirtumai (Sruogos ir Shakespeare‘o, Grušo ir Sruogos atveju). Kitur jis reprezentuo- jamas abstrakčiau, kaip tam tikras žanrinis modelis, įkūnijantis bendriau- sius poetikos ir pasaulėvaizdžio principus, konflikto, charakterių tipus (Krėvės ir Shakespeare‘o
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