Among the writers who appeared on the scene in the years 1918-1940, Vincas Mykoláitis-Pųtinas stands out. This author and literary researcher of enormous intellect distanced himself from the usual tendency in belles-lettres of basing one's work only on the means of expression of the folk language. He searched out means of expression in the written language. The themes of his works were the deciding factor. In his works he didn't depict the village people, but rather the lives of intellectuals and educated people. In his poetry and prose, which are distinguished by their intellectual quality, there are many abstract nouns. He especially liked verbal abstracts, e.g., tobulýbe 'perfection', buitės 'manner of life', pólekis 'flight (of fancy)', butės 'being, existence', lukesys 'expectation', geismas 'desire', síelgrauza 'mental distress' (literally 'gnawing at the soul'). He used international words abundantly, e.g. harmōnija 'harmony', mirãzas 'mirage', iliųzija 'illusion', ideãlas 'ideal,' hierárchija 'hierarchy', chaōsas 'chaos'. He used just the right adjectives with abstract nouns, e.g., álkanas liudesys 'hungry grief, famished melancholy', klaikė vienãtve 'dreadful loneliness', nerimastėnga buitės 'anxious way of life'. His novel, In the shadow of the altars, was the first intellectual psychological novel in Lithuanian literature. The principal hero of this Stendhal type novel, Liųdas Vasãris, a seminary student and later a priest, writes poetry and cannot reconcile priest and poet in himself. Obedience to the will of his parents and the desire to serve his country have led him to the seminary. Vasãris overvalues the contribution of the priestly class to Lithuanian culture and chooses the goal of following in the footsteps of the poet-priests Mairónis, Antãnas Baranáuskas, and others. In the shadow of the altars has quite a few autobiographical features. The author of the book himself had experienced the conflict of poet and priest.
Mykoláitis-Pųtinas graduated from seminary and became a priest, but later gave up the priesthood. It is the aforementioned conflict that makes up the intellectual and emotional core of his novel. The attainment of freedom is the essence of the human being and art is the most authentic expression of this essence. Vasãris comes to understand that the priesthood has isolated his talent from the living sources of art, love for experience, natural communication with other human beings, and spontaneous expression without any moralizing. There arises the irresistible urge to experience life for the sake of creativity, so that his talent, a gift of God, might not be destroyed. He is also distinguished by the disharmony and duality of his personality. He seeks out, analyzes, and investigates scrupulously his inner contradictions, on the one hand from the point of view of his priestly duty and on the other hand from the point of view of the imperative of the poet's vocation. His indecisiveness, his compromising surrender to circumstances, resignation, silent suffering, and rebellious internal discontent reflect typical features of the Lithuanian character.
In the selection given below, from the first part of the novel, Vasãris considers three possibilities as to how he should act with his talent. He has already rejected his girl friend and taken the first vows of priesthood. Although he was firmly determined to become a good priest, he still felt that the source of his poetry was not "the virtues required of a clergyman, but the whirlpool of the world infected with the microbes of sin." He is constantly tormented by the thought of how to reconcile the free flight of poetry with the ideals of the life of a priest. These two lives are irreconcilably contrary to each other. What seems natural, understandable and unavoidable in one seems strange and forbidden in the other. He feels that the environment of the seminary is destroying his poetic talent, arousing discord and the splitting of his soul.
In the selection, one can find a fair number of international words and abstract nouns. Adjectives are used abundantly, especially those with the suffixes -ingas, -iskas and -inis; there are also comparisons, e.g., sáltas kaip ledas 'cold as ice,' nusitvere kaip skestas siaudelio 'grasped for (it) like a drowning man for a straw'.
Pirmāsis galimųmas bųvo visái mčsti tã počzija ir visās tās svajončs.
Tai butu tinkamiáusias ir paprasciáusias kláusimo sprendėmas.
Bčt Vasãris nųjaute, kād jės vargų ar pajegs issizadeti tu vilciu, kuriõs ės dalies ji i seminãrija ātvede.
Seminãrijos gyvenimas, tiesā, gerókai jās apgrióve, taciau tuo pacių metų jisai vės delto pamãte turis tãlenta.
Ir dabar vėsko issizadeti?
Nč, tai negãlimas dáiktas.
Antrāsis galimųmas siule jám suderinti kurýba sų kųnigisku gyvenimu.
Bčt kaip?
Lig siõl jám tai nepavyko.
Jės zinójo ir tikejo, kād Dievas yrā visókios tobulýbes, grõzio ir kilniáusios počzijos saltėnis.
Bčt kodel visė relėginiai, doróviniai, amzinõsios tiesõs, gerio ir grõzio motyvai ji palėkdavo sálta kaip leda, õ kurýbinis lyrinis susijáudinimas včsdavo i gyvenimo zabángas ir pavojųs?
Õ treciāsis galimųmas tuõ metų jám bųvo dár tėk pradejes aisketi.
Jõ paties prãktika róde jám, kād "kunigãvimas" ir "poetãvimas" yrā dų visái skirtėngi, jéigu nč príesingi, pasaukėmai.
Tād kám juõs butinai jųngti?
"Kaip kųnigas, ās nč počtas, õ kaip počtas, ās nč kųnigas."
Stai fōrmule, kuriā Liųdas Vasãris savč apgaudinejo ėlga laika.
Sėto psicholōginio sofėzmo, ivairiomės atmainomės gyvenime ganā daznai sutinkamo, jisai nusitvere kaip skestas siaudelio.
Sitā iliųzija ėlgus metųs laike ji pavirsiuj, jės "kunigãvo" ir "poetãvo", õ tuõ tárpu kųnigas ir počtas vãre jamč zutbutėne tarpųsavio kõva.
Jisai uzfiksãvo daugeli siõs kovõs momentu ir mãne, kād kųria počzija.
Tuõ tárpu jės rãse sāvo zuvėmo krōnika, vienur kitur pamárginta tikrų kurýbos zíedu - liudnų jõ tãlento liųdininku.
Pirmāsis galimųmas bųvo visái mčsti tã počzija ir visās tās svajončs. Tai butu tinkamiáusias ir paprasciáusias kláusimo sprendėmas. Bčt Vasãris nųjaute, kād jės vargų ar pajegs issizadeti tu vilciu, kuriõs ės dalies ji i seminãrija ātvede. Seminãrijos gyvenimas, tiesā, gerókai jās apgrióve, taciau tuo pacių metų jisai vės delto pamãte turis tãlenta. Ir dabar vėsko issizadeti? Nč, tai negãlimas dáiktas.
Antrāsis galimųmas siule jám suderinti kurýba sų kųnigisku gyvenimu. Bčt kaip? Lig siõl jám tai nepavyko. Jės zinójo ir tikejo, kād Dievas yrā visókios tobulýbes, grõzio ir kilniáusios počzijos saltėnis. Bčt kodel visė relėginiai, doróviniai, amzinõsios tiesõs, gerio ir grõzio motyvai ji palėkdavo sálta kaip leda, õ kurýbinis lyrinis susijáudinimas včsdavo i gyvenimo zabángas ir pavojųs?
Õ treciāsis galimųmas tuõ metų jám bųvo dár tėk pradejes aisketi. Jõ paties prãktika róde jám, kād "kunigãvimas" ir "poetãvimas" yrā dų visái skirtėngi, jéigu nč príesingi, pasaukėmai. Tād kám juõs butinai jųngti? "Kaip kųnigas, ās nč počtas, õ kaip počtas, ās nč kųnigas." Stai fōrmule, kuriā Liųdas Vasãris savč apgaudinejo ėlga laika. Sėto psicholōginio sofėzmo, ivairiomės atmainomės gyvenime ganā daznai sutinkamo, jisai nusitvere kaip skestas siaudelio. Sitā iliųzija ėlgus metųs laike ji pavirsiuj, jės "kunigãvo" ir "poetãvo", õ tuõ tárpu kųnigas ir počtas vãre jamč zutbutėne tarpųsavio kõva. Jisai uzfiksãvo daugeli siõs kovõs momentu ir mãne, kād kųria počzija. Tuõ tárpu jės rãse sāvo zuvėmo krōnika, vienur kitur pamárginta tikrų kurýbos zíedu - liudnų jõ tãlento liųdininku.
The first possibility was to completely abandon poetry and all those dreams. That would be the most appropriate and simplest solution to the problem. But Vasaris felt that he could hardly have the strength to give up those hopes, which to some degree had brought him to the seminary. Seminary life, indeed, had practically destroyed them, but at the same time he saw that he had talent nevertheless. And now to give up everything? No, that is an impossible thing.
The second possibility offered him (the chance) to reconcile creativity with the priestly life. But how? Up to this time he had not succeeded. He knew and believed that God is the source of all perfection, beauty and the noblest poetry. But why did all the religious and moral motifs of eternal truth, goodness and beauty leave him as cold as ice, whereas creative lyric emotion led to the traps and dangers of life?
But at that moment the third possibility just began to become clear. His own practice had shown him that being a priest and poeticizing are two completely different, if not opposing vocations. Then why is it necessary to unite them? 'As a priest I am not a poet, and as a poet I am not a priest.' This is the formula with which Liudas Vasaris deceived himself for a long time. Like a drowning man (grasping) for a straw, he grasped for this psychological sophism, rather frequently encountered in various guises in life. For long years this illusion kept him afloat; he acted as a priest and acted as a poet, and at the same time the priest and poet in him were engaged in a desperate struggle. He wrote down many of the moments of this struggle and thought that he was creating poetry. At the same time he was writing the chronicle of his ruin, here and there marked by a true spark of creativity, the sad witness of his talent.
There are four accent classes of the nouns in Lithuanian. The principal criterion for the attribution of a noun to one or another class is its stress pattern in the dative and the accusative plural. Some nouns have a constant stress, e.g., in all cases the stress falls on one and the same syllable. But in the majority of nouns the stress alternates between the ending and the stem.
Accentuation is rather difficult even for native speakers. In colloquial Lithuanian they often shift the stress from the short ending to the stem.
The current four accent classes developed from the earlier two accent paradigms (the barytone (fixed) stress paradigm and the mobile stress paradigm). The shifting of the stress defined by de Saussure's law determined the development of the present Lithuanian accentuation system. According to this law, the stress passes from a short or circumflex (rising) syllabic nucleus to an acute (falling) one.
In dictionaries the accent class is indicated in Arabic numerals: 1; 2; 3; 4; e.g., áuksas 1 'gold'; pirstas 2 'finger'; bérzas 3 'birch'; ausės 4 'ear'. Knowing the peculiarities of each accent class, we can locate the stress and use the appropriate accent in all the forms of the noun. Dictionary listings of adjectives, numerals and pronouns provide information on accent class.
The first accent class comprises nouns which in the dative and accusative plural always have their stress on one and the same syllable of the stem.
In two-syllable nouns the stress is always on the first syllable and it is always an acute, e.g., kója 'leg'; zéntas 'son-in-law'. In polysyllabic nouns, one can have either the acute or the circumflex, or the syllable may be short, e.g., vãsara 'summer'; busena 'state, condition'; dėdvyris 'hero'. But when the stress falls on the penultimate syllable only the acute is possible, e.g., saváite 'week'; varnenas 'starling'.
The stress always remains on the same syllable in all the cases in the singular and plural if the noun belongs to the first accent class. This is the most important feature of the first accent class.
| Nom sg | kója 'leg' | zėrnis 'pea' | ãdata 'needle' | lųpena 'peel' | ||||
|---|---|---|---|---|---|---|---|---|
| Gen sg | kójos | zėrnio | ãdatos | lųpenos | ||||
| Dat sg | kojai | zėrniui | ãdatai | lųpenai | ||||
| Acc sg | kója | zėrni | ãdata | lųpena | ||||
| Inst sg | kója | zėrniu | ãdata | lųpena | ||||
| Loc sg | kójoj(e) | zėrny(je) | ãdatoj(e) | lųpenoj(e) | ||||
| Voc sg | kója | zėrni | ãdata | lųpena | ||||
| Nom pl | kójos | zėrniai | ãdatos | lųpenos | ||||
| Gen pl | kóju | zėrniu | ãdatu | lųpemu | ||||
| Dat pl | kójom(s) | zėrniam(s) | ãdatom(s) | lųpenom(s) | ||||
| Acc pl | kójas | zėrnius | ãdatas | lųpenas | ||||
| Inst pl | kójom(is) | zėniais | ãdatom(is) | lųpenom(is) | ||||
| Loc pl | kójose | zėrniuos(e) | ãdatose | lųpenose | ||||
| Voc pl | kójos | zėrniai | ãdatos | lųpenos |
The second accent class comprises nouns which in the dative plural have their stress on the stem, while in the accusative plural they are stressed on the ending, e.g., dative plural bãtams 'shoes', acc.pl. batųs; dat.pl. pųpoms 'beans', acc.pl. pupās.
The penultimate syllable has the circumflex or the short intonation. The circumflex or the short stress remains constant, except: in the (a) instrumental singular and (b) accusative plural. If the noun ends in -as, then in addition to the two cases above, the locative singular is also stressed on the ending, e.g., loc.sg. batč 'shoe'. If the noun has -a in nominative singular, then this -a is stressed, e.g., nom.sg. pupā 'bean'.
| Nom sg | pirstas 'finger' | vistā 'hen' | laume 'witch' | |||
|---|---|---|---|---|---|---|
| Gen sg | pirsto | vėstos | laumes | |||
| Dat sg | pirstui | vėstai | laumei | |||
| Acc sg | pirsta | vėsta | laume | |||
| Inst sg | pirstų | vistā | laumč | |||
| Loc sg | pirstč | vėstoj(e) | laumej(e) | |||
| Voc sg | pirste | vėsta | laume | |||
| Nom pl | pirstai | vėstos | laumes | |||
| Gen pl | pirstu | vėstu | laumiu | |||
| Dat pl | pirstam(s) | vėstom(s) | laumem(s) | |||
| Acc pl | pirstųs | vistās | laumčs | |||
| Inst pl | pirstais | vėstom(is) | laumem(is) | |||
| Loc pl | pirstuos(e) | vėstose | laumese | |||
| Voc pl | pirstai | vėstos | laumes |
Demonstrative pronouns refer to:
The demonstrative sės contrasts with tās. Both sės and tās contrast with anās which denotes a third object which is farther away than objects referred to by tās, e.g.,
Demonstrative pronouns can be used both as nouns and as adjectives, e.g.,
When sės, sė, tās, tā, anās, anā are used as adjectives (before a noun), they contribute definite status to the noun.
The pronouns sėtoks, sėtokia, tóks, tokiā can also used before nouns as intensifiers, e.g., Sėtokia baisė avãrija 'such a terrible accident'.
The declension of sės, sė is like that of the personal pronouns jės, jė. The demonstrative pronouns tās, tā and tōks, tokiā are declined as follows:
| Masculine | Feminine | Masculine | Feminine | |||||
|---|---|---|---|---|---|---|---|---|
| Nom sg | tās 'this' | tā | tóks 'such a' | tokiā | ||||
| Gen sg | tõ | tõs | tókio | tokiõs | ||||
| Dat sg | tám | tái | tokiám | tókiai | ||||
| Acc sg | tã | ta | tóki | tókia | ||||
| Inst sg | tuõ | tā | tókiu | tokiā | ||||
| Loc sg | tamč | tojč | tokiamč | tokiojč | ||||
| tam | tõj | tokiam | tokiõj | |||||
| Nom pl | tie | tõs | tokie | tókios | ||||
| Gen pl | tu | tu | tokiu | tokiu | ||||
| Dat pl | tíems | tóms | tokíems | tokióms | ||||
| tíem | tóm | tokíem | tokióm | |||||
| Acc pl | tuõs | tās | tókius | tókias | ||||
| Inst pl | tais | tomės | tokiais | tokiomės | ||||
| tõm | tokiõm | |||||||
| Loc pl | tuosč | tosč | tokiuosč | tokiosč | ||||
| tuõs | tokiuõs |
The declension of sėtas, sitā is exactly like that of tās, tā. Anóks, anókia and sėtoks, sėtokia have the same endings as tóks, tokiā, but the stress pattern is different (always on the same syllable). These pronouns have influenced the declension of the adjectives.
All intrrogative and relative pronouns begin with the consonant k: kās 'what', 'who'; kóks, kokiā 'what kind of'; kurės, kurė 'which'; katrās, katrā 'which of two'; kelė, kelios 'how many', kelerė, kelerios 'how many (used with pluralia tantum); kelintas, kelintā 'which'.
The interrogative pronoun kās 'who, what' is declined as follows:
| Nom sg | kās 'who, what' | |
|---|---|---|
| Gen sg | kõ, kienõ | |
| Dat sg | kám | |
| Acc sg | kã | |
| Inst sg | kuõ | |
| Loc sg | kamč |
This pronoun has no plural declension and it may refer to either masculine or feminine nouns or pronouns. Kienõ 'whose', 'of whom', 'by whom' is used to denote possession or as the subject or agent of a passive verbal construction, whereas kõ is reserved for other genitive uses, cf:
Kóks, kokiā are declined like tóks, tokiā; kurės, kurė are declined like jės, jė; katrās, katrā are declined like tās, tā; kelerė, kelerios are declined like kelė, kelios; kelintas, kelintā are declined like regular adjectives.
Kelė and kelios are used only in the plural:
| Masculine | Feminine | |||
|---|---|---|---|---|
| Nom | kelė 'how many' | kelios | ||
| Gen | keliu | keliu | ||
| Dat | kelíems, keliém | kelióms, kelióm | ||
| Acc | kelės | keliās | ||
| Inst | keliais | keliomės, keliõm | ||
| Loc | keliuosč, keliuõs | keliosč |
When these pronouns introduce a direct question, they are interrogatives:
Kas, kurės, kurė, kóks, kokiā can also be used as relative pronouns. The number and the gender of the relative pronoun are determined by the word to which it refers, but the case of this pronoun is determined by its use in the clause of which it is a part, e.g.:
The relative pronoun kuriã is feminine and singular because it refers to suknele which is feminine and singular, but it is in the accusative case because it is the object of the verb nupirkai.
Kokiā ziemā, tokiā ir vãsara 'Whatever the winter is (like) thus also is the summer'.
Kās 'someone', 'somebody', 'something' may be used as an indefinite pronoun by itself, e.g., Jám turbut pasivaideno kās 'He probably imagined somebody'.
Kās, kōks and kurės also may be used in conjunction with nórs, kazė(n) and kaz-. Kas nórs, koks nórs, kuris nórs have the meaning 'someone', 'somebody', 'anybody' 'something', 'some kind of':
Kazkās, kazkóks, kazkurės share a common semantic element meaning 'uncertain', someone not known', 'what', 'which', 'what kind of'. The same meaning is shared by the corresponding compound pronouns with the first component kazė(n), e.g., kazi(n) kās, kazi(n) kóks, kazi(n) kurės:
Adjectives agree in gender, number and case with words they modify. As attributes, adjectives can be used only with nouns, e.g., pāprastas sprendėmas 'a simple decision'.
There are three gender forms of adjectives in Lithuanian: masculine, feminine and neuter. All adjectives can have masculine forms and the respective feminine forms, e.g., nominative singular masculine liudnas 'sad', kilnųs 'noble'; nominative singular feminine liudnā, kilnė. The neuter forms can be derived by dropping the -s from the masculine nominative singular, cf.: nominative singular masculine liudnas and neuter liudna; nominative singular masculine kilnųs and neuter kilnų. These forms are generally used in certain impersonal constructions as part of the nominal predicate:
The present tense forms of buti 'to be' are mostly omitted in such sentences.
The qualitative adjectives have degrees of comparison. As in English, there are three basic degrees of comparison in Lithuanian: the positive, the comparative, and the superlative, e.g., positive liudnas 'sad', sunkųs 'difficult', 'heavy'; comparative liudnčsnis 'sadder', sunkčsnis 'more difficult', 'heavier'; superlative liudniáusias 'the saddest', sunkiáusias 'the most difficult', 'the heaviest'. Descriptive adjectives can have definite forms, which in addition to their lexical meaning of the quality contribute definite status to the noun they determine, e.g., amzinóji tiesā 'the eternal truth'. Historically, definite forms derived from the blend of adjectival endings with the pronoun jės 'he', jė 'she', e.g., amzināsis 'eternal-he', amzinóji 'eternal-she'.
Masculine and feminine adjectives have two numbers: singular and plural.
All adjectives are traditionally classified into three declensions. The easiest way to determine which declension an adjective belongs is by checking the endings in the nominative singular and the nominative plural.
| Declension | Nom.sg.masc. | Nom.pl.masc. | Nom.sg.fem. | Nom.pl.fem. | Stem | |||||
|---|---|---|---|---|---|---|---|---|---|---|
| 1st | -(i)as | -i | (i)a | |||||||
| -(i)a | -(i)os | (i)o | ||||||||
| 2nd | -us | -us | (i)u | |||||||
| -i | -ios | (i)o | ||||||||
| 3rd | -is | -iai | (i)a | |||||||
| -e | -es | e |
The declension of masculine and feminine adjectives is quite different. Since early times, feminine adjectives were declined like nouns, but the masculine adjectives have adopted some of the endings of the gendered pronouns, cf.: dative singular masculine liudnám 'sad' and tám 'that'; locative singular masculine liudnamč and tamč; nominative plural masculine liudnė and tie; dative plural masculine liudníems and tíems.
All adjectives ending in -(i)as (masculine nominative singular) and -(i)a (feminine nominative singular) belong to the first declension. The declension of these adjectives should be compared with that of the first and second declension nouns. The declension of the masculine adjectives differs in the dative and locative singular and the nominative and dative plural from that of the first declension nouns.
The forms of the 1st declension adjectives are as follows:
| Masculine | Feminine | Masculine | Feminine | |||||
|---|---|---|---|---|---|---|---|---|
| Nom sg | pėktas 'angry' | piktā | zãlias 'green' | zaliā | ||||
| Gen sg | pėkto | piktõs | zãlio | zaliõs | ||||
| Dat sg | piktám | pėktai | zaliám | zãliai | ||||
| Acc sg | pėkta | pėkta | zãlia | zãlia | ||||
| Inst sg | piktų | piktā | zalių | zaliā | ||||
| Loc sg | piktamč | piktojč | zaliamč | zaliojč | ||||
| piktam | piktõj | zaliam | zaliõj | |||||
| Voc sg | pėktas | piktā | zãlias | zaliā | ||||
| Nom pl | piktė | pėktos | zalė | zãlios | ||||
| Gen pl | piktu | piktu | zaliu | zaliu | ||||
| Dat pl | piktíems | piktóms | zalíems | zalióms | ||||
| piktíem | piktóm | zalíem | zalióm | |||||
| Acc pl | piktųs | piktās | zaliųs | zaliās | ||||
| Inst pl | piktais | piktomės | zaliais | zaliomės | ||||
| piktõm | zaliõm | |||||||
| Loc pl | piktuosč | piktosč | zaliuosč | zaliosč | ||||
| piktuõs | zaliuõs | |||||||
| Voc pl | piktė | pėktos | zalė | zãlios |
Adjectives belonging to the 2nd declension are characterized by the ending -us in the masculine nominative singular and the ending -i in the feminine nominative singular.
| Masculine | Feminine | Masculine | Feminine | |||||
|---|---|---|---|---|---|---|---|---|
| Nom sg | gilųs 'deep' | gilė | saldųs 'sweet' | saldė | ||||
| Gen sg | gilaus | giliõs | saldaus | saldziõs | ||||
| Dat sg | giliám | gėliai | saldziám | sáldziai | ||||
| Acc sg | gėlu | gėlia | sáldu | sáldzia | ||||
| Inst sg | gilių | giliā | sáldziu | sáldzia | ||||
| Loc sg | giliamč | giliojč | saldziamč | saldziojč | ||||
| giliam | giliõj | saldziam | saldziõj | |||||
| Voc sg | gilųs | gilė | saldųs | saldė | ||||
| Nom pl | gėlus | gėlios | sáldus | sáldzios | ||||
| Gen pl | giliu | giliu | saldziu | saldziu | ||||
| Dat pl | gilíems | gilióms | saldíems | saldzióms | ||||
| gilíem | gilióm | saldíem | saldzióm | |||||
| Acc pl | giliųs | giliās | sáldzius | sáldzias | ||||
| Inst pl | giliais | giliomės | saldziais | saldziomės | ||||
| giliõm | saldziõm | |||||||
| Loc pl | giliuosč | giliosč | saldziuosč | saldziosč | ||||
| giliuõs | saldziuõs | |||||||
| Voc pl | gėlus | gėlios | sáldus | sáldzios |
The -ti- and -di- of the feminine nominative singular are replaced by -ci- and -dzi- respectively in position before the vowels -a-, -o-, -u- in the second declension of adjectives, cf.: nominative singular masculine kartųs 'bitter' and instrumental singular masculine kárciu; nominative singular masculine saldųs 'sweet' and instrumental singular masculine sáldziu, etc. In this position, -c- and -dz- merely denote a soft or palatalized -c- or -dz- sound; the letter -i- here does not denote a vowel, but merely the softening or palatalization of the preceding consonant. The endings of the nouns of the 4th declension should be carefully compared with the masculine endings above, cf.: sunųs 'son' and 'gilųs 'deep'. The endings of feminine nouns in -i of the second declension should be carefully compared with the feminine endings above, cf.: martė 'daughter-in-law' and saldė 'sweet'.
The nominative singular of all adjectives in this declension ends in -is for the masculine and -e for the feminine.
| Masculine | Feminine | Masculine | Feminine | |||||
|---|---|---|---|---|---|---|---|---|
| Nom sg | auksėnis 'golden' | auksėne | vilnõnis 'woolen' | vilnõne | ||||
| Gen sg | auksėnio | auksėnes | vilnõnio | vilnõnes | ||||
| Dat sg | auksėniam | auksėnei | vilnõniam | vilnõnei | ||||
| Acc sg | auksėni | auksėne | vilnõni | vilnõne | ||||
| Inst sg | auksinių | auksinč | vilnonių | vilnonč | ||||
| Loc sg | auksėniame | auksėneje | vilnõniame | vilnõneje | ||||
| auksėniam | auksėnej | vilnõniam | vilnõnej | |||||
| Voc sg | auksėni(s) | auksėne | vilnõni(s) | vilnõne | ||||
| Nom pl | auksėniai | auksėnes | vilnõniai | vilnõnes | ||||
| Gen pl | auksėniu | auksėniu | vilnõniu | vilnõniu | ||||
| Dat pl | auksėniams | auksėnems | vilnõniams | vilnõnems | ||||
| auksėniam | auksėnem | vilnõniam | vilnõnem | |||||
| Acc pl | auksiniųs | auksinčs | vilnoniųs | vilnončs | ||||
| Inst pl | auksėniais | auksėnemis | vilnõniais | vilnõnemis | ||||
| auksėnem | vilnõnem | |||||||
| Loc pl | auksėniuose | auksėnese | vilnõniuose | vilnõnese | ||||
| auksėniuos | vilnõniuos | |||||||
| Voc pl | auksėniai | auksėnes | vilnõniai | vilnõnes |
Third declension adjectives are usually derived from nouns, cf.:
Some adjectives of this declension are also derived from other adjectives and past passive participles, cf.:
The subjunctive mood indicates a possible action. The simple forms of the subjunctive mood are formed by removing the infinitive ending -ti and adding the endings listed below:
| 1st sg | láuk-ciau 'I should wait' | ture-ciau 'I should have' | bu-ciau 'I should be' | |||
|---|---|---|---|---|---|---|
| 2nd sg | láuk-tum | ture-tum | bu-tum | |||
| 3rd sg | láuk-tu | ture-tu | bu-tu | |||
| 1st pl | láuk-tume | ture-tume | bu-tume | |||
| láuk-tumem(e) | ture-tumem(e) | bu-tumem(e) | ||||
| 2nd pl | láuk-tute | ture-tute | bu-tute | |||
| láuk-tumet(e) | ture-tumet(e) | bu-tumet(e) | ||||
| 3rd pl | láuktu | ture-tu | bu-tu |
The subjunctive mood has two parallel forms for the 1st and the 2nd person plural. It is commonly believed that the longer forms are more common than the shorter ones. In dialects and old writings there is an even greater variety of subjunctive forms.
The compound subjunctive forms consist of the simple forms of the auxiliary buti 'to be' and active or passive participles, e.g., butum zinójes 'you would have known'; butu zėnomas 'he would be known'.
As subjunctive mood forms have an infinitive stem, they preserve the stress and intonation of the infinitive.
The subjunctive mood may be used in both the main clause and the if-clause of a sentence which contains a contrary-to-fact condition, e.g.:
If there is no contrary-to-fact condition, then the subjunctive mood is not required, e.g., Jéi paprasýsi, paskõlinsiu 'If you ask, I shall lend'; Jéi netųri, neduók 'If you do not have, don't give'. The future tense (not the present, as in English) is used with jéi 'if', when a future time is implied.
The subjunctive mood is also used to express purpose, generally with the subordinating conjunction kād 'that', 'in order that', e.g.,
Lithuanian does not use the object of a verb of wishing or saying as the subject of an infinitive as in English.
There are three basic forms of imperative in Lithuanian: 2nd person singular, 1st person plural, and 2nd person plural. As a rule, the action is addressed to another person. Hence the most common forms of the imperative are 2nd person singular and 2nd person plural.
| 2nd sg | skaitýk 'read' | turek 'have' | buk | |||
|---|---|---|---|---|---|---|
| 1st pl | skaitýkim(e) | turekim(e) | bukim(e) | |||
| 2nd pl | skaitýkit(e) | turekit(e) | bukit(e) |
The formation of these forms is fairly simple:
The stress is the same as for the infinitive.
The 2nd person singular is used in addressing children, animals, close friends, members of the immediate family and God. The 2nd person plural is used to address a group of persons or animals, or to address one person politely. The 1st person plural renders the English 'let us', e.g., skaitykim 'let us read'.
Frequently the first person plural of the present tense when used without a pronoun has hortative meaning:
Traditionally, the imperative mood includes the forms of the optative (permisive) mood. The inclusion of the optative mood raises problems, since the optative mood is permissive, not imperative.
The optative may be formed by prefixing te- to the third person form of the verb, e.g., te-skaito 'may he (she) read', 'let him (her) read; te-eina 'may he (she) go', 'let him (her) go'. Sometimes these forms are created by a synthetic combination of tegul 'let...' or tegų 'let...' with the third person of the verb, e.g., tegul skaito 'may he (she) read', 'let him (her) read'; tegų eina 'may he (she) go', 'let him (her) go'.
An alternative formation is furnished by adding the endings -ai (for the verbs of the third conjungation) or -ie for other verbs to the present stem, e.g., 3 pres. skait-o 'reads', opt. te-skait-ai 'may he (she) read', 'let him (her) read'; 3 pres. ein-a 'goes', opt. te-ein-ie 'may he (she) go', 'let him (her) go'. These forms are recognized as archaic; they are found in older Lithuanian writings. The only verb used fairly often in Standard Lithuanian is the verb buti 'to be': tebunie, teesie 'let it be'. They are also found in prayers:
In Lithuanian most interrogative sentences are similar in structure to declarative sentences. They can be marked by intonation alone and, sometimes, by word order:
General questions either contain no interrogative marker, or may begin with the particles ar, argi, gál, nejau, nejaugi. The affirmative answer begins with the affirmative particle taip 'yes', and the negative answer with nč 'no':
Special questions usually require a concrete answer. They are formed with various case forms of the interrogative pronouns kās 'who, what', kurės 'which', kóks 'what (kind of)', kelė 'how many', kelintas 'which' (of the ordinal number), and with the interrogative adverbs kur 'where', kadā 'when', kaip 'how', kodel 'why', kíek 'how many'. These markers are placed initially:
Lithuanian also uses "tag questions" but, compared to English, they are less common. There are several ways to express 'do you', 'don't you', 'haven't you', 'will you', won't you', 'aren't you', etc., in Lithuanian. Literally the negative question ar nč? means 'is it not', 'was it not', 'will it not (be)', etc. after positive statements. The word tiesā? 'true, correct'? can be used both after positive and negative statements. Ar nč tiesā? 'is it not so'? is used after positive statements, but sometimes also after negative sentences or clauses: