Prasmė legiruota garsu: poezija kaip muzika

Įž algos / Insigh s 331 GIEDRIUS ALKAUSKAS The Uni e si y o Vilnius Resea ch a eas: modula o ms, numbe heo y, low, di e en ial geome y; na u al aspec s o musicology, la e Danish, B i ish and Russian musical oman icism. This Regula ion shall en e in o o ce on he wen ie h day ollowing ha o i s publica ion in he O icial Jou nal o he Eu opean Union. The sound o he umpe : Poe y as Music (HARMONY) P og ession (KVINT) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMONY) (HARMON) (HARMONY) (HARMONY) (HARMON) (HARMONY) (HARMON) (HARMONY) (HARMONEY) (HARL) Wha is he name o wha is he name o he The RATU will ha e o decide on he legal basis o he ag eemen : The e's a whis le, he e's a sc eam, he e's a oa , and, you know, he e's a sc eam: Skuba is bu ning in he u nace, and he wind is blowing, and he wind is blowing, and he wind is blowing, and he wind is blowing, and he wind is blowing. An anas Ba anauskas This ex is o he body o poe y, which is also he body o music […] om he ounda ion o he b eaking; No a mix u e o wo a s, bu a cas ing. no o he winds o he wa es, bu o he wa es o he wa es. I you jus look a he IXX olumes o he jou nal Li huanian Musicology, a icles dedica ed o language o poe y, you will ind qui e a ew (see he lis o li e a u e). Fo example, he s udy o Kamilė Rupeikai ės "The peculia i ies o he iden i ica ion o musical ins umen s in Li huanian ansla ions o he Holy Sc ip u es" (2007, p. 8). Poe y and music, and e en e hnomusicology, g ow he e. The old a che ypal Li huanian consciousness has pe mea ed e e y pe son bo n he e. You can' un away om i , you can' deny i , e en i i some imes seems o wo k. This is he pa adox (Geda 1998: 151): Ba anauskas is a elic o a e y old no he n eligion. And we a e alking abou a Ca holic bishop! Conscience will no be des oyed so easily. Only pa s o i , e en he essen ials, like he mo he ongue, a e pe haps a li le easie . 1 The oo […] is a wo d ha indica es syn hesis and a way up. Then, du ing he analysis, descend h ough he gills; A leas ha 's he kind o wo d ha language would dic a e. GIEDRIUS ALKAUSKAS 332 Ac a Linguis ica Li huanica LXXXIII (Linguis ic Ac o Li huania) was adop ed by he Li huanian Pa liamen . Rep esen a i es o all denomina ions (including he old no he n ones) in bo h Li huania should ag ee ha he s uggle be ween Ca holics and Re o med in he 16 h and 17 h cen u ies was a mi acle o Li huania. Al hough Jonah B e kun's g ea ness has long since aded, we ind e en mo e e idence o his in he ex o Rupeikai is (p. 91): On he las page o he Psalms, B e kun gi es him some o he umen ų są ašą, ka u nu odydamas i okiškus jų pa adinimus <...>. B e kūno e imas i in eikšmingas i uo, kad jame pi mą ka ą ašy iniame šal inyje pa- music he is known o , including some Li huanian ins umen s […] kanklės, amzdžiai […]. Thus, his wo k began no only he his o y o Li huanian Bible ansla ions, bu also he his o y o musical ins umen s. B e kūnos language is pa icula ly poe ic, no compa able o Donelaičios. Bu in some places he a icle al eady discusses nominal poe y. He ansla ed he Psalms in o he e nacula , and in 1869 he published he en i e Old Tes amen Psalms. La e hey we e compiled as kan ičkas and published he e in 1872. This is how he Li huanian his o y o he poe ic in e p e a ion o his biblical book began. In he ansla ion o Psalm 98:6, Valančius w i es: Wož agius ubus Wieszpa em puskie (The umpe o he umpe is he umpe o he umpe ). By e e ing o he au ho (p. 93): [This] is he speci ic name o he […]wož agio[…] [ins umen o he choi ]. In iew o he unal e ed e sion o [ his psalm], i is likely ha he name o he ho n used o he sho a [a Heb ew i ual ins umen made o an animal ho n] was Valanchus because o he hyme succhi ė in places wi h he umpe [chacoc a, sil e umpe ]2. Indeed, all he linguis ic, cul u al, his o ical and eligious aspec s o music a e e y exci ing. In he i s known eco ded music, he so-called Hu ian songs (1400 B.C.E., Mesopo amia), musical explana ions a e gi en in non-mining Akkadian. And whe e a e he poe ic laye s o music! Ruigys, Ka aliauskas, Ba anauskas, Rubšys, Ku šai is, Sk i eckas, ansla ions o he Bible (and o he names o he ins umen s) in o Polish, Russian and he amous Du ch Cal inis S a enbijbel (1637), a e also men ioned. In 1993, I pa icipa ed in he opening o he Ba anausko monumen in Anykščiai. The e was also Saulius Šal enis wi h Sigi u Geda (la e […] S. G.). He e's wha Shal enis w i es abou i (Geda 1998: 145): The e a e many cle e wo ds and silences, such a ha d- o- ell joke o Sigi ( ami linksmybė, mixed wi h sadness and ca el) om he p og ess o Li huanian poe y, when i is belie ed ha w i e s w i e be e and be e , mo e and mo e cle e , han a hund ed yea s ago o a hund ed and a hal , knows plunksna sk ebina. I would seem ha all hose who come ac oss Gilgamesh, Dan e o Ha iz mus ejec he absu d idea o linea p og ess. Bu is ha why poe y is so impo an o compose s? A leas i was o me, because he slogan was always "maybe his is a e og ade o m, inspi ed by Nikolai Rimski-Ko sako , bu no he mis ake o 2 Co ec ions: no he hy hm, bu he hy hm". P asmė legi uo a ga su: poezija kaip muzika Įž algos / Insigh s 333 om he Ka lheinco S ockhausen? Poe y answe ed no. The e is no e og ade in G an ille Ban ock, Michael Glinka, Hen ik Shiuc and Johannes Okehem. And o his day, many mode nis s a e imp essed by he music o he Da ms ad School o Au ism. My opinion is e y s ic , I ag ee. Ry is Mažulis (Paliauka, Mažulis 2011) has spoken abou adi ion and inno a ion, poe y and enginee ing balansą. Bu why his de ia ion abou Ba anauska? Because no all he "Li huanian musicology" ou abou poe y and music is so in o ma i e. Fo example, Vi o Česnule iū ė's "Music o Al onso Nykos-Niliūno" in he agmen s o his dia y" and "P a adimo symphony: an in e media e dialogue" (2005, p. The au ho has collec ed many musical places om he dia y o Nykos-Niliunas. Bu he hough s quo ed by o he au ho s a e o en i ial, like he couple s o Monsieu T ique , some imes emp ing, like ha cu ious cho d o Moza , o en specula i e, like he songs o he Sla s o he Wes , and appa en ly local, as i Schönbe g had no p edic ed he hegemony o he u u e se ialism. Fo example, on page 46 he e is an appeal o he esea ch o he musicologis Mečisla Tomaše ski: By highligh ing he ela ionship be ween wo d and music, Tomaše ski dis inguishes ou ca ego ies, one o which is called "immanen musicaliza ion o a li e a y wo k". I can be unde s ood in h ee ways: as a weakening o seman ic accu acy and an inc ease in he phone ic and pu e exp essions o he wo d (as in he case o Schwei ze 's "phone ic poems"), as a s eng hening o he ins umen s o musical composi ion (as in he case o he e ain, he lei mo i , e c.) and as a e lec ion o he ue mood o he poem (as in he case o he euphony and he eu y hm). The e's a ed ligh lashing he e. Who else is Schwei ze , Elio and he Symbolis s? The Piedmon ese mink, he shamanic ag ama isms, he h ee-way con ac s a e buil om p ecisely such b icks. A e all, i is elemen a y, p imi i e, and om he e y beginning 3 An ipe ec ionis (and he e o e ascina ing) s ylis ics o Pyo I. Tchaiko sky […] when he wan ed, he w o e complex, e en c uel music (Mo ozo 's oa h scene […]Op ičnike[…]). Bu i he hea was hu ing, hey used some i iali y. In he T ique couple s om […]Eugene Onegin[…] o he pas o al […]Picayune lady[…] and he packaging: nai e g ace! 4 A nold Schoenbe g in his landma k Ha monia (Schoenbe g 1997) ook he e ical cu ou o he sco e o Moza 's 40 h Symphony in G mino (p. 324) and jokingly called i he "Moca o Cho d". O cou se, by cu ing he sco e e ically a a as empo, you can ge wha e e you wan . keis ų, nees e iškų de inių. 5 […]Vaka Sla songs[…], ansla ed in 1835 by Alexande Pushkin om he anonymous F ench 1827 collec ion […]La Guzla[…]; The la e was P ospe o Me imė's li e a y mys i ica ion. 6 He would be su p ised o lea n ha minimalism had aken i s place. GIEDRIUS ALKAUSKAS 334 Ac a Linguis ica Li huanica LXXXIII I 's called a is ic na plions. The compass should no be u ned o he bookcase, bu o he in ui ion. The le el o change a ies om analy ic o polysyn he ic. The e is also a hypo he ical ca ego y o oligosyn hesis, al hough no a single such language is a es ed. And his au ho , based on he book by Bo is Kaco "The musical oles o ak ai“ (1997), kalba apie e ikalų mon ažą i poli onalumą poezijoje; onacijų Russian poe y" pe o ms he oles o he ime o he ac ion. Acco ding o his de ini ion, F ansua Vijon (Villon 1998) also used an ex emely complex e ical mon age a he ime. Bu i 's he same heo e ical ca ego y in poe y as oligosyn hesis in language. And he connec ion be ween musical ones and he imes o ac ion is no he same as he connec ion be ween musical ones and o he g amma ical elemen s. T ue, as a compose , I ha e encoun e ed a simila e m in my wo k. In Juozo E licko's poem "Melodia", se e al lines a e composed o he sequence o no es; o example, a do mi la do si. I w o e a song o his ex in F mino and G mino . The names o he no es in he melody a e sung in he same no es, and hen he melody shi s o a-moll o C-du ones. I 's e y common o a oman ic o lie. Bu his is no he ime o o une- elle s and no poly onali y. And ye he connec ion be ween poe y and e ical edi ing exis s. I was i s ounded in 1925 by Se gei Eisens ein, "Sha uo is Po iomkin". Fo ano he , al eady amous, ilm di ec ed by […]Alexande Ne sky[…] (1938) he composed he music Se gei P oko ie (op. 78) was bo n in Moscow, Russia. Well, in S. G. […]Babylon's Res o a ion[…] (p. 86) we ind he i le o he poem: Šėpos hea e : he mys e y o he mise y o he sac ed Alexande he G ea (S. P oko ie 's ope a […]Alice om Ne os[…] music). He e I will also men ion a sepa a e opic o he ela ionship unde conside a ion, namely he B onių Ku a ičių. In ac , ou a icles in he monog aph (MCT 2014) a e de o ed o his: (S ony ė 2014), (Gaidama ičiū ė 2014), (Mikeš 2014), (Nakienė 2014). Mikeš one o he se en easons o he special ela ionship be ween Ku a ičius-S. G. indica es he ollowing: Ku a ičius' inclina ion o language, ascina ion wi h ex s and wo ds; The poe y o he poem has i s own in luence on he musicaliza ion, he quali y o he musical ex . The compose himsel : Sigi o's ex s a e no opposed o music, i is e en bo n o i . This ela ionship is also discussed in Landsbe gy he's ex (2010). A ew mo e i id examples. Felix Bajo : he o a o y […]Va po kėlimas[…], he poems o Jono S ielkūno, he ope a […]God's sheep[…], he lib e o by S. G. Mindaugas U bai is, S. G. wo ds: he musical "The dancing and dancing gi l's nigh ingale" and "Soc a es speaks o he wind" o he choi . Acco ding o he compose , he o de ed he wo ds o his piece himsel ; The i le la e came o he poe 's own collec ion. 7 Album "The ield o d eams and an asies" (2011), which can be ound on epea .l and you ube.com. P asmė legi uo a ga su: poezija kaip muzika Insigh s and Insigh s 335 This Regula ion shall en e in o o ce on he wen ie h day ollowing ha o i s publica ion in he O icial Jou nal o he Eu opean Union. This se aph-band, each wa ed his hand, No oice did hey impa – No oice a all Bu oh! he silence sank Like music on my hea . This is Samuel Taylo Cole idge. […]The Rime o he Ancien Ma ine e[…] I'm jus conside ing i . I'm no weighing i . Alloying and binding a e e ms used in po e y. The mel ing o one me al in o ano he . This is how he gene al p ope ies change: he uppe bounda y o he s a e, conduc i i y, ha dness, ha dness, colo , esis ance o co osion, oxida ion. Te ms a e also widely used in jewel y. So, in my opinion. Is i only app op ia e o use a s ange in he i le o an a icle abou poe y? Tha 's how he ca al y b eaks in o a dis an domain. In gene al: does i make sense o ans e he c i e ia o one a ea o knowledge o ano he ? A meaning ul in asion o aes he ics? In e en ion by he a s? Measu ing he wo ld wi h an unp eceden ed measu e? Absolu ely no . And ha 's no easy o unde s and. Some c ea o s wi h only one b illian alen a e e en mo e di icul . I'll say i e en mo e ca ego ically: one g ea alen is c ushed. In G eek, a alen is a weigh , a balance. The scales! Some o he di e en sides weigh a lo , bu hey don' weigh. And he wo d balance i sel al eady indica es a pea l. I would be a lo easie i i wasn' jus juggling e ymology. Bu i 's no ha easy. You can' see any hing wi h jus one scale, unless i 's he dis ance o he bo om. Bu somehow someone is measu ing. I measu es e e y hing. Wha 's mo e, he e's p obably no such hing as a g ea alen . Because he e's some hing else ha goes wi h he big one, e en i i 's he smalles . Maybe i 's jus a special sensi i i y o some hing beyond he big pic u e, bu i 's s ill he e. Tha , I ag ee, is a subjec i e ule. Bu when all he money is gone, some o i , you know, uns ou . As he saying goes, i he e's a ule, he e's an excep ion o i . I 's a well-known o mula. Bu a e he e no excep ions o he ules? O cou se he e is! I 's like a heo em. The excep ion o he ule only con i ms he ule is wi hou excep ions. The e idence. Le 's say he opposi e, he s a emen is w ong. Then he ule in ques ion has a leas one excep ion: he e is some ule ha has an excep ion ha does no con i m he ules a all. Then he e a e no ules. I 's agains he ules. The Quod E a The demons a ion. So I would e y much like anyone o ind an excep ion o he Li huanian ule ha a g ea alen is accompanied by a ligio (also minia u e) alen . I any hing happens, he ule s ays. Because I s ill don' unde s and why in some c ea i e ields, like physics and GIEDRIUS ALKAUSKAS 336 Ac a Linguis ica Li huanica LXXXIII How is i ha in he li e a u e, like nowhe e else, he e a e so many concep s in which he non-sensi i e a eas collapse in o conglome a es ha a e almos impene able o neu al connec ions? Bu ha 's a di e en s o y. Wi hou a balance, when you ha e only one scale, i is e y easy o p esen he local as he global, he mic ocosm as he mac ocosm, and he ela i e as he absolu e. I he e's no hing o lean on, Ba on Munich is he one o lean on. And ha 's my ques ion: is he e quali y poe y, unw i en music? Especially alloyed […] no mixed, no di used. To highligh he low, he i e was hidden. A melody ha en e s as li e i sel , no as some exclusi e enclosu e (S.G.): She li s up he poisoned he uni e se and you s She's he sis e o men melody o he wo ld ea h She's he sis e o And shou s li e o he sky and ice She's he g ea You can mix wha e e you wan . Wha 's mixed and wha 's no mixed. Bu he ju y needs a balance shee . We need alen . I is no o no hing ha he alen , like a medal, has wo sides. Jus how o ind meaning be ween he di e ences? Rim ydas S anke ičius, p esen ing his book […]Kiau ai kūnus[…] (Oc obe 5, 2020) said: Ha e you hea d any hing om ees and bi ds? The answe is yes. I implies a non e bal language, he sub le connec ions o his wo ld. In ac , e e y hing is one. The e's a gene al con ex ha we' e ge ing in o. Yes, i 's ue, we' e no always in he same boa . The piano has a lega o pedal. When you p ess i , e e y hing connec s. E e yone has a pedal like ha , bu i 's no always p essed. The sea ch o meaning has been and will be he main engine o human li e, e en i he meaning is a i icial ( he engine has o do he wo k). Thus, he wo d jungiu (I alian: lego) au ologically combines he legi a imą in he i le o his a icle wi h he S anke ičiaus lega o. We can' a oid he sea ch o meaning e en i we wan o, because ha 's he e olu iona y mechanism. Ne e impulses a el om he ecep o s o he b ain because ha 's how in o ma ion is collec ed. Bu e en i you pu i all oge he , some imes he da a isn' enough. Then he e's he in e p e a ion, he emp y spaces, he explana ions in he cogni i e psychology o he well-known p inciples o ges al g ouping: closeness, simila i y, symme y, good con inui y, common des iny. The las is he 8 h unce ain wo d, he medallion o e ymology. Acco ding o one o he mos likely e sions, he wo d mybę, užpildymas. Ki aip iskas bū ų be-p asmiška. comes om he La in medialis, ha is, he middle one. Yes, he Li huanian equi alen would hen be a ee (Sabaliauskas 1994: 213), and he s a emen ha a medal has wo sides and a ee is ound becomes a pa adox. The la and ounded a y um is silen in speech. P asmė legi uo a ga su: poezija kaip muzika Įž algos / Insigh s 337 The mos impo an hing is o lis en. Indeed, he ea ecei es a a ie y o ai ib a ions. Depending on he equency, he ib a ion a ies in he loca ion o he basemen memb ane (IPO 1987). Acco ding o he common des iny (single ib a o, s a and end ime, sound shell), he b ain pu s a ce ain equency in o a sepa a e box and decides: his is one. How does poe y come ou he e? Wha 's all his o ? How does i en e in o such ques ions o meaning and connec ion: A e he ecep o s connec ed o he synapses? Tha 's igh . The CNS no only in e p e s he signals, bu also sends hem back o he ecep o s. Thus, he luc ua ion o he basemen memb ane co esponding o he esonan equency is ein o ced by […] ampli ude inc ease, equency inc ease. Sound and Meaning? Tha 's igh . The onoma opoeia. Mo eo e , hose animals ha we e unable o pe cei e he geome y o space, he momen a y ensions and isks om he sounds, did no su i e. The Aida, which goes be o e he sound, ansmi s he same amoun o da a o he machine as he subsonic Aida, bu o li e, his in o ma ion is almos unenc yp ed. Fo m and con en ? Tha 's igh . Polish. I 's called Sa abanda. Music o s ing qua e . Va ia ions on he heme o daddy-daddy. How much can be hea d jus by knowing he name, jus by he e baliza ion o he sono i y in o ma ion. Rela i e and Absolu e? Tha 's igh . The ho izon al (and ela i e) dimension o he musical sco e is ime, and he e ical (and absolu e) […] equency, which also spli s in o ela i e ( ona ion) and ela i e (de m) dimensions. Bu he e i is: in he six y-second wo k o he second book o he "Mic ocosm" by Belos Ba ok, "In he pa allel mo emen o he mino sex e s", he second oice is used p ecisely as a sex e : he i s oice is ansposed no dia onically (which would be cus oma y) bu ch oma ically. And i becomes unclea : which oice is he i s ? Whe e's he one, and whe e's he de mis? So he ela i e and he absolu e me ge. This s ange ca ego y o sulie is has long puzzled me. Bu he e's ano he hing: a ho izon al dimension, ime measu ed in seconds. Ve ical, equency, measu ed in he z. So, in e e se seconds, 11. So he absolu e e ical is like he in e se o he ela i e ho izon al. A leas ha 's how i wo ks ma hema ically. And maybe mo e han ha . The Body and he Spi i ? 9 Ta i- a i ( us. тати-тати, ang. chops icks) – kū iniai o epijonui ke u ioms ankoms. Piano p i- mo g oja pap as ą muzikinį sakinį g g e a e a d h d h c C c C, o piano secondo įkomponuoja ai in e y di e en con ex s: mazu kas, he ma ching ma ch, he wal z, he ca illon music and so on. Such wo ks ha e been c ea ed by Nikolai Rimsky-Ko sako , Alexande P. Bo odin, Ana oly K. Liado , Ceza is A. Kiuji, and Fe enc Lisz . This Decision shall en e in o o ce on he wen ie h day ollowing ha o i s publica ion in he O icial Jou nal o he Eu opean Union. 11 Hz is equal o s-1. GIEDRIUS ALKAUSKAS 338 Ac o Linguis ic Li huanian LXXXIII Tha 's igh . Such is he chalcedony o Ch is iani y's c ys alline o mula ion, which no only combines hese wo ca ego ies bu also equa es he mix u e wi h he alloy, and he wo […] wi h bo h and wi h one. He e i is: he di ine and he human na u es o he Sa io do no change in o each o he , hey a e no mixed, each o hem is one and indi isible, bu a he same ime indis inguishable om he o he . I 's no scien i ically possible, i 's no scien i ically possible. Theology is no opology, and ice e sa. You migh eassu e us: don wo y i he meaning o li e hasn been decided ye . I jus happened. E en in a single consciousness, i is possible o combine he impossible. Le s say, in he Ba anausko cou . And all he ime he was wi h S. G. He was alking abou he impossibili ies: And I had come, I hea d Donelai į, Man Ba anauskas said so p ogiesmiu os os: Whe e would you be, wha would you do, son, Au umn comes and he sun, and he moon o he peoples o Li huania. Bu in he syne gy-an agonism o body and soul, you can see music. The inca na ion o he Wo d […] is he i s coming o he Messiah. - John 1:14. And he e in he my hology o John R. R. Tolkien (Tolkien 1999) a dawn he p opasaul sounded he ha mony o he music played by he Ainu descendan s o he one god Ilú a a ( he i s Silma illion book […]Ainulindalë[…]). Bu he cle e es o hem, Melko , g adually began o ma u e his mind. They' e al eady been inco po a ed in o he gene al music. Tha 's how disha mony was bo n. Tolkien's language is unusually poe ic ( he echo o he music wen ou in o he Void, and i was no oid), and […]Ainulindalë[…] sounds like a ansla ion o he Book o Genesis in o sounds. Music and poe y? Tha 's igh ! Music and poe y a e combined... poe y. The kind ha Ba anauskas' poe y would conside . I 's been said: Wissi walked in Iu es, bu Iu es did no become ulle . Ing ạ wie ạ, iſch ku a ekeia, wel nu ek [No es om he Cou o Audi o s: I,7] [Book o he Teache , ansla ion by B e kūno in 1586] When you in e up any in ak, you' e done. In sho , hygiene, p e en ion can be, bu canno be, only a diagnos ikai, ka ais ai ne p i aloma. Be lygiai kaip gy ybei eikalingi isi šeši elemen ai SPHONC,12 be kiek ieno iš ku ių gy ybė mi š a, aip i poezija p ose, only sel -awa eness, decla a ions, polemics, Ma xism, cynicism, psychia y, pa hology, no hing and he o ic. I can be, bu i can' be jus eminism, jus an i- eminism, o jus an i-masculini y. I has been known o a long ime: his, al hough e y di icul , is di ec ly linked o humanism. So se iously 12 is Si, phospho us, hyd ogen, oxygen, ni ogen, and ca bon. P asmė legi uo a ga su: poezija kaip muzika The Insigh s 339 is a good example o his, bu i 's also a good example o why you shouldn' do i again. To him we e gi en wo alen s: he beau y o he hea ens and he beau y o he ea h, he symphony o he umpe abo e and below. I 's ue con ession poe y, jus like ue con ession is no knowing o admi ing, i 's belie ing. I 's no seeing, i 's losing sigh . I he hea ens a e u ned upside down, he ea h is u ned upside down, because i is again u ned upside down, because i is only he su ace. 3. Couples and couples Wande e s in ha happy alley, Th ough wo luminous windows, saw Spi i s mo ing musically To a lu es well- uned law. Edga Allan Poe, The haun ed palace I music has o ganized sounds and li e a u e has o ganized meanings, i is ob ious: poe y is hei in e sec ion. Un o una ely, I don' know wha poe y is. He e, each pe son se s he limi by his own pe sonal de ini ion. And, wai ing o a g ea e glow han he's holding himsel back. I 's no a pun: mo e o en han you'd expec , hose wheels collide when hey shouldn' . This is e idenced by compassion, old expe iences, common memo y, humili y, and ai h in he law. And i I we e o simpli y i , lo e is he law o all li e mani es a ions. Tha li e, which a leas once in i s ajec o y in space- ime, mo ed owa ds Kū ē a leas once h ough he smalles ing o ligh . Bu who is his Sage? Tha 's my de ini ion o him. The de ini ion o poe y14. I belie e ha I will be mo e adian han in my wo k. Mo ing wi hou e o is only possible by g a i a ion, i.e. downwa d. Ch is is begun only a bi h. Bu he e a e days (no abs ac , bu ma ked in calenda s) when you all in o a special esonance, like a shadow o li e (Fyodo Dos oe sky's idio L. N. Myshkin said ha he e a e days when e e y hing is a housand imes mo e in ense han usual). Bu i he e's a shadow, someone h ows i . And hen he e's all he pas an13 Nepelny ai p imi š as, which is he wo d used by gos pagau i okią dieną – ai ko a su g a i acija. Daukan o. 14 To Palygin (Geda 1998: 67): "I I pu a e m like goddess in he e, I was lying. Bu I ca ed abou inding God in poe y. GIEDRIUS ALKAUSKAS 346 o he Li huanian Language Ac LXXXIII This is III. ŠERNAS (p onounced om Bal ic) The sun is disappea ing. Tha 's how he sea bea s he ba le. The s eam hus b eaks h ough he c us , he oak g ows […] in o a sh ub, g ows […] in o a ho n. The bligh ed ibe... only he oo s o he dee e en a nigh . When he ligh ning did no s op, he en i e egion om Ku sk o Va mesa was looded. Sh in anius Gin a o sends le e s o he Go hs and hen o he coas . Da k Bal ic eas s […] we cu he hai , when i 's cold The coas o Go land. Susemia swung in o his swo d, ben o e , boa . Wha comes o dea h is wha comes o li e, he hymn-w i e says. Commen s and commen s The con inua ion o he wo ks o Taci us by Publius Co nelius, he Roman his o ian o G eek o igin Amians Ma cellinus (died abou 395 AD) mo e accu a ely desc ibes he kingdoms o he Go hic king Ge mana icus (Go hic name *aí mana eiks, died abou 376 AD) han Jo dan (VI AD). The la e , al hough a schola […] only an ama eu , and was himsel a Go h ( ha is, o en a joke ), gi es he his o y o his people and he Huns on he basis o he au hen ic, al eady unexpi ed wo ks o Cassiodo us (died 585 A.D.) and P iscus Paniecius (w i en abou 449 A.D.). The la e was he diploma o he Eas e n Roman empe o Theodosius II o he Huns. Taci us himsel was a mini-Go h in Ge mania (98 AD), whe e, acco ding o legend, he aisles we e i s men ioned. Jo dan was he ances o o Empe o Theodo ic he G ea (Thiuda eiks, Tau a ikis; died in 526). The G u ing and Te ingi ( hi d and ou h cen u ies) a e la e iden i ied by common ag eemen wi h he Os ogo hs and Visigo hs ( i h and six h cen u ies). Go land and Gdansk P asmė legi uo a ga su: poezija kaip muzika Įž algos / Insigh s 347 (Go hiscandza, Vysly coun y, Ais ma ė) wi nessed he p o es s o he Go hs. The all o he Wes e n Roman Empi e and he beginning o he eign o Odoace o he Ge manic ibes (476 AD) and he mu de o he la e by Theodo ic (493 AD) […] oo much o a powe ul d ama e en o oyal isions a Ski y. The Me opolis o Quedlinbu g (w i en om 1008 o 1030) ells he his o y o he Holy Roman empe o s' wi nessing dynas y, desc ibes Dy ich (Theodo ic) Go ha, A ila he Hun (died 453), and also S . The dea h o B unon K e u iecius a he Li huanian bo de in 1009 and he success ul bap ism o he Jo ingian ule Ne ime and he dea h o B unon himsel . Wha is his, i no ue, his o ical connec ions be ween he Go hs, he Huns, and he Aisi? These people a e ep esen ed by a wol in he isions, like Vul ila (died in 383 AD); he alcon […] he a elling companion; The dee . The So ie my h e eals a lo abou wha black means o us. G u ing is e ymologically g asshoppe (p o o-Ge manic *g eu , angl. g i , lie . g uodas), and e ing is wood-g asshoppe (p o o-Ge manic * ewa, angl. ee, lie . de a). His o ians ag ee ha hese we e he o iginal habi a s o hese ela ed peoples: coas al g a el o g a el s eppes o g un ing and o es slopes o g azing. So he c umbling o he gu us is a bad omen o he Go hs! I 's like he end o he mon h o he Huns. This is wha P iscus Panie is says: "As was he cus om, du ing he honeymoon, a e he wedding, A ila d ank a s ong d ink mixed wi h honey o a whole mon h un il he su oca ed". Glowing le e s o ambe o he Go hs a e he all o he Hunnic Empi e […] his is, o cou se, he ambe o which Cassiodo us, in he name o Theodo ic, w o e a le e o he Aesi and hanked hem (one o he i s e e ences o he Aesi in sou ces a e Taci us). Bu he imagina ion o he Roman ics b ough e en mo e gays om hese imes o g ea na ion-building o he Li huanian ab ic. Fo example, D. Poškos (Laiškas Joachimu Lele eliui and Ksa e ui Boguš, 1818), Tyk ay Sakau Odoak s, Kieys u s y Olgie da Sweciopey nekalbieje, also known as Ku Iszgi da, Teypogi Mendogs, Wi olds, Iogiełs Władysława, wysados Lie uwiszku Lieżuwiu biława. He is also known as D. Poškos. In he chap e "Hun's Se" o he 2nd olume o T. Na bu 's "His o y o he įsi e žimas į Eu opą, olesni lie u ių gen ies au ų likimai Ry uose i Pie uo- Li huanian Na ion" (1837), all he men ioned inns a e desc ibed. Mo eo e , abou he Ge manic ibe […] […]G u ing buil a o ess, now known as G u ingos, i.e. K e ingos, in he name o […] (1995 yea edi ion, p. 294). K e inga lowed h ough Akmena (ž y inga upė), la e called Dane (in a chaic hyd onym, connec ed wi h he IDE dialec ; o example, ose inų don upė). Beigi ėl Na bu as: (abou he Nemuno del a): on he le o he wes , he Ski wi h, Ski y ė, which means he sepa a ion b idge, is b eaking up. Skiing is, kaip i Odoak as. I lyg kas lega o pedalą nuspausdė. Vėl jungiasi pasauliai! GIEDRIUS ALKAUSKAS 348 Ac o Linguis ic Li huanian LXXXIII LITERATURA Česnule ičiū ė Vi a 2005: The music o Al onso Nykos-Nyliun in he agmen s o he Dia y and in he symphony o P a adima: an in e media e dialogue. Li huanian Musicology 6, Česnule ičiū ė Vi a 2011: Analogies o he Sona a o m in he w i ings o 45–60. Vy au as Bložės and Judi h Vaičiūnai ės. […] Li huanian musicology 12, 47[…]60. Gaidama ičiū ė Rū a 2014: F om Geda o Donelai is: in he mids o mode nism o he o igins. […] Music ha Changed Time: The Li huanian compose B onius Ku a ičius and he Bal ic Ou bu s o C ea i i y a e 1970, Vilnius: Li huanian Compose s' Union, Li huanian Academy o Music and Thea e, 110[…]117. Geda Sigi as 1998: The mos beau i ul klebon o me is he a nish, Vilnius: Vy u ys. Gus a Ju a: The phenomenon o poe y in he wo k o Alexande Sk iabin […] Li huanian musicology 1, 70[…]80. Gus a Jü gen is he au ho o Alexande Sk ipal's poe y. F om Sona a o Sona a. (I) The ollowing able is inse ed: […] Li huanian musicology 4, 67[…]86. 1987 IPO […] Audi o y demons a ions, Ins i u e o Pe cep ion Resea ch (IPO) Eindho en, suppo ed by he Aus ical Socie y o Ame ica (ASA), CD wi h bookle . Januly ė Jus ė (2004): Aspec s o he coexis ence o musical and e bal ex s in Li huanian music o he second hal o he 20 h cen u y: om dicho omy o amalgam. Li huanian Musicology 5, Klymenko 84–109. I yna 2015: 5+5+7 se ies o wedding songs as a landma k o he ea ly Sla ic and Bal ic adi ion. […] Li huanian musicology 16, 157[…]165. In he 2010 edi ion o he magazine, he au ho o he book "A og ąża w pogonię" and o he books, Sigi Gedo, B onius Ku a ičius, w i es abou he eedom o c ea i i y. Eas and Wes . In he 10 h edi ion o he Compa a i e S udies, Sigi as Geda: The Li huanianisa ion o Wo ld Cul u e, he w o e: and m. ed. A. And ijauskas, Vilnius: Li huanian cul u al esea ch ins i u e. 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S ony ė Ži ilė 2014: Re hinking Li huanias His o ical and Musical Pas : Two di e en Pe spec i es in Poe y and Music. […] Music ha Changed Time: The Li huanian compose B onius Ku a ičius and he Bal ic Ou bu s o C ea i i y a e 1970, Vilnius: Li huanian Compose s' Union, Li huanian Academy o Music and Thea e, 100[…]109. Lijana Ša kai ė-Vilums 2013: Li huanian o mula songs and o mula ai y ales: an aspec o pe o mance. […] Li huanian musicology 14, 187[…]206. Šumila Ed a das 2015: Philosophical aspec s o he concep o new music in he no el Doc o Faus us by Thomo Manno and Philosophy o New Music by Theodo o W. Ado no. […] Li huanian musicology 16, 102 […] 122. T ilupai ienė Jū a ė 2000: F om M. Maž ydo's books: he hymn, i s place in he li u gy and school. […] Li huanian musicology 1, 49[…]54. John R. R. Tolkien 1999: The Silma illion, published by Ha pe Collins Publishe s. Umb asienė Vida 2002: B oniaus Ku a ičiaus […]Li le play[…] (acco ding o he poe y o S. Gedos): in e p e a ion o he acous ic and g aphic ex . […] Li huanian musicology 3, 6[…]16. GIEDRIUS ALKAUSKAS 350 o he Li huanian Language Ac LXXXIII F ançois Villon 1999: Rink inė poezija, G. D učku ė ( ansla ion by he au ho , explana ions), S. Geda ( ansla ion), Vilnius: Li huanian Union o W i e s. Į eik a 2020 m. lapk ičio 26 d. GIEDRIUS ALKAUSKAS Vilnius Uni e si y, Ins i u e o In o ma ics, Nauga duko S ee , 24, LT-03225 Vilnius, Li huania This is an e-mail add essed o: gied ius.alkauska[email p o ec ed]u.l