Maironis ir mūsų literatūros mokslo terminologija

HISTORY OF TERMINOLOGY Stasys KEINYS Lithuanian Language Institute MAIRONIS AND THE TERMINOLOGY OF OUR LITERATURE SCIENCE Let us defend the language, the land, its way! Maironis Probably there is no Lithuanian, apart from the very young ones who are only taking their first steps in life, who has not heard the name of Maironis. Many would easily recite another of his poems or at least sing the songs “Lietuva brangi” or “Kur bėga Šešupė”, which have long since become national hymns. For four or five generations of our people Maironis has raised and still raises the spirit of national understanding, Lithuanianness, strengthened and continues to strengthen it in the days of difficult trials. Still alive, Maironis was called the “king of Lithuanian songs” (Tumas 1924: 219) or the “great prince of Lithuanian poets”, although he was removed from the throne in the 1920s. Since the end of the 19th century, the nation has been walking along its winding paths with Maironis, always inspired, strengthened and encouraged by him. But Maironis was not only a poet. Already Tumas-Vaižgantas, in his lectures on literature during the prohibition period, emphasizing Maironis’ uniformity and monotony, although he could appear to be a three-faced man with three specialties, listed: “historian — theologian — singer” (Tumas 1924: 73). When such a speech comes out, it would be possible to speak of its four-faced or five-faced character. After all, for all four decades of his priesthood he (Maciulevičius, Mačiulis) was a teacher — at the Kaunas seminary, at the Petrapili spiritual academy and at the University of Lithuania (which in 1930 received the name Vytautas the Great University)! These words of L. Gira are mentioned in Maironis’ monograph by V. Zaborskaitė (1968: a long-time professor of these academic institutions, who also held various leading positions in them (he is called, as we would now say, a former scientific organizer), and who, by the way, taught, at least for the last decade of his life, not only theology, but also literature — universal at the Kaunas seminary, and for some time at the University of Lithuania at the very beginning of that university — Lithuanian literature. This can be considered as a confirmation that the first vocation of Jonas Mačiulis, after receiving his maturity certificate, to enter the university to study literature, was not accidental. Very soon he obeyed his second vocation (priesthood) and remained faithful to the first for the rest of his life. Maironis — not only a poet, a singer. It is a literary work in a broader sense. He was also a cultural worker, a public figure, a promoter of the Lithuanian language, who made a great contribution to the defence of its rights, the enhancement of its role and especially the development of the contemporary artistic language. From Maironis’s poetry, two things are 343). 26 particularly striking, which Professor Vanda Zaborskaitė has said precisely. Firstly, “Maironis always created poetry of clear thought” (Zaborskaitė 1968: 463) and, secondly, “You had to be very deeply grown up with the folk language, and at the same time with the folk mentality, in order to be able to create language forms that the people themselves accepted as their own” (Zaborskaitė 1968: 475). There is evidence that Maironis himself considered his true vocation not art, not poetry, but science (Mykolaitis-Putinas 1936: 241). The primacy of science was already emphasized by his contemporaries and colleagues Vaižgantas, who read a course about him at the University of Lithuania on the occasion of the poet’s 60th anniversary: “He does not serve science with his talents, only science for poetry, and poetry for the health of the Fatherland” (Tumas 1924: 77). Science brought Mairon closer to terminology, to the subjects of the language of faith and science. Apparently, while still studying at the seminary, together with J. Tumas, he was given the task of correcting M. Valančiaus’s Roman Catholic language of Science (see Zaborskaitė 1968: 49, footnote), he wrote Apsakymai apie Lietuvos praeitį, which was published in Tilžė in 1891 and of which there were later three revised editions (the last two were published in Vilnius in 1893 and 1894). to 27 —The History of Lithuania in 1906 and the Past of Lithuania in 1926). Later, in the work Praelectiones de justitia et jure guos habuit in Caesarea Romano-Catholica Ecclesiastica Academia Petropolitana by Joannes Matsulewicz, Theologiae Moralis et Pastoralis Professor, published in the Lithuanian Spiritual Academy, in addition to French, Polish and Russian, the Lithuanian equivalents of Latin legal terms were also presented (Zaborskaitė 1968: 266). A series of literary-scientific terms are used in the Short Review of Lithuanian Writing, included in the 1906 edition of the History of Lithuania. Finally, there is a wealth of terms from this and related fields in the Brief History of Universal Literature, published in 1926 as the fifth volume of Maironis' writings. In this article we want to look at the literary science terms of this book in a broader way. Maironis was one of the first men of our culture and science who taught literature in Lithuanian in special and higher schools. The terms he used therefore reflect the initial stage of the current development of the terminology of the subject. The author himself wrote about this work in the introduction: “Having no time for deeper studies of universal literature, yet wanting to help our young people studying this subject a little, I have produced even an imperfect and brief history of universal literature” (Maironis 1926: 4). Apparently, this work was primarily intended for Maironis’s own clergy listeners, since, as V. Zaborskaitė states, “on the basis of this textbook Maironis taught universal literature in the seminary” (Zaborskaitė 1968: 342). Incidentally, this is also shown by the interpretation of the writers and their works, often emphasizing the relationship of the writers and their works with virtue, faith, and in recent times especially with the Catholic Church. In some places, it tells which writers or their works have been included in the list of forbidden books of the Catholic Church. In view of the unique purpose of Maironis’ textbook, I. Slavinskaite’s statements that A Short History of Universal Literature “is not at all a more serious work suitable for studying foreign literature” and that the moralizing tendency in it is “so strong that it is even biased and sometimes intrusive” (Slavinskaitė 1992: 27) seem to be greatly exaggerated. For a general acquaintance with world literature, this book might well have been suitable not only for clergy, but also for the wider Catholic, and not only Catholic, students. Maironis presents a much broader picture of world literature, albeit in a concise manner, than in G. Petkevičaitė-Bitė’s textbook on the history of world literature (1 d. Rytai, Kaunas, 1922; 2 d. Graikai, Kaunas, 1924) and V. Dubo’s Introduction to general literature (Kaunas—- Marijampolė, 1923), which were published a little earlier. And to 28 evaluate Maironis’ textbook in question, as well as the works of people of the past in general, one should not only consider how much, what and to whom they may be interesting or useful after many years have passed (persistent value), but also (perhaps even above all), what they were in the circumstances of the time of their appearance and what was or could have been (if there is no direct evidence) their role at that time. From Trump’s history of universal literature, nearly a thousand (more precisely, over 950) literary terms and their variants have been collected. This does not include such nomenclatural names as Egyptian lyric 30*, English American literature 173, English pseudoclassicism 153, Arabic poéta 23, Babylonian epic 25, Czech folk poetry 232, Danish literature 228, Chinese dramatic works 8, European writers 21, Greek idolatrous writer 51, Greek Christian writer 81, Indian poetry 17, Spanish drama 121, Spanish playwrights 125, Italian romanticism 113, Italian sonnet follow-up 144, Japanese literary works 9, Latvian literature 266, Polish patriot lyric 257, lyrical Jewish creatures 27, Mauritanian poetry 23-24, Norwegian writer 230, French writing 71, written Russian literature 235, Ruthenian poets 233 "Ukrainian poets", rusy folk creatures 234, Scandinavian literature 223, Slavic literature 231, Shakespeare studies 149, Spanish national literature 130, national Germanic epic 182, social Greek epic 35, Žuvedas romantic 231 "Swedish romantic- ", etc. First, the terms used by Maironis in this article are divided according to meaning, and then discussed in terms of expression. Chapters of the meaning of terms 1. A third (more than 300) of the terms and their variants used in the Brief History of Universal Literature are from literature and works 3 The digits written next to the examples indicate the page of the Brief History of Universal Literature (Maironio raštai 5, Kaunas, 1926) from which they were taken (usually this is the first observed case of use). 29 names of types and genres, e.g.: drama 8 (ideological drama 279, historical drama 123 and historical drama 204, classical drama 211 “classical drama”, lyrical drama 277, drama of religious content 127 “drama of religious content- ”), criticism 112 (critical essay 194, article of criticism 206, literary criticism 228), lyricism 4 (didactical lyricism 8), poetry 6 (artificial poetry 121, folk poetry 196, puritan poetry 176, national poetry 183); prose 5; anecdote 142, short story 36 (historical short story 261, comical short story 204), short story 30, ballad 73 “ballade- ”, ballet 16 “a kind of Indian drama”, bylina 234, cycle of songs 69, song 4 (historical song 68, folk song 196, folk epic song 182, love song 101, love and wine song 59, patriotic song 269, national song 177), song 38 (love song 30), dithyrambe 37, poem 210 (personal lyrical poem 276, dramatic poem 263, lyrical poem 214 and lyrical poem 198), verses 18 (white verse 259, dramatic verse 258, epic verse 258, lyrical verse 90, metric verse 178, pornographic verse 61, depravity verse 61), verses 267 “short poem?”, elegia 62 (and elegia 88), elegia 15, epic 25 (allegorically heroic epic 144, heroic epic 31, heroic folk epic 248, comical epic 112, folk epic 177, mythically heroic epic 224 and mythologically heroic epic 224) heroic epic 234, idolatrically heroic epic 178, national epic 76, social epic 232), epigram 58, epinychia 37 "the hymn of the victory of the ancient Greeks", epitaph 62, epic 58, epic 161, farce 181, hymn 108: (church hymn 122, hymn of joy 275, epic hymn 179, erotic hymn 37, historical hymn 71, military hymn 209 and war hymn 177, heroic hymn 177 and heroic hymn 137, funeral hymn 30, folk hymn 136, lyrical epic hymn 228, lyrical hymn 36, love hymn 141, mythological hymn 137, worldly hymn 142, patriotic hymn 207 and patriotic hymn 142, religious hymn 192, religious heroic hymn 178, religiously mythical hymn 178, idolatrically religious hymn 177, sacred hymn 188, national hymn 18), hymn 37 (sweat hymn 59), hymn 10, humoresque 270, idyll 35 "idyll", calambur 66, cancona 102, kasida 18, comedy 15 (spiritual comedy 122, the comedy of the robe and the sword 122, the world comedy 47 "secular comedy"- ), letter 56 (poetic letter 120), legend 9 (religious legend 68, sacred legend 227), madrigal 105, melodrama 16 "a kind of Indian drama", miracles 143, 30 riddle 4, mystery 121, myth 25 (myth of the heroes 267), nataka 16 “some kind of Indian drama”, novella 8 (shepherds novella 118), skin 6 “ode”, opera 16 “some kind of Indian drama”, submission 6 (mythic submission 61, national submission 179), praise 66, tale 4 (folk tale 83, modern tale 272, semi-mythical tale 251), story 11 “narration” (epic tale 6, humorous tale 262, heroic tale 140, mythologically didactical tale 36, poetic easy tale 61, poetic tale 57, satirical tale 121), proverb 28, peany 37 (and pejane 37), poem 11 (historical poem 238 and historical poem 266, heroic poem 228, lyrical epic poem 157, love poem 11, mythically allegorical poem 21, world Catholic poem 256, patriotically allegorical poem 233, semi-satirical poem 186, romantic poem 20, satirical poem 164, national poem 63), poem 257, psalm 27 (psalm of repentance 26), rapsoda 32, tears 28, novel 8 (anti-religious novel 96, fantastic novel 252, gothic novel 161, historical novel 161 and historical novel 160, humorous novel 204, comic satirical novel 74, picaresco novel 127, knightly novel 128 “knights’ novel”, satirical novel 128, family novel 154), romance 117, romantic history 142, rina 274 (lyrical rina 274), saga 223, sage 14 “tales”, satire 37 (dramatic satire 44), scene image 207, sestina 102, sonnet 102 (love sonnet 144), tragedy 15 (historical tragedy 277, love tragedy 145, world Catholic tragedy 256, patriotic tragedy 113), train 37 “Greek funeral song”, trotaki 16 “a kind of Indian drama”, etc. The book uses a variety of compound conjugations of this type, e.g.: short story-novel 268, short story-idyll 154, short story-novel 154, song-legend 70, drama-idyll 208, drama-comedy 52 (see also comedy-drama 123), drama-tragedy 126, hymn-ballade 241, hymn-legend 178 (see also legend-himn 138), comedy-satire 83, legend-fairy tale 206, novel-idyll 118, novel-narration 208, skin-carmina 59, skin-epic 38, tale-saga 140, poem-idyll 200, poem-epic 179, poem-novel 238, rapsody-song 32, novel-narration 96, satire-elegy 37, trilogy-tragedy 218, play-mystery 72. The following terms can also be assigned to this section: chronicle 144 (line chronicle 9), study of literary history 205, literary lecture 252, literary lecture 253, chronicle 55, monograph 67, sermon 249, sketch 173, trilogy 40 (dramatic trilogy 182), [literary] creature reviews 31 3. Species names are also used with the general terms work 44 (e.g.: dramatic work 127 and drama work 56, epic work 269, lyrical work 131, lyrical work 98, literary work 232, original work 194), creature 6 "creation" (e.g.: dramatic work 130, epic dramatic work 28, epic work 26, folk work 184, lyrical work 90 and lyrical work 57 and lyrical work 20, lyrical dramatic work 169, literary work 75, poetry work 27, satirical work 85), work (e.g.: didactic work 18, dramatic work 144 and dramatic work 16, spiritual work 267, epic work 15, classical work 3, folk work 182, lyrical work 115, lyrical work 92 and lyrical work 15, lyrical dramatic work 16, literary work 9 and literary work 9, original work 205, world literature work 4, poetic work 179, prose religious work 248, writings 240) and writings (e.g.: critical writings 206, satirical writings 85). 2. One-seventh (about 140) of the terms in the Brief History of Universal Literature are terms of purely abstract meaning, namely, they refer to characteristics and actions related to literary creation and works. Most of them identify characteristics, e.g.: action vitality 123, action interest 123, artism 92, personality 77, didacticism 77, dramaticism 77, ease of verse 255, ease of verse 193, melody of verse 59, rhythm of verse 263, sound of verse 60, elegiac sensitivity 93, expression 255, beauty of form 99, perfection of form 59, idealism 46, individualism 89, individual lyricism 240, depth of feelings 60, power of feelings 60, classical beauty 199, comicity 190, lyricism 23, literary fertility 123, melancholy 273, mysticism 21, nihilism 243, objectivity 66, optimism 229, originality 172, pessimism 66, plasticity 192, plasticity 205, poetic taste 59, poeticism 27, poéty eroticism 270, psychological truthfulness of characters 149, psychologism 46, knightliness 205, rhythm lightness 59, rhythm diversity 59, eastern asceticism 21, sqmojingumas 261, satyrism 243, sentimentalism 54, sensuality, symbolism 264, skepticism 213, beauty of style 255, poeticness of style 254, visuality of style 254, uniformity of style 205, subjectivism 98, subtle beauty 199, perfection of technique 126, breadth of theme 19, tragism 212, threefold uniformity 76 “three unities”, interestingness of content 166, smallness of content 59, visuality 210, richness of imagination 193, tragism of work 147. The group of terms denoting characteristics also includes the names of literary periods, currents, schools, etc., although not all of them or their main elements are characteristic names in terms of the work. For example: Storm and Screw Period 32 201, Barrionism 130, Decadent Mysticism 273, Decadentism 99, Lake School 158 (in England), Futurism 99, Gongorism 120, Humanism 108, Impressionism 273, New Germany 213, such a literary current, Young Germany 215, Classicism 89, Classical Period 74, Literary Circle 90, Literary Society 98, Period of Literary Bloom 52 (and Period of Literary Bloom 7), Macaronism 249 (Polish literature), Naturalism 94, Neo-Romanticism 215, Parnassus Society 98, Pseudo-Classicism 75 (or French Classicism 78), Realism 94 (and Romanticism 216), Renaissance 73, School of Rhetoric 56, Romanticism 269, Romanticism 89 (and Romanticism 205, Romanticism 237, Sentimental Romanticism 176), Symbolism 99, Subjectivism 279, Verterism 199 (or Weltschmerz 199), Middle Ages 105 (and Middle Ages 64, Middle Ages 67). A third of the abstracts are naming of actions, events and states, e.g.: moan 263, interpretation 108, aesthetic improvement 199, action 16 “drama action” (and drama action 76, natural action 78, concentration of action 190), description 10, action of persons 217 (in dramas), depiction 204, declamation 187, didactic moralization 6, verse 7, verse sound 247, aesthetic feelings 3, harmonious sound coordination 219, idealization 158, longing 278, expression of individual feeling 4, education of artistic taste 187, feeling 211 (lyrical feeling 135, poor feeling 233), understanding of classical beauty 191, creation 43 (poétiné creation 219), literary work 60, literary action 141, literary progress 268, literary blossom 56, literary blossom 55, sadness 262, development of logical eloquence 52, reasoning 211, resignation 262, conscious mockery 23, reading 33 258, the revival of the national poetry 179, courage 51 "creation" (folk courage 186, poetic courage 5), the production of works 53 (theatre), the act 45 (drama), the weeping 264, the versification (poetry) 7. 3. The third section, according to the abundance of terms, consists of names of participants in literary creation (creators and performers). Such terms are slightly more than a tenth (over 100) of all Maironis literature terms. For example: artista 170 "artist" and artista 39 "performer of a work in the theatre", 170 "artist", author 31 (unknown author 179), bard 136, censor 53, painter 97 "artist, creator (about a writer)", singer 37, dainius 8 (dainius poéta 36), decadent 172, dramaturg 15, -é 279, encyclopedist 193, epic 62, genius 238 (world genius 253, world genius in literature 101), hymnologist 137 (himnologist bard 136, hymnologist-poéta 136, hymnologist-skaldas 226), humanist 74, speaker 65 "orator", classic 74, listener 149, commentator 102, comedian 235 "comedy writer", critic 15, curator 273, journalist 276, lyricist 18, -ė 279 (world lyricist 58 "world-scale lyricist®- "), literate 56, literary craftsman 116, gambler 41 "actor", patron 56 (sponsor of literary events 56), meisterzinger 185, artist 35 (artist poéta 277), minister 139, minnezinger 179, female writer 222, neoromantic 273, novelist 217, -ė 276, orator 56, imitator 199 „follower“, follower-- writer 127, patriot lyricist 257, poéta 12, -ė 71 (epic poéta 65, classical poéta 88, folk poéta 276, lyrical poéta 92, mythical poéta 31, national poéta 130, poéta-artista 35, poéta epic 249, poéta-lyric 113, poéta-patriot 120), prose writer 56, pseudoclassic 113 (pseudoclassic-dramaturg 127), writer 7, -a 222 (academic writer 176, short story writer 269, dramatic writer 143 and dramatic writer 99 „drama writer“ and play writer 396, idea writer 244, idyllic writer 50, comedy writer 46 and comedy writer 39, novel writer 219, original writer 274 „self-creating (not translating) writer“, prose writer 111, writer-artist 109, writer poéta 132, writer-romantic 173, realist writer 217, realistic writer 246, novelist 8, novelist-- realista 168, poem writer 76 „writer of tales“ (worldwide writer of sayings 84), writer of tragedies 39), realist 276 (and realist was not yet quite established that way of internationalization and writing of the so-called international Zodziai, which came into force later and which, apparently, was considerably helped by the already after Maironis published K. Boruta, Pr. Čepėnas and A. Sirutytė-- Čepėnienė compiled and J. Žiugžda edited the Dictionary of International Words (Kaunas: „Sakalas- “, 1936, p.). 34 1064 In the second half of the 20th century, a number of hybrid mono-word terms were used. But in the Brief History of Universal Literature there are only a few of them, e.g.: idealization 158, comicity 190, objectivity 66, originality 172, plasticity 205, poetry 257, poetics 27. Thus, Maironis- ’s work, which examines purely Lithuanian terms, contains only a little less than a third (about 100) of all single-word literary science terms. Only a small part of them are merely terminated ordinary Zodiacs, e.g.: persons 78 "actors- ", song 4, verses 18, letter 56, art 25, footnote 68, image 28, name 9 "heading, title". As many as two thirds of the spoken terms are derived from adverbs, e.g.: apysaka 30, aprašymas 10, atvaizdavimas 204, dailininkas 97 „artist“, dainelė 38, dainininkas 37, eilėraštis 7, eilutė 7 „part of a poem“, 267 dgs. “a small poem?”, hymn 6, hymn 37, hymn 137, gambler 41 “actor”, riddle 4, submission 6, comparison 28, imitator 199 “follower”, tale 11, proverb 18, picture 269, writer 7, -a 222, writing 71 “writing; literature“, saying 14 „says“, following 64, content 9, creature 6 „creation“, creation 51 „creation“, faidyla 145 „actor, performer“, imagery 210, actor 38, action 15, translator 274, translation 196 „translated work into another language“ and others. As can be seen from the given examples, these are usually the derivatives of the suffixes -imas, -ininkas, -inys, -umas, etc. of the respective classes of action by the doers themselves. Several times fewer (almost one-sixth) of Lithuanian literary terms consist of derivatives of endings, e.g.: apysaka 36, dailė 39 “personality”, song 8, speech 56, insertion 7 “content”, introduction 16, prayer 16, note 9, tale 4, discourse 56 “spoken language- ”, cry 8, conclusion 260. Compound terms are least used, e.g.: dvieilis 19, eilėraštis 210 (this is a rare book term, the word eilės is most often used for this purpose), kronika 55, šešimąstis 34 „hegzametras“ (LKŽ XIV 689 and now in Maironio writings this word is written with a), tautosa41 ka 207, medieval 67 (but more commonly medieval 105). There are no prefixes for Lithuanian prepositions. Only a few derived terms differ in their form (spelling or basic gender) from the already usual ones, e.g.: kurėjas 273, kūryba 43, kūrnys 44 (sometimes also usual kūrinys 58), tverėjas 161 "creator", tveryba 7 "creation". By the way, creature 99, tverėjas and tveryba belong to the few terms used by Maironis that are no longer given (instead of them Maironis himself often used the words kūrinys, kūrėjas and kūryba), the word jtalpa is no longer used in the meaning of “content” (and Maironis, it seems, even more often used the now usual term content). One other term later came into use with another meaning. 2. As mentioned, the majority (almost two-thirds) of all Maironio In the short history of universal literature, literary terms are composed of compound terms. Most of them (more than three quarters, more than 400) are two-word terms. The greater part of the two-word terms (almost three-fifths) are combinations of words of the coordinating sign, and the remainder are words of the non-coordinating sign. 2.1.The most common combination of two-word terms are adjectives (almost three quarters of the researched terms consisting of combinations of the combination). Today’s common language users, having at least browsed Maironis’s Brief History of Universal Literature, would probably be surprised that almost half of all adjectives have the suffix -iškas, e.g.: aistetiškas pasikeitimas 199 „aesthetic delight (admiration)“, antikinės formos 88 „antique forms“, biblinis motyvas 2779, biblinis tematas 189, didaktinė lyrika 8, dramatiškas eilėraštis 263, dvasiškas kūrinys 267 „religious work“, epic poems 258, fantastinis romanas 252, istorinė apysaka 261, istorinis turinys 239, humoristiškas romanas 204, heroic poem 228, klasikinė drama 211 „classic drama“, klasikinė literatūra 132 „classic literature“, komikinė scena 124, kritiški raštai 206 „critical writings“, lyriška drama 277, lyriška giesmė 36, literatūros kritika 228,literary criticism- “, literatūrinė vertė 113 „literary value“, metriškos eilutės 178, mythiškas pateikimas 61 (for spelling see mytiškas poéta 31), mythologiska giesmė 137, patriotiškas elegija 37, poetiškas laiškas 120, poetiškas pasakojimas 57, poétiškas kūrinys 179, pornographic poems 61, knightly novel 128 „knights’ novel“, realistic element 152 „realistic element“, romantic poetry 20, satirical narrative 121 „satirical narrative“, satirical novel 128 42 „satirical novel“, national poetry 183, tragic scene 124, etc. In modern terminology, these terms are usually marked with the suffix -ing adjectives or, more rarely, with the origin of the base nouns. The adjective of terms with a third two-word adjective mark has the suffix -inis, e.g.: academic writer 176, anti-religious novel 96, artistic form 239 "artistic form", church hymn 122, artificial form 72, artificial poetry 121, artificial style 156, dramatic creature 130 "dramatic work, drama", spiritual comedy 122 "religious comedy", erotic hymn 37, aesthetic feelings 3, ideological drama 279, superficial form 7, humorous narrative 262 "humoristic narrative", creative imagination 216, lyrical poems 90, lyrical poéta 92, world literature 4 "world (universal) literature", 267 "secular literature", world content 10 "secular (non-religious) content", patriotic song 269, religious legend 68, religious content 27, family novel 154 "family novel", national epic 76, social narrative 71, universal literature 3. From the examples given, the reader probably noticed some inequalities in the expression of marks. Cf. aesthetic improvement 199 and aesthetic feelings 3, spiritual work 267 and spiritual comedy 122, humorous novel 204 and humorous narrative 262, etc. There are also variant compound terms with the adjectives of both these suffixes, e.g. dramatic writer 99 and dramatic writer 143 "writer of plays", historical novel 160 and historical novel 161, heroic hymn 137 and heroic hymn 177, lyrical poem 198 and lyrical poem 214, lyrical talent 88 and lyrical talent 93, lyrical work 15 and lyrical work 92, patriotic hymn 142 and patriotic hymn 207, poetic value 6 and poetic value 139, poetic talent 62 and poetic talent 57. The Brief History of Universal Literature uses as many as three variants, for example: dramatic work 16, dramatic work 8, and dramatic work 144 "work of drama, drama", heroic epic 70, heroic epic 227, and heroic epic 31. In the latter case, the best fit heroic epics. Only the sixth-part terms are expressed by other adjectives (more often ordinary ones), e.g.: baltos eilės 259, eilėta kronika 9 4 tu „linear chronicle“, lively dialogue 124, modern tale 272, oriental play 12 „Eastern imagination“, original work 194, poetic image 135 „poetic image“, sentimental romanticism 176, perfect form 264, threefold uniformity 76 „three oneness“, short novel 216, short poem 257, short poem 209, etc. And here some concepts are named differently, for example, the “main character” is called four times — central person 114, central person 242, most important character 47 and senior person 19. Very rarely in the Brief History of Universal Literature Maironis used the participle as a sign — only a few terms have the participle sign, e.g.: singing literature 4, decorated form 156, spoken literature 4 “narrative literature (folk tale)”, unknown author 61, written literature 4, depraved verses 61 and acting persons 40 with variants acting persons 46 and acting persons 192. Regarding Maironis’s use of two-word terms, the conjugation of which is expressed by an adjective and a participle, it is immediately noticeable that the noun genders are extremely rare here, e.g.: didactic lyric 8, historical tragedy 277, written literature 4, sacred hymns 188, the mentioned variant acting persons 40 and the varying terms historical song 68 and historical song 68, historical drama 123 and historical drama 204, historical poem 238 and historical poem 266, classical form 75 and classical form 204, sacred legend 137 and sacred legend 227; dramatic work 16 “drama”, dramatic work 8 and dramatic work 144, heroic epic 70, heroic epic 227 and heroic epic 31. By the way, this may be a common feature of the terminology of literary science at that time —rare nominative adjectives and participants and V. Dubo’s Introduction to Literature (Kaunas-Marijampolė, 1927), only here the -inis suffix adjectives are much more common. Approximately a quarter of the terms of the two-word conjugation are compound conjugations or prepositions, i.e. the nouns running through their substantives are independent or their notation, not only the preposition, is expressed by a noun, e.g.: apysaka-novela 268, apysaka-idyll 154, daina-legenda 70, drama-tragedy 126, giesmé-ballada 241, giesmininkas-bardas 136, giesmininkas-poéta 136, giesmininkas-skaldas 226, komedija-satyra 83, novelé-idyll 118, novelépasakojimas 208, oda-carmina 59, oda-epinykija 38, pasakojimas-episzodas 129, pasaka-saga 140, poéma-idyll 200, poem-epic 179, poem-roman 238, poet-artista 35, poet-patriot 120, pseudoclassic-dramaturg 127, rapsoda-giesmė 32, rašytojas-- romantikas 173, romanas-pasakojimas 96, satyra-elegija 37, trilogija-tragedy 218, vaidinimas-- mysteris 72, etc. Most of the terms of this type are written with a hyphen between the points, but some are written without a hyphen, e.g.: dainius poėta 36, drama idyll 208, legenda pasaka 206, artist poėta 2717, women writers 222, patriot lyric 257, poéta epic 249, writer poéta 132, or even both, e.g.: apysaka-romanas 154 and apysaka romanas 262, poéta-lyrikas 113 and poéta lyrikas 211, veikėjasaktorius 39 44 and veikėjas aktorius 38. There is no fixed order of the terms, for example: drama-comedy 52 and comedy-drama 123, song-legend 178 and legend-song 138, singer-slayer 226 and slayer-singer 224, realist writer 217 and writer-realista 168. 2. 2. The combinations of words of the incompatible sign make up more than two-fifths of all two-word compound terms. Almost all of them have a noun prefix. More often (nearly two-thirds) these terms have a singular pronoun, e.g.: action vitality 123, psalm of repentance 26, action of drama 76, song of joy 275, style of verse 190, beauty of form 99, spectacle of nature 35 “landscape”, images of nature 269, beauty of language 247, beauty of language 176, sound of language 153, richness of language 59, essay of criticism 194, article of criticism 206, folk song 196, folk dialect 54, folk epic 177, folk folklore 6, folk song 136, folk tale 83, folk poet 276, folk poetry 196, folk creatures 184, folk courage 186, lyric content 241, literary document 6, literary society 277, literary history 197, literary science 3, literary monument 68, literary lecture 252, literary period 27, literary lecture 253 “literary lecture (high school)”, literary kinds 31, literary current 17, literary bloom 55, macaronism period 249 “period of mixing languages- ”, love song 101, love song 30, love song 141, love poem 11, love sonnet 144, love tragedy 145, victory song 37, theory of poetry 60, poetic creature 27, written language 276 “writing language- ”, realism 216, rhythm lightness 59, Romanticism 237, beauty of style 2535, stylistic means 271, folk song 177, folk epic 45 254, national anthem 18, national submission 179, perfection of technique 126, breadth of theme 19, interestingness of content 166, richness of imagination 193, action scene 16 “part of drama action” and others. Almost all the other terms have an incoordinate notation in the plural noun, e.g.: short story writer 269, types of persons 95 “types of characters”, form of dramas 95, form of verses 215, melodicity of verses 59, rhythm of verses 263, sound of verses 60, rhythm of sounds 219, group scenes 149, writer of idyllic stories 50, power of feelings 60, myth of heroes 267, intrigue of comedies 53, funeral hymn 30, form of letters 60, literary circle 90, novel writer 219, nucleus of stories 64, novella 118, erotism of poets 270, translation of psalms 248, banquet hymn 59, rhythm language 62, novel persons 154 “novel characters”, novel form 95, novel characters 95, sage writer 76 “writer of storytellers”, fragmentary hymn 227, trubadury hymn 101, production of works 53, etc. One term is the reverse order of the dots—cycles of songs 69. Comedy writers 46 ("Aristophanes <...> belongs to the most brilliant worldwide comedy writers <...>") and Comedy writer 39 are variants of the same term. Several variant terms have adjectives expressed by the noun and adjective, e.g. drama work 56 and dramatic work 127, war song 177 and war song 209, literary work 9 and literary work 9, world literature 161 and world literature 11, and one term has even three such variants — lyrical creatures 90, lyrical creatures 57 and lyrical creatures 20. By the way, the term lyrical works 217 (previously lyrical works 131) is also used with the same meaning. Similarly, the term poetic creation 78, poetic creation 5 (and poetic creation 186) and its synonym poétiné creation 219 are used. There are only a few of these kinds of terms, the designation of which is not expressed by the noun's genitive but by another syllable or even non-syllable word, e.g.: drama for reading 164, letter in lines 159 „laiškas eilėraštis“, picaresko romanas 127 (the designation picaresko is half phonetically transliterated, half not, but it is highly doubtful whether it should be considered grammatically transliterated) and prose writer 111. 2.3. Less than a quarter of the compound terms (about 100) are three-word terms. Here, as previously mentioned, such word combinations as are distinguishable from nomenclatural names, such as dramatic ki46 8, written Russian literature 233, written Finnish literature 274, national Spanish literature 130, national Germanic epic 182, social Greek epic 35, etc. Not three-word terms, but abbreviations of two-word terms, their combinations or other even non-terms, but word combinations of a terminological nature are considered clear and beautiful language 74 (cf. clear language and beautiful language), the liveliness, interestingness of the action 123 (cf. liveliness of the action and interestingness of the action), drama or tragedy for reading 164, laws of beauty and art 3, language richness and sincerity 255, lyric content and melody 92, extraordinary, artificial form 72, rhythm ease and variety 59, etc., as well as stories composed of even more words (sensitive and poetic narration in prose 255, patriotic, sounding, musical hymns 216, etc.). In this case, the comma is usually not placed between one type (compatible or incompatible) of terms, so the presence of the comma indicates the existence of a combination of terms or terminological nature (a clear thing, it can also be words). Of course, it is not necessary to generalize, the possibility cannot be ruled out that the presence or absence of a comma may be a punctuation or proofreading error. Therefore, each case must be examined individually. Three-word terms are more often (in more than three-fifths of cases) formed by adding another démeni to a two-word term, e.g. heroic folk epic 232 (cf. folk epic), lyrical dramatic creature 169 (cf. dramatic creature- ), world Catholic tragedy 256 (cf. Catholic tragedy). Others usually have a separate notation compounding the composite notation of the three-word term, for example: drama of historical content 212 (see historical content), period of literary bloom 52 (see literary bloom). Often the designation of such three-word terms itself comes from a two-word term, e.g.: form of dramatic dialogue 61 (and dramatic dialogue), work of folk creation 182 (and folk creation), drama of religious content 127 (and religious content “religious content”- ), history of universal literature (and universal literature) and so on. (seeing apart, the structure of some of such terms could be understood in two ways, i.e. to consider that, for example, the term form of dramatic dialogue is composed 1) of dramatic dialogue and form or 2) of dramatic and dialogue form). However, in terms of language logic, the first understanding seems more acceptable.) 47 About one-third of the three-word terms have a compound two-word incompatible sign. More often it consists of an incompatible note with its compatible note, e.g.: form of dramatic dialogue 61, drama of historical content 212, period of “Young Germany” 215, hymn of a worldly character 142, writer of a realistic- -Sca style 246, hymn of a religious content 142, poem of a satirical character 250, narrator of sacred legends 226, revival of national poetry 179, types of actors 201, science of universal literature 3, etc. Twice as rare are such three-word terms, whose composite mark consists of a combination of an incompatible mark, e.g.: poem writing mania 59, folk art work 182, literary flowering period 7, poetry style visuality 254. Of course, the reverse order of the 187 words of the term ‘education in artistic taste’ must be regarded as accidental. - Over a quarter of trizodziy terms consist of terms with mixed marks. In this case, the pronoun has a conjugative and non-conjugative pronoun, e.g.: allegorical writing 71, central person of the novel 200 "main character of the novel" and central person of the poem 253, harmonious sound matching 219, heroic folk epic 248, lyrical troubadour song 71, original scene image 267, world comedy writer 80 "world-scale comedy writer", patriotic war hymn 209, perfect form of works 106. The most commonly matched notation of such terms is before the non-matched notation (as in the examples given). The opposite order of the notes, for example, the folk epic song 182, is extremely rare in the Brief History of Universal Literature, and therefore clearly an exception. A quarter of the three-word compound terms are with the adverb attached to the adjective that goes with the conjunctive sign, e.g.: allegorically heroic epic 144, decadently mystical current 273, epic dramatic creature 28, comically satirical novel 74, lyrical dramatic work 16, mystically allegorical poem 21, mythically heroic epic 224, mythologically didactic narrative 36, mythologically heroic epic 234, patriotically allegorical poem 233, semi-satirical poem 186, semi-mythical tale 251, religiously mythical hymn 52, idolatrically heroic epic 178, idolatrically religious hymn 177, subtly artistic form 220 "subtle artistic form". A trio of terms has adverbs with endings repeatedly corrected by J. Jablonski 48 -ic, e.g.: lyrical epic poem 157, lyrical epic hymn 228 and religious heroic hymn 178. Only one term of this type was found written with a dash (satirically-humourous element 208). As can be seen from the examples given, there are some more and different spelling characteristics and inconsistencies of terms in this fiber, e.g.: mystical, mystically, mythically, mythical and mythical, mythologically and mythologically, subtly. In terms of this type of terms in general, it should be added that in modern scientific language such terms are very rare — most often in place of the adverb would now be used its base adjective. About an eighth of the terms have two matching marks, e.g.: personal lyrical poem 276, unremixed white verse 151, original didactic work 248, world Catholic poetry 256, short lyrical creature 255, senior acting person 164. There are only a few other three-word terms in the Brief History of Universal Literature — lyrical work in verse 115 and poetic narrative in prose 255. There are also only a few terms of similar or different construction (with a conjunction in the fourth word and, prepositional or words of four nominative parts of the language- ), for example: the period of “storm and bolt” 201, the comedy of the cape and the sword 122 (this designation, by the way, is only a translation of the Spanish term comedias de capa y espada), songs of love and wine 59, novels from the life of society 165 and creatures of the world written epic 140 and prose works of religious content 248 “prose works of religious content- ”. Finally, the great rarity of the book is the macaronian (half Spanish, half Lithuanian) term for the kind of gusto picaresco novels 119 “satirical (sometimes indecent) novels”. 2.4. And what are compound terms in terms of the origin of the constituent words? These words are here divided into two parts: 1) Lithuanian words, i.e. words without foreign components, and 2) foreign and semi-foreign words, i.e. borrowed words (with only a Lithuanian ending or occasionally without it) and mixed words (usually, without an ending, with other components of Lithuanian and borrowed words; In the short history of universal literature, these words usually have a root derived from a loanword and a Lithuanian suffix. Incidentally, the nouns of foreign origin used in Maironis- ’s book are often borrowed, and the adjectives are often hybrids). Thus, in summar49 y, all the composite terms discussed are threefold: 1) all the elements of the term are purely Lithuanian (such terms of literary science in the Brief History of Universal Literature are almost one-sixth of nearly six and a half hundred composite terms of two and three words), e.g.: white poem 259, folk tale 83, senior acting person 164; 2) the term has both purely Lithuanian and borrowed or mixed elements (such terms are nearly two-thirds of all composite terms of two and three words; by the way, terms only with Lithuanian and borrowed elements, without hybrids, make up two-fifths of all composed terms), e.g.: epic narrative 6, heroic epic 70, legend-tale 206, original work 199, patriotic war hymns 209, world Catholic poetry 256, pastoral novels 118, uniformity of style 205; 3) all elements of the term are borrowed or mixed (such terms are more than a fifth of all twoand three-word terms), e.g.: biblical motif 279, fantastic novel 252, patriotically allegorical poem 233, poem-novel 238, theory of poetry 60, sentimental romanticism 176, etc. 3. In the short history of universal literature there are over 30 foreign language terms that are not Lithuanian at all. In most cases, such terms are used only once, often alongside the Lithuanian equivalent or at least a brief explanation. Here are a few examples in the context of the book: cartas: “Diego de Mendoza, who wrote sonnets, canconas, especially famous for his elegies and poetic letters (cartas)” 120; chansons de geste: “Among the oldest monuments of French literature <...> are religious legends and the so-called chansons de geste, or historical songs, sung by nomadic poets, called troubadours in the north and troubadours in southern Gaul” 68; comoedia palliata, comoedia togata: “Roman comedies were of two kinds; One was called comoedia palliata (palium — Greek costume- ), in which the actors acted on stage and their costumes imitated the Greeks; the second was called comoedia togata, in which the artists played scenes from Roman life [...]“ 52; 50