Epo, lyrikos, dramos žanrų ir kitų klasifikacijos vienetų pavadinimai pirmuose lietuviškuose literatūros teorijos vadovėliuose

Asta MITKEVIČIENĖ Institute of Lithuanian Language NAMENING OF EPO, LYRIC, DRAMATICAL GENERES AND OTHER CLASSIFICATION UNITS IN THE FIRST LITHUANIAN LITERATURE THEORY TEXTS 1. Introductory remarks It is often said that the terminology of literary science is particularly non-Lithuanian. Has it always been like this? This article aims to look at one of the main terms of literary science used during the creation of the current terminology of this science — the names of epic, lyric, dramatic genres and other classification units in the first Lithuanian textbooks of literary theory. It is not limited to the origin of terms—synonymy of terms is discussed, and several other aspects of the usage of terms are discussed. The material is collected from K. Bizauskas's Writing and Literature Theory (d. 1, 1918) and the third supplemented and revised edition of "Literatūros teorija", both editions of M. Gustaitis's Stylistics (1923 and 1927), three different editions of J. Norkausas's textbook Theory of Literature (Basic Laws of Prose and Poetry) (1923, 1926, 1930), St. Češūnas's Theory of Poetry and Prose (1925), J. Ambrazevičius's book Theory of Literature. Poerika (fourth edition, 1938*) —t. i.e. from all (first) special works on literary theory published in the interwar period. Why did you choose literary theory works? According to J. Girdzijauskas, until K. Bizauskas’ textbook “there were only crumbs of theoretical reflections on literature” (Girdzijauskas 1993: 115). In the decades of the 20th century, the basic concepts and concepts had already been formed.'- The second edition of K. Bizauskas' textbook appeared without any corrections (also only part I), and the fourth, as stated in the preamble, only slightly corrected, the terms remained the same. J. Jablonskis reviewed the second edition of the textbook in 1920 and denounced it (Jablonskis 1933: 181-183). ? The fourth edition (1938) was chosen because it was the last textbook of literary theory published before the war, reflecting the usage of literary terms in the 1930s. 81 "There is a great deal of literature criticism (see ibid.), but the system of concepts (and at the same time the terms themselves) is best seen only in literary theory works." By the way, it was the authors of the listed textbooks of literary theory who first tried to define the terms short story, novel (Sprindytė 1996: 26; LLE 2001). All textbooks, of course, are of different subject and linguistic level, of different volume. The literary backgrounds of the authors themselves also differ: K. Bizauskas studied law in Moscow, while M. Gustaitis, among other studies in the West, studied literature and art history at the University of Fribourg, J. Norkus graduated from the history department at the University of Lithuania, and J. Ambrazevičius studied literature at the University of Lithuania, where he later taught himself, and also at the University of Bonn) (LLE 2001; VLE III 2003, VII 2005; LE XX 1960). At the time of release, the textbooks were also unequally assessed. J. Jablonskis, as already mentioned, blasphemed the second edition of K. Bizauskas’ textbook. The textbook of St. Češunas, prepared on the basis of the work of D. Ovsiannik-- Kulikovskis, was declared by the Ministry of Education’s Commission for the Inspection of Scientific Instruments and Books as an unsuitable textbook for school (but suitable, for example, for teachers) (ŠD 1925: 1243), and it was published only once. In the 1920s, the textbook of teacher J. Norkaus (Misevičius 1930: 733) was probably used in schools. The 1922 edition of K. Bizausko textbook Prakalba is very important for the history of literary terminology. The author writes that he had submitted the literary science terms to the Terminology Commission, which “in a series of meetings discussed them, but has not yet determined them definitively”, so he allows the textbook to “retain the names of epos, lyric, drama genres and other units of classification used, for example, in literary history works published since the end of the 19th century, but since they review still young Lithuanian literature, the terms of the thematic group under consideration can also be only a limited number. * K. Bizauskas’s attention to terminology is evidenced by his thought that “the setting of terms is not the business of one interested person or author, but a common affair of all of us” (Biz, 4). * In 1921, the terminology commission entrusted J. Tumas with the task of forming a commission on literary terms, and proposed to invite L. Gira and V. Krėvė to join it. The commission submitted to the commission a list of terms of K. Bizausko literary science, which were discussed in seven meetings. J. Jablonskis participated in all meetings, K. Booga. Most of the meetings were chaired by A. Smetona, their secretary was A. Vireliūnas. The meetings were frequently attended by P. Mašiotas, A. Dambrauskas. K. Bizauskas was only a participant in one meeting. Unfortunately, the Terminology Commission has not published the decisions on terms of literary science, unlike those of law, roads, geography, etc. 82 damas observations of the Terminology Commission’ (Biz, 3). He also thanks especially K. Būga and J. Jablonskis for their advice. At the end of J. Gustaitis- ’s Stylistics is a List of Terms (the genre names are only one after the other). Terms are presented in textbooks in a wide variety of ways: they are defined, discussed, described or just listed, showing the change of the concept named by the term, the origin of some terms. For example, "nowadays, ballads are called small epic works with a lot of extraordinary, fantastic content —, The ballad originated in southern France, Provence. Folk songs of Provence, troubadours, walked from castle to castle and praised horseback riding. The dance was followed by singing, so the songs were called ballads (ballare danti). Through France, ballads passed to England and Germany, where epic works of fantastic content began to be called ballads” (Biz, 154—155). Terms in textbooks are classified. J. Ambrazevičius’ textbook includes a scheme of literary theory, which shows the hierarchy of the terms included in it. Genre and other classification terms. The term genre is used somewhat more frequently only in J. Ambrazevičius’ textbook (see ballad genre Am, 90, poem genre Am, 98, novel genre Am, 102, etc.). However, genres are also used to refer to the types of fictional literature: epic, lyric, drama (Am, 89). In the textbooks of M. Gustaitis (1927) and J. Norkauskas, only a few cases of the use of the genre have been noted. Most of the time, all authors refer to both genre and type of fiction by the term genre, less often by the term form (e.g. Biz, 145, Nor, 46, Nor, 50, Am, 98), or by the term section (e.g. Ceš 50). It is also known as a smaller subdivision of the genus, which is now often referred to differently. In traditional Lithuanian literary studies, this classification term is often a (genre) form, (genre) type, model (see Zaborskaitė 1982, LTA 1982). Types are also called, for example, types of lyricism: confessional lyricism, philosophical lyricism, etc. (see Zaborskaitė 1982). In this article, we will talk about the names of genres, genre forms, as well as the names of types of epic, lyric, drama. In the selected textbooks folklore is discussed together with literature, but folklore terms are not specifically discussed in this article (they are used only for comparison with literary science terms) and are not included in the total number of terms. On the other hand, it is not always possible to separate from folklore, because the boundary between literature and folklore genres is not always clear. When selecting the terms for the article, the authors mainly relied on V. Zaborskaitė’s Introduction to Literary Science (1982) and V. Kubilius’s Outline of Literary Theory (1982), dictionaries of literary science terms, as well as works of folklore. This article discusses the names of 276 types, genres and genre forms of epic, lyric, drama, not counting variants. 83 These terms comprise 44 synonym lines of varying length. 2. Epic, lyric, drama Almost all authors use the terms epics" Biz, 137, Gus, 4, Gus, 4, Nor, 43, Nor, 47, Nor, 60, Ces 49, Am, 71 (Biz, 64 is a Sudeten term with the variant epic —poetic epic), lyric Biz, 137, Gus, 4, Gus, 4, Nor, 55, Nor, 72, Am, 71 / lyric Nor, 47, Ces 87, drama Biz, 138, Gus, 4, Gus, 4, Am, 71 to name the respective genre of literature. It should be noted, however, that in textbooks, epic is replaced by the term epic poetry Biz, 137, Nor, 43 /epic poetry Nor, 60, Češ 49, Am, 94, lyrika — lyrical poetry Biz, 137, Nor, 72 /liriné poetry Nor, 58 /lyrical poetry Nor, 22, Češ 7, lyrical poetry Biz, 165, Nor, 55, drama — dramatic poetry Biz, 138, Nor, 62 /draminé poetry Nor, 64 or dramatic poetry Češ 57. It has been noted that K. Bizauskas and J. Norkus prefer compound terms. For J. Ambrazevičius, the terms epic, lyric, drama are usually sufficient. The titles of epic, lyrical and dramatic works in textbooks vary greatly. It forms long lines of synonyms, for example: lyrical work Biz, 137, Nor, 58, Nor, 75/lyrical work Nor, 62 —lyrical work Biz, 165 —lyrical work Biz, 166 —lyrical work Biz, 167 —lyrical work Biz, 179, Nor, 56, Nor, 73, Am, 110/lyrical work Nor, 60 —lyrical work Češ 59. Trizoic compounds could be considered long-term forms. Most of the synonyms are found in the third edition of K. Bizauskas’ textbook, while J. Ambrazevičius avoided synonyms — his work is purely lyrical. The titles of epic and dramatic works are used synonymously by more authors, e.g.: epic Biz, 137, Gus, 57, Gus, 62, Nor, 43, Nor, * Now in the meaning of narrative literature both epic and epic are used (the term epic will have begun to spread due to the attempt to name different concepts differently, cf. novel — novelistics, novel — novelistics, humor — humoristics, etc.). In newer publications (e.g. VLE V 2004) a shorter term is preferred. ' Examples of synonyms and variants are listed in chronological order in order to make the change of terms clearer. 84 47, Nor, 61, Am, 98 —epic work Biz, 154, Am, 89 —epic work Nor, 43, Nor, 47, Nor, 61, Am, 89—epic work Nor, 56epic work Nor, 59, Nor, 57, drama Biz, 12, Biz, 25, Nor, 10, Nor, 10, Nor, 13, Am, 14 —drama Biz, 137, Nor, 62, Nor, 64, Am, 111 —drama Gus, 231 /drama Češ 57 —drama Ces 57 —drama Nor, 56, Am, 121 and the long form of dramatic poetry Am, 121 (as it appears, long forms are loved by more than one author). J. Norkus calls a small epic work the term epic work Nor, 52, Nor, 55, J. Ambrazevičius introduces the term semi-epic work Am, 122. Such abundant synonymy is determined by the unsettled expression of secondary elements and the synonymous use of the work and the work. 3. Single-word terms The majority (about 71%) of the terms of the thematic group discussed in one-word (out of 69 found) are international terms. The genre names of drama (and theatre) differ — there is not a single Lithuanian term. In the same form these terms are used today, for example: drama Biz, 185, Gus 210, Gus, 204, Nor, 63, Nor, 47, Nor, 58, Am, 116,, farce Biz, 198, Ces 57, Am, 122, fairy Biz, 198, Am, 122 (fairy TZZe 2002, fairy VaitkTŽŽe 2003), comedy Biz, 185, "Nor, 63, Nor, 66, Nor, 58, Češ 57, Am, 115, melodrama Biz, 198, Češ 58, Am, 122, mystery Biz, 198, Češ 7s. Am, 122, play Am, 122, tragedy Biz, 185, Nor, 63, Nor, 66, Nor, 58, Czech 57,Am, 115, vaudeville Biz, 198, Czech 57,Am, 122. The only morality Biz, 199 established in another form—morality (cf. LTŽ 1962; Zaborskaitė 1982; 2002). The term "drama" is used to refer to a genre of drama. K. Bizauskas, J. Norkus, J. Ambrazevičius eliminate the ambiguity of the term drama in the text by using drama in the literal sense Biz, 185, Nor, 67, Nor, 70, drama (in the literal sense) Nor, 66, Nor, 69 or drama (in the narrower sense) Am, 116 / drama in the narrower sense Am, 121 (J. Ambrazevičius is more precise). By the way, St. Češunas uses the term drama in another sense — that of “tragedy- ”: “Often this is the meaning of the term drama, which means not just any dramatic work. but only a tragic one” (Ch 57). This usage may have been caused by the non-terminal meaning of the words drama and tragedy (cf. DZ, 2003 85 drama 3. prk. “great, morally painful disaster” and tragedy 2. "great disaster, terrible event"). The names of genres and types of works in epic and lyric® have a more diverse origin. Of course, there are mostly international terms, e.g.: bucolica Biz, 156, elegy Biz, 156 (elegy LTŽ 1962, TŽŽe 2002, VaitkTŽŽe 2003, elegy Zaborskaitė 1982), epigram Biz, 178, Nor, 67, Češ 64, epinikijos Biz, 172, epitaph Biz, 179, epic Biz, 146, Nor, 71, Češ 51, Am, 96, sketch Gus, 130, Gus, 137, feature Gus, 177, Gus, 178, hymn Biz, 175, Gus, 62. Gus, 67, "Nor, 64, Nor, 77, Češ 62, Am, 110, humoreska Biz, 164, iambai Biz, 178, Am, 111, kronika Biz, 102, Gus, 106, Gus, 115, Češ 68, Am, 27, memuarai Biz, 99, Gus, 113, Gus, 121, Nor, 36. Nor, 43, Nor, 50, ‘Cet 68, Am, 27, obituary Biz, 106, Gus, 122, Gus, 129°. novel Biz, 145, Gus, 4, Gus, 4, Nor, 68, Am, 80, pamphlet Am, 110, pamphlet Biz, 177, pastorale Am, 98 "psalm Biz, 175, Ces 62, novel Biz, 12, Biz, 25, Gus, 4, Gus, 4, Nor, 5, Nor, 3, "Nor, 3, Ces 6, Am, 7, novel Biz, 61, Biz, 91 and others. The term epic authors use not in the same sense —K. Bizauskas, St. Češūnas, J. Ambrazevičius call it (long) heroic poems, and J. Norkus — a certain novel (for example, Cervantes’ Don Quixote). Textbooks also use the international terms rondas Biz, 179, Gus, 236, Gus, 77, sonnet Biz, 62, Biz, 92, Gus, 65, Gus, 77, Ces 36, Am, 74, trio Biz, 179, Gus, 64, Gus, 73, Am 4, 74. The authors describe the concepts they refer to in different ways, for example, K. Bizauskas describes sonnet, triolet, rond, St. Češūnas describes sonnet as certain poems („Very many lyrical poems have separate titles not according to the internal content, but from the peculiarities of poetry“ (Biz, 179)), while M. Gustaitis simply speaks about certain types of rhyming. J. Ambrazevičius most clearly defines the usage of such terms: “Some structures of stanzas are more frequently used and have certain names. * The names of genres and genre forms of epics and lyricism are discussed together, because it is not always easy to assign them precisely to one or another type of literature, e.g. ballad, and in addition, in the textbooks under consideration some genres, e.g. idyll, are assigned to the epic and now generally considered to be a genre of lyricism (see Zaborskaité 1982: 155),? The article also discusses the terms used to designate genres related to the paraliterary field, the so-called fact literature (terms from LTA 1982: 265; Zaborskaitė 1999: 100). K. Bizauskas and J. Ambrazevičius still consider the term octava Biz, 179, Am, 74 as the title of a certain poem, while J. Ambrazevičius considers it to be fercinas Am, 74 /tercina Am, 74 (rercina has become prevalent), which are now usually perceived as the names of 1982: 173). 86 certain strophes (see LTŽ 1998). It should be noted that both K. Bizauskas and M. Gustaitis use rondo —a variable variant of the term (now rondo), although in the latter’s first edition of the textbook the chapter on rondo was titled rondeau Gus, 236 (the non-Lithuanian version is also included in the list of the mentioned edition of Terminy). K. Bizauskas assigns the terms arabeska (-as?) Biz, 164 (now “a certain way of representation” (ISTH 2001: 49)), silhouette Biz, 164 (7) to the types of epics, but does not explain them (only lists them). In the textbook of St. Češunas the term cona (love lyric sex) is used in Češ 63. Maybe it's a cancona? International terms used in textbooks have not yet been definitively established — there are variants, e.g.: autobiography Biz, 99 /autobiography Gus, 121, Gus, 129, Nor, 36, Nor, 44, Nor, 51, Češ 68, Am, 28, ballad Biz, 145, Nor, 65, Am, 90 /ballade Nor, 46, Nor, 50, Ces 50. biography Biz, 64, Biz, 99 /biography Gus, 106, Gus, 115, "Nor, 36, Nor, 43, Nor, 50, Ces 68, Am, 27, elegia Biz, 171, Nor, 58, Nor, 61, Nor, 75, Am, 109 /elegy Češ 63, idyll Biz, 145, Am, 98 /idyll Nor, 52, Nor, 50, Češ 50, ode Biz, 171, Nor, 75, Am, 109 /ode Nor, 58, Nor, 61, Ces 62, poem Biz, 12, ‘Biz, 25, Gus, 62, Gus, 56, Nor, 46, Nor, 50, Nor, 62, Ces 6, Am, 79 /poem Gus, 88, satire Biz, 171, Nor, 61 /satire Nor, 58, Nor, 75, Am, 109 and others. More interesting options analai Biz, 102 /annatai Gus, 106, Gus, 115. In addition to the aforementioned poem/poem, M. Gustaitis uses the hybrid poem Gus, 72 or poem Gus, 235, whose diminutive meaning is further reinforced by the adjective smaller. Lithuanian genres and genres of works have about 1.5 times fewer names. It is an outline Češ 56, a story Biz, 12, Biz, 25, Gus, 4 Gus, 4, Nor, 5, Nor, 3, Nor, 3, Ces 6, Am, 7, a short story Biz, 145, Nor, 54, Nor, 58, Češ 5,Am, 104, memories Biz, 64, Biz, 103, Nor, 36, Nor, 43, Nor, 50, Češ 68, a diary Gus, 120, a diary Biz, 102, Gus, 128, Am, 27, a poem Biz, 93, Gus, 48, Gus, 51, Nor, 8, Nor, 6, Nor, 10, Ces 59, Am, 7, lives Gus, 122, Gus, 130 "a work of hagiography (stories of saints)", a confession Biz, 106, Gus, 121, Gus, 129, a travelogue Gus, 100, 87 Gus, 110 (apparently composed by analogy with a diary, chronicle), chronicle Biz, 64, Biz, 99, Gus, 106, Gus, 115, Nor, 36, Nor, 43, Nor, 50, Ces 54, Am, 27, sakákécia Biz, 20, Gus, 60, Gus, 63, Nor, 18, Nor, 21, Nor, 29, Češ 24, Am, 11 "story Am, 100, picture Nor, 54, Nor, 58, inscriptions Biz, 99, "Gus, 106, Gus, 115, Nor, 36, Nor, 43, Nor, 53, Am, 27, picture Biz, 164, Am, 9 and others. All of the listed Lithuanian terms are derivatives (terminized (for example, gyvenimai) or specially created to name concepts of literary science). Lithuanian deminutives are also used alongside the terms that are now familiar to us, e.g.: apysakaite Am, 81, pasakymėlis Biz, 164, Nor, 54, Nor, 58, Nor, 68, metraštėlis Nor, 74. The term metrastélis is only in the second edition of J. Norkaus textbook (it is not clear why the diminutive was chosen). In the third edition, at the same place, record Nor, 82. The term is used exclusively by J. Ambrazevičius. This is how he calls Vincas Stonis, the Witch of Šatrija (book 146 p.). K. Bizauskas does not identify the short story with the short story (he mentions the latter together with such “types of epic” as the picture, humoresque, etc.), while J. Norkus lists these terms side by side, although the preference is still given to the short story”* (in the 1930 edition, the short story is no longer used to name a certain genre). By the way, it should be mentioned that, during the development of Lithuanian epic prose genres (the second half of the 19th century), small and medium-sized prose works were called in very different ways (mostly in Lithuanian!), e.g.: vaizdelis, pasaka, nusidėjimas, paveikslas, pasakymelis, piešinys, apysakutė, apysakyte, apysaka, istorija, etc. (Sprindyté 1996: 24—25). According to J. Sprindytė, it is only since the 1950s that genre-specific subtitles can be trusted (Sprindytė 1996: 15), although even later short stories were still called novels, and short stories—stories. For example, M. Gustaitis, J. Norkus, J. Ambrazevičius, i.e. all the authors who mentioned the work, refer to the novel by V. Pietaris, Algimantas, as a short story, because it was published under such a subtitle. Only the latter adds a note that the authors call this and other works apysa- '* It is interesting that J. Norkus calls Palangos Juza a story and a short story Nor, 35, Nor, 42, Nor, 50 (it may be that this is not a description of the genre of the work, but of the kind — the narrative work, i.e. the term is used in another meaning). The short story, as A. Zalatorius states, “for a long time was even more popular than the short story, but later the short story gradually began to overshadow the short story” (Zalatorius 1971: 19). 88 komis, although, for example, Algimantas is more like a novel (Am, 103). The fact that M. Gustaitis gives a common example of novel and short story (Žemaitės Kalėdos) shows that there was no distinction. According to A. Zalatorius, in the 1920s and 1930s the term novel prevailed over short story" (Zalatorius 1980: 7-8). The textbooks of that period also show a discontinuous transition to the novel. K. Bizauskas uses the terms novel and short story to refer to different concepts, and gives their definitions:,,A short story is called an ap s a k y mas. Usually, a short story depicts one adventure, usually gives the characteristics of one person, does not try to depict life in its fullness, it is, as it were, an episode, a moment taken from the lives of the characters. The novella relates to the novel as a ballad to a romantic poem. It is a small narrative of art about some particular adventure, usually based on reality, but not exhausting the characteristic details” (Biz, 164). In the first two editions of the textbook, J. Norkus uses the term „apsakymas“ to name certain short narrative works (he also uses the terms „pasakyklis“ and „paveikslas“, mentioning that the latter is used only occasionally). In the 1930 textbook, unlike in previous editions, only the novel is described, although the term short story is mentioned here. J. Ambrazevičius also speaks only about the novel, but mentions that “beside the novel there are epic works of small scale and otherwise called: apysakaitė, apsakymas, vaizdelis” (Am, 104). From the material presented in textbooks about the relationship of genre names of prose works (for example, which terms are synonymous and which ones are not) it is difficult to decide. The term "poem" should be discussed separately, since it is not used everywhere to refer to a (small) poem. K. Bizauskas uses this term since the third edition of the textbook, 0 he calls it versed language, poems („We call poems a measured language divided into rhythmic sections, which have a resemblance to the beats of music“ (Biz, 80)), although there are occasionally poems (cf. mixed verses Biz, 85, white verses Biz, 91) (in the first edition išti- "As stated by A. Zalatorius, "no significant collection of Lithuanian short prose, published in the third and fourth decades of the 20th century, had the subtitle "stories", but many books were titled "novel" by the authors themselves" (Zalatorius, 1999). 1980: 7). 89 Terms with Lithuanian subordinate accents. The species is indicated by two adjectives, e.g.: modern-- day comedy Biz, 196, Am, 120, modern-- day poem Biz, 152, Am, 95 /modern-- day poéma Biz, 153, modern-- day tragedy Biz, 192, old-age poem Nor, 53, modern-- day idyll Biz, 156, as well as by the noun adjective and the adjective, e.g.: folk heroic poem Biz, 145, Nor, 46, Nor, 51, folk heroic epic Biz, 146, new epic Biz, 145, heroic epic of the nation Am, 96, or by two adjectives, e.g.: the oldest heroic poem Am, 95 and the oldest heroic poem Am, 96, old heroic poem Am, 96, new national drama Ce§ 57—58, by the participant and the adjective, e.g., the successive heroic poem Nor, 49, Nor, 53, Nor, 65. Terms with secondary elements of foreign origin. Terms with secondary elements of foreign origin are the rarest. In such terms, one side note is usually a suffix adjective, and the other is the noun origin, e.g.: ancient Greek comedy Am, 120, ancient Greek tragedy Am, 117 /Greek ancient tragedy Am, 117, classical French comedy Am, 120, realistic English tragedy Am, 117, French classical tragedy Nor, 58 /classical French tragedy Am, 117. See also other terms, e.g.: classical heroic poem Biz, 146; lyrical epic poem Nor, 66; sentimental idea novel Ceš 55. The secondary elements of composed folklore terms are mostly Lithuanian (most expressed by the noun pronoun), e.g.: household song Biz, 169, tale of being Am, 91, state song Biz, 168, songs of sounds and work Nor, 57, Nor, 60, Nor, 73, animals and birds songs Nor, 57, Nor, 60, Nor, 73, animal tale Biz, 141, Am, 91, funeral mourning Ces 63, orphans song Nor, 57, Nor, 60, Nor, 73, customs tale Biz, 141, beliefs and customs songs Nor, 87, Nor, 60, Nor, 73, children- 's tale Am, 92, wedding song Biz, 169, Nor, 20, Nor, 22, Nor, 32, Ces 62; descriptive tale Biz, 141, wedding song Nor, 57, etc. Words of foreign origin are used much less frequently as secondary elements of terms (the secondary elements are often the same or related), e.g.: history song Biz, 99, historical song Biz, 143, Nor, 45, Nor, 49, Nor, 61, Am, 93, mythical song Biz, 168, mythical tale Biz, 140, Am, 91, myths tale Am, 91“, satirical tale Biz, 141, satirical tale Am, 92, etc. 19 Now, instead of the terms myths tale and mythical tale, the word sage is used. 96 However, Lithuanian is usually only one of the side effects of polyword terms, e.g.: historical folk song Nor, 71, Nor, 79, Nor, 87, heroic folk song Nor, 62, lyrical folk song Nor, 57, Nor, 74 /lyrical folk song Nor, 61, poetic folk song Nor, 45 /poetic folk song Nor, 49, Nor, 62, etc. 6. Synonymy of terms The synonyms of the terms of the group in question are several in relation to the source. Some of them are used by the same author in the same edition of the textbook, others are found only in different editions of the textbook, and others — in textbooks by different authors (from the same or different period). Thus, synonymous terms indicate the non-fixation of the expression of the names of epic, lyric, drama types, genres, genre forms, their change. Term synonyms rows consist of two to nine terms. Most of the synonyms are binary (5294) and ternary (34%). Binary synonym strings: (a) synonymy of mononyms. There are only a few single-word synonymous terms: the Lithuanian terms dienoraštis Biz, 102, Gus, 128, Am 427 and dienoraštis Gus, 120, the international terms idilė, or pastoralė Am, 98 (now not considered synonyms). The synonymy of the terms diary and diary—the result of the development of language. According to the LKŽ, the word diary “book of daily activities and events” was used, for example, by J. Šlapelis in the 1921 Lithuanian-Russian language dictionary. This change in the use of words is reflected in the terminology of literary science, into which they have already been incorporated. The relationship between the terms tragedy and drama was discussed earlier in St. Cheshunt’s textbook. (b) the synonymy of compound terms. The most common case of such synonymous terms is the synonymous use of an adjective (usually the suffix -ic of an adjective) and the noun parent, e.g.: historical novel Biz, 44, Nor, 54, Nor, 58, Nor, 70, Češ 50, Am, 102 — historical novel Biz, 163, Gus, 142, Gus, 148, historical narrative Gus, 142, Gus, 148, Nor, 54, Nor, 58, Češ 50 — historical narrative Gus, 142, Gus, 148, historical epic Biz, 139, Nor, 45, Nor, 48, Nor, 44, Am, 93 — historical epic Am, 90, religious lyric Češ 62 — religious lyric Češ 62, satirical lyric Češ 64 — satirical lyric Češ 64; satirical novel Biz, 163 — satirical novel Am, 102, war song Češ 62 — war song Češ 62. Several synonym lines are formed by replacing the adjective with the subjunctive 97 (over time) a relative adjective, e.g.: romantic poem Biz, 146 —romantic poem Gus, 231, Gus, 75, subjective poem Nor, 50 and variant subjective poem Nor, 54 —subjective poem Nor, 65. In J. Ambrazevičius’ textbook there are several synonymous terms, the secondary elements of which are of different origin — one Lithuanian, the other foreign, e.g.: sensual, emotional lyric Am, 106, reasoning, reflex lyric Am, 106. The author prefers more Lithuanian terms. K. Bizauskas uses synonymously the names of historical leather types with Lithuanian (new, art ode Biz, 172) and foreign (classic, or natural leather Biz, 172) secondary démens. The synonymy of the lines of these terms is peculiar, because, although the new — art "beautiful, artistic", classical — natural "non-artificial, real" are not synonyms, but the terms themselves new ode — art ode, classical leather — natural leather (the basic term is classical ode) — synonyms, more precisely semantically unequal synonyms (the term is named by raising different characteristics). The synonymic connection is not seen from the expression, but only from the use. The synonymy of all the listed terms is determined by different (synonymous or not) secondary elements. (c) synonymy of terms of different numbers of elements. Examples include: travel description Biz, 112, Gus, 88, Gus, 99, Nor, 35, Nor, 42, Nor, 49 (and a variant travel description Biz, 113) — travelogue Gus, 100, Gus, 110, modern-day comedy Biz, 196, Am, 120 — new comedy Am, 121, modern-day poem Biz, 152, Am, 95/modern-day poéma Biz, 153 — new poem Biz, 153, Am, 97, ancient-day poem Nor, 53 — old poem Nor, 53, lyric of philosophy Ces 62 — philosophical lyric Nor, 75. Three-word terms (except for the latter) have been included earlier in the same textbook than two-word terms or are used in previous publications (editions). The alternative terms real travelogue Gus, 88, Gus, 99 and real travelogue Gus, 100, Gus, 110 (their adjectives in the subjunctive are differently spelled) have a synonym real travelogue Gus, 100, Gus, 1 10. St. Češunas uses synonymously the terms new classical drama Ce§ 57 and pseudoclassical drama Češ 57. Trinar synonym lines: (a) synonymy of mononyms. Most synonymous terms of one word are lexical synonyms. Biz, 64, Biz, 103, Nor, 36, Nor, 43, Nor, 50, 98 Ces 58 —memoirs Biz, 99, Gus, 113, Gus, 121, Nor, 36, Nor, 43, Nor, 50, Ces 68, Am, 27 —recordings Biz, 99, Gus, 106, Gus, 1 15, Nor, 36, Nor, 43, Nor, 53,Am, 27. In K. Bizauskas’ first edition of the textbook there is only the term atsiminimai, which in the third edition is pushed to the second plan, because the author mostly writes memoirs (the first times are notes or memoires Biz, 99, memoires, or notes Biz, 101). The first use of the term "memories" was as a composite term for literary memories, theatrical memories Biz, 103. M. Gustaitis's memoirs do not use the term at all (although he gives examples of works whose titles contain this word). His textbook prefers the term notes (notes or memoirs Gus, 113, Gus, 121), which is commonly used. In the first editions J. Norkus first mentions the synonyms notes, or memoirs Nor, 36, Nor, 43, and in the third edition —atsiminimai, or memoirs (in both cases the Lithuanian term is preferred). Incidentally, the reviewer of the second edition criticizes the author for calling the notes memories without explanation (Misevičius 1930: 735). It has been noted that in one place of the third edition the term notes is also used. Apparently, St. Cheshunas considers the terms "memoirs" and "memoirs" as synonyms (they are written next to each other after the comma). Textbooks published after K. Bizauskas tried to use Lithuanian terms. However, in J. Ambrazevičius’ work the opposite is again the case — he uses memoirs, or the inscriptions Am, 27, or memoirs alone. It is therefore possible to say that the term memoirs has hardly made its way (cf. memoirism, memoirist). Another equally interesting trio of terms is the chronicle Biz, 64, Biz, 99, Gus, 106, Gus, 115, Nor, 36, Nor, 43, Nor, 50, Ces 54, Am, 27 —chronicle Biz, 102, Gus, 106, Gus, 115, Češ 68, Am, "27. analai Biz, 102 /annatai Gus, 106, Gus, 115. In the first and third editions of K. Bizausko’s textbook, the term chronicle is used, but in the third edition there are two other names for the same concept — chronicle and annals. M. Gustaitis also prefers the term metrasciai, which is sometimes replaced by chronicle. It is used only once. J. Norkus avoided synonymy — it is used only in chronicles. The terms chronicles and chronicle can be found in St. Češunas' textbook, but they are not related and explained there, so it is difficult to judge about their relationship. J. Ambrazevičius, like K. Bizauskas, uses the Lithuanian term merraščiai, but says that they are also called chronicles. (b) the synonymy of compound terms. The most common case of synonymy of compound terms is synonymy of secondary elements. Often the elements of the terms forming the triangular lines, by which these terms diverge, are of different origin — a Lithuanian and a foreign word. For example, K. Bizauskas, M. Gustaitis use the term social novel Biz, 163, Gus, 142, Gus, 148, J. Norkus writes in the 1930 edition social (social) novel Nor, 71 (preference is still given to a more Lithuanian term, the suffix -inis adjective is chosen instead of the noun adjective to denote the kind), while J. Ambrazevičius leaves the term social novel Am, 102, which has only a secondary accent expressed by a word of foreign origin. Synonyms adventure novel Gus, 104 /adventure novel 99 Gus, 113 — adventure novel Nor, 70, Ceš 55, Am, 102 verse is supplemented by the adventure novel Am, 102, with a synonymous (but distant) foreign-origin secondary element. The latter term is used only by J. Ambrazevičius and the author prefers it to adventure novel. So the path of internationalization is being followed. To name the same concept, J. Ambrazevičius uses three terms —folk song Gus, 53, Gus, 56, Am, 109 —individual song Am, 109 —literary song Am, 163, the words of which are not synonymous. The term used by K. Bizauskas, J. Norkautas as literary lyric Biz, 167, Nor, 58, Nor, 74 /literary lyric Nor, 61 J. Ambrazevičius replaces with two terms — written, or individual, lyric Am, 108. In the mentioned review of J. Norkaus’ second textbook, a proposal to change the subject /iferataras is set out: “In the new edition, the author will get only one other minor change, namely, to replace the terms “literary (art) epics”, “lyric of literature” with more precise terms: “individual epic”, “individual lyric” (Misevičius 1930: 733). Apparently, because the theory of literary science at that time included folklore, the terms literary lyric and literary epic (see below) could be understood inaccurately. The secondary elements of several terms, by which the terms differ, are Lithuanian words (but not synonyms), e.g.: liaudies epas Biz, 138, Nor, 43, Nor, 74—poetic epic Biz, 138 —folklore epic Am, 90, liaudies lyrika Biz, 167, Nor, 56, Nor, 72, Am, 105 /liaudies lirika Nor, 59 —poetic lyric Biz, 167 —folklore lyric Am, 108. K. Bizauskas prefers the term folk epic, folk lyric, which is also the name of the corresponding sections. J. Ambrazevičius considers the lyric of folklore to be the main term. With related words (grammatical synonyms) to express synonyms ruled novel Biz, 162 —ruled novel Biz, 162 —knights' novel Nor, 70, Ceš 53, Am, 102; family novel Biz, 163 —family novel Biz, 100 163 —family novel Biz, 197, Nor, 71, Am, 102 secondary elements. These terms are used synonymously only in K. Bizausko textbook, in later textbooks only one term is used (with a noun). 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971: The City of the Dead, 1971. K. Bizauskas uses a completely different term with a clearly derogatory connotation, the crying comedy, next to the town drama, stating that this name was used for town dramas in France (Biz, 197). The latter term is therefore merely a historical fact. In J. Ambrazevičius’ textbook there is only the drama of the townspeople. (c) synonymy of terms of different numbers of elements. For example: classical comedy Biz, 194 — Ancient Greek comedy Am, 120 — Greek comedy Am, 120; pseudoclassical tragedy Biz, 190 — French classical tragedy Nor, 58/classical French tragedy Am, 117 — classical tragedy Am, 117, pseudoclassical comedy Biz, 195 — classical French comedy "Am, 120 —Classic Comedy Am, 120". Thus, the accent classical is used with different meanings: for K. Bizauskas classical is ancient (Greek), and for J. Ambrazevičius — classicism. Three-word terms fantastic travel description Biz, 113 —fantastic travel description Gus, 88, Gus, 99 synonym is two-word term Jantastic travel book Gus, 100, Gus, 110. Polynomial synonym strings. It is mainly composed of four-line synonyms. One of them —the epic of the lifelong, or art, Biz, 138, Nor, 43, Nor, 47 —the written, or individual, epic Am, 90. K. Bizauskas mainly uses the term art epics (see earlier literary lyricism). It is difficult to say which term J. Norkus prefers. J. Ambrazevičius, as in the case of lyricism, uses two terms — written or individual epic. The next quadruple row of synonyms consists of the names of the historical type of ode — lyrical, sektiné or pseudoclassical ode Biz, 172 — pseudoclassical ode Biz, 175 (the most commonly used pseudoclassical ode). Four and five 101 The terms are used to name two historical types of tragedy, for example: Greek tragedy Biz, 188, Nor, 64, Nor, 66, Nor, 58, Am, 117 — classical tragedy Biz, 187 — ancient Greek tragedy Am, 117 / Greek ancient tragedy Am, 117 — ancient Greek tragedy Nor, 58; modern tragedy Biz, 192 — new tragedy Nor, 64, Nor, 66 — Shakespearean tragedy Nor, 58 — realistic English tragedy Am, 117 — realistic tragedy Am, 118. There are even seven terms for one kind of folklore epic. Three of them are used by K. Bizauskas (heroic epic Biz, 139, folk heroic epic Biz, 146), and four by J. Ambrazevičius (warrior epic Am, 90 — hero epic Am, 93 — heroic epic of the people Am, 95 — heroic epic of the people Am, 96). Such abundant synonymy was caused by the synonymous use of adjectives with secondary elements and the origin of nouns (Lithuanian and foreign origins), as well as the competition of long and short term variants, different control elements of three-word terms. Although the terms of the concept are varied, the textbooks predominate synonyms with Lithuanian secondary accent (heroic epic, epic of heroes). Now the term heroic epic is called, for example, Homer's Odyssey and so on. However, for this purpose, the authors (except St. Cheshun, who writes the heroic epic Chesh 50) use other terms. There are as many as eight of them (together with the St. Cheshunt heroic epic — nine), for example: Biz, 145 — epic Biz, 146, Ces 51, Am, 96 — heroic poem Biz, 147 — epic Nor, 63 — the oldest heroic poem Am, 95 / the oldest heroic poem Am, 96 — heroic poem Am, 95 — the old heroic poem Am, 96. It has been noted that, unlike in the case of the heroic epic, K. Bizauskas more often uses the term heroic poem (or folk heroic poem) with a foreign accent. The term epic is included in textbooks as a secondary term for the concept. 7. Conclusions 1.The third edition of K. Bizausko textbook of literary theory appeared in the same year as the University of Lithuania was founded in Kaunas and literature was taught there. Therefore, the need for Lithuanian literary terms was already very high and the terms had to be created quickly, as well as to quickly select suitable terms already in use (there were terms, because articles dedicated to literary subjects were already printed in the 19th century, the history 102 of Lithuanian literature began to be published in 1890, etc.). The Terminology Commission did not help much here: K. Bizauskas had only to follow its remarks, not to take and use the established terms. Many of the terms in his textbook will have been taken by other authors, whose terms, unfortunately, are not always better than those of K. Bizauskas. An eloquent fact is that the authors of the first books on literary theory were lawyers, historians, priests who had studied literature abroad… The only J. Ambrazevičius was a literary scholar who graduated from a Lithuanian university. 2.The majority of the names of epic, lyrical, dramatic types, genres and other units of classification in the first Lithuanian textbooks of literary theory are of foreign origin: there are almost three and a half times more international terms of Monowords than Lithuanian ones, mixed-language (Lithuanian and foreign) composite terms make up more than half of all composite terms, foreign-origin terms — more than two fifths, and purely Lithuanian — only about one sixteenth. The scarcity of compound terms of Lithuanian origin is determined by the prevalence of foreign-origin monosyllabic terms: monosyllabic terms become the main elements of compound terms. In terms of two-word terms, foreign-origin terms are used as secondary elements almost one and a half times more often than Lithuanian- -origin terms, and only three-word terms with foreign-origin terms as secondary elements fall behind terms with Lithuanian- -origin words as secondary elements. 3. Both single-word and compound terms are characterized by a phenomenon quite common in the 20th century — variation. It was mainly determined by the uneven Lithuanianization of international terms or foreign words that are secondary elements of terms. Lithuanian adjectives or participles in secondary terms are almost always nouns, but unfortunately, they are rarely of foreign origin. This undermines systemicity. 4. Subordinate elements of two-word terms are usually expressed by adjectives with the suffix -inis. Such terms are about one and a half times more than those with a nobleman. These two structural types of biword terms are still predominant. Terms whose secondary elements are suffixes -iškas adjectives do not make up even a tenth of all two-word terms. 5.There are more synonymous lines in all editions of literary theory textbooks than there are in just one edition (the most common are 103 binary ones). In addition, over time, the replacement of terms with synonymous ones did not always follow the better path of Lithuanianization. When comparing the number of synonymous lines in K. Bizauskas’ textbook of 1922 and J. Ambrazevičius’ work of 1938, it is clear that they have not decreased (only the variants of terms are not characteristic of J. Ambrazevičius, in addition, there are fewer inequalities in the expression of secondary elements). The first Lithuanian textbooks of literary theory bear witness to some important aspects of the terminology of literary science, for example, the inconsistencies in the use of the names of the genres of epic prose, the use of the saying in the meaning of “telling”, the sudden transition from the short story to the novel, the differentiation of the terms folk song and folk song, the difficult way of the word memories into the terminology of literary science, etc. SOURCES Am, -Ambrazevičius J. Literary theory. Poetry. High School, 1938. Biz, —Bizauskas K. Theory of Writing and Literature 1, Kaunas, 1918. Biz, —Bizauskas K. Literary Theory. Schools for the Upper Class, 1922. Ces ~~ Cheshunt St. Theory of Poetry and Prose. Schools for the Middle Class, 1925. "Gus, —Gustaitis M. Stilistika". A History of the Roman Catholic Church, 1923. "Gus, —Gustaitis M. Stilistika". Theory of Literature, Kaunas-Marijampolė, Nor, -—Norkus J. Theory of 1927. Literature (Basic Laws of Prose and Poetry). High School, 1923. Nor, -Norkus J. Literary theory (basic laws of prose and poetry) for secondary school, Kaunas, 1926. Nor, —Norkus J. Literary Theory. Basic laws of prose and poetry. University of California Press, 1930. LITTERACY Bukauskienė T. 1993: History of Lithuanian Literature Teaching (until 1940), Vilnius. 1913: /from our literature, Kaunas. 2003: Dictionary of Modern Lithuanian Language. Vyr. red. St. Keinys, Vilnius (e. edition). Girdzijauskas J. 1993: Kazys Bizauskas and his literary theory. —The new fireplace 7-8, 115-118. 104 1933. pp. 33. "K. Bizauskas". Theory of literature [Rec.]. —Jablonski's Writings 2. Red. J. Balčikonis, Kaunas. Klimas P. [1918]: Readings for Lithuanian Language Lessons, Vilnius. LE XX 1960: Lietuvos enciklopedija, Boston. Dictionary of Lithuanian Language. —www.lkz.lt LLE 2001: Encyclopedia of Lithuanian Literature. Red. by V. Kubilius, V. Rakauskas, V. Vanagas, Vilnius. LTA 1982: Literary theory outline. Red. by V. Kubilius, Vilnius. 1962: The Dictionary of Literary Terms. Compiled by J. Petronis, V. Vanagas, A. Zalatorius, Vilnius. LTZ 1995: Dictionary of Literary Terms 1. Romans. Compiled by A. Krasnov, Vilnius. LTŽ 1998: Literary Terms Dictionary 2. Eilédara. Compiled by J. Girdzijauskas, Vilnius. 1930. pp. 30. J. Norris. Literary theory (the basic laws of prose and poetry) for secondary school [Rec.]. —Cleaning Work 7, 733–738. Mitkevičienė A. 2004: Variants of terms in V. Dubo universal literature textbook. —Terminologija 11, 119-144. Sauka D. 1982: Lithuanian Folklore, Vilnius. Sauka L. 1999: Lithuanian Folklore, Kaunas. 1996. "Lithuanian language- ". 1925: Educational Work 11, 1243. 2002: Interlex. Dictionary of International Terms. Ats. red. A. Kinderys, Vilnius (e. edition). VaitkTZZe 2003: Vaitkevičiūtė V. Dictionary of International Words, Vilnius (e. edition). VLE IHL 2003, V 2004, VII 2005: Universal Lithuanian Encyclopedia, Vilnius. Zaborskaitė V. 1982: Introduction to Literary Science, Vilnius. Zalatorius A. 1971: Development of Lithuanian narrative and poetry, Vilnius. Zalatorius A. 1980: Lithuanian novel of the 20th century (until 1940), Vilnius. www.libis.- lt (Lithuanian Integrated Library Information System). KCJIT 1974: Kpamkuū choeaps numepamyposedueckux mepmunos. Pen.-cocr. JL. MH. Tumodees, C. B. Typaes, MocxrBa. 2001: Jlumepamypnaa suyuxaonedus mepmunog u nonamuū. In. pen. A. H. Huxomokun, Mockna. THE NAMES OF EPIC, LYRICS, DRAMA GENRES AND OTHER CLASSIFICATION UNITS IN THE FIRST LITHUANIAN TEXTBOOKS OF LITERATURE THEORY Summary This article investigates the origin, synonymy and some usage issues of names of epic, lyrics, drama genres, genre forms and kinds used in the first Lithuanian textbooks of litera105