Among the writers who appeared on the scene in the years 1918-1940, Vincas Mykoláitis-Pùtinas 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', buitìs 'manner of life', pólekis 'flight (of fancy)', butìs 'being, existence', lukesys 'expectation', geismas 'desire', síelgrauza 'mental distress' (literally 'gnawing at the soul'). He used international words abundantly, e.g. harmònija 'harmony', mirãzas 'mirage', iliùzija 'illusion', ideãlas 'ideal,' hierárchija 'hierarchy', chaòsas 'chaos'. He used just the right adjectives with abstract nouns, e.g., álkanas liudesys 'hungry grief, famished melancholy', klaikì vienãtve 'dreadful loneliness', nerimastìnga buitìs '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, Liùdas 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-Pùtinas 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'.
Pirmàsis galimùmas bùvo visái mèsti tã poèzija ir visàs tàs svajonès.
Tai butu tinkamiáusias ir paprasciáusias kláusimo sprendìmas.
Bèt Vasãris nùjaute, kàd jìs vargù ar pajegs issizadeti tu vilciu, kuriõs ìs dalies ji i seminãrija àtvede.
Seminãrijos gyvenimas, tiesà, gerókai jàs apgrióve, taciau tuo paciù metù jisai vìs delto pamãte turis tãlenta.
Ir dabar vìsko issizadeti?
Nè, tai negãlimas dáiktas.
Antràsis galimùmas siule jám suderinti kurýba sù kùnigisku gyvenimu.
Bèt kaip?
Lig siõl jám tai nepavyko.
Jìs zinójo ir tikejo, kàd Dievas yrà visókios tobulýbes, grõzio ir kilniáusios poèzijos saltìnis.
Bèt kodel visì relìginiai, doróviniai, amzinõsios tiesõs, gerio ir grõzio motyvai ji palìkdavo sálta kaip leda, õ kurýbinis lyrinis susijáudinimas vèsdavo i gyvenimo zabángas ir pavojùs?
Õ treciàsis galimùmas tuõ metù jám bùvo dár tìk pradejes aisketi.
Jõ paties prãktika róde jám, kàd "kunigãvimas" ir "poetãvimas" yrà dù visái skirtìngi, jéigu nè príesingi, pasaukìmai.
Tàd kám juõs butinai jùngti?
"Kaip kùnigas, às nè poètas, õ kaip poètas, às nè kùnigas."
Stai fòrmule, kurià Liùdas Vasãris savè apgaudinejo ìlga laika.
Sìto psichològinio sofìzmo, ivairiomìs atmainomìs gyvenime ganà daznai sutinkamo, jisai nusitvere kaip skestas siaudelio.
Sità iliùzija ìlgus metùs laike ji pavirsiuj, jìs "kunigãvo" ir "poetãvo", õ tuõ tárpu kùnigas ir poètas vãre jamè zutbutìne tarpùsavio kõva.
Jisai uzfiksãvo daugeli siõs kovõs momentu ir mãne, kàd kùria poèzija.
Tuõ tárpu jìs rãse sàvo zuvìmo krònika, vienur kitur pamárginta tikrù kurýbos zíedu - liudnù jõ tãlento liùdininku.
Pirmàsis galimùmas bùvo visái mèsti tã poèzija ir visàs tàs svajonès. Tai butu tinkamiáusias ir paprasciáusias kláusimo sprendìmas. Bèt Vasãris nùjaute, kàd jìs vargù ar pajegs issizadeti tu vilciu, kuriõs ìs dalies ji i seminãrija àtvede. Seminãrijos gyvenimas, tiesà, gerókai jàs apgrióve, taciau tuo paciù metù jisai vìs delto pamãte turis tãlenta. Ir dabar vìsko issizadeti? Nè, tai negãlimas dáiktas.
Antràsis galimùmas siule jám suderinti kurýba sù kùnigisku gyvenimu. Bèt kaip? Lig siõl jám tai nepavyko. Jìs zinójo ir tikejo, kàd Dievas yrà visókios tobulýbes, grõzio ir kilniáusios poèzijos saltìnis. Bèt kodel visì relìginiai, doróviniai, amzinõsios tiesõs, gerio ir grõzio motyvai ji palìkdavo sálta kaip leda, õ kurýbinis lyrinis susijáudinimas vèsdavo i gyvenimo zabángas ir pavojùs?
Õ treciàsis galimùmas tuõ metù jám bùvo dár tìk pradejes aisketi. Jõ paties prãktika róde jám, kàd "kunigãvimas" ir "poetãvimas" yrà dù visái skirtìngi, jéigu nè príesingi, pasaukìmai. Tàd kám juõs butinai jùngti? "Kaip kùnigas, às nè poètas, õ kaip poètas, às nè kùnigas." Stai fòrmule, kurià Liùdas Vasãris savè apgaudinejo ìlga laika. Sìto psichològinio sofìzmo, ivairiomìs atmainomìs gyvenime ganà daznai sutinkamo, jisai nusitvere kaip skestas siaudelio. Sità iliùzija ìlgus metùs laike ji pavirsiuj, jìs "kunigãvo" ir "poetãvo", õ tuõ tárpu kùnigas ir poètas vãre jamè zutbutìne tarpùsavio kõva. Jisai uzfiksãvo daugeli siõs kovõs momentu ir mãne, kàd kùria poèzija. Tuõ tárpu jìs rãse sàvo zuvìmo krònika, vienur kitur pamárginta tikrù kurýbos zíedu - liudnù jõ tãlento liùdininku.
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'; ausìs 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'; dìdvyris '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' | zìrnis 'pea' | ãdata 'needle' | lùpena 'peel' | ||||
|---|---|---|---|---|---|---|---|---|
| Gen sg | kójos | zìrnio | ãdatos | lùpenos | ||||
| Dat sg | kojai | zìrniui | ãdatai | lùpenai | ||||
| Acc sg | kója | zìrni | ãdata | lùpena | ||||
| Inst sg | kója | zìrniu | ãdata | lùpena | ||||
| Loc sg | kójoj(e) | zìrny(je) | ãdatoj(e) | lùpenoj(e) | ||||
| Voc sg | kója | zìrni | ãdata | lùpena | ||||
| Nom pl | kójos | zìrniai | ãdatos | lùpenos | ||||
| Gen pl | kóju | zìrniu | ãdatu | lùpemu | ||||
| Dat pl | kójom(s) | zìrniam(s) | ãdatom(s) | lùpenom(s) | ||||
| Acc pl | kójas | zìrnius | ãdatas | lùpenas | ||||
| Inst pl | kójom(is) | zìniais | ãdatom(is) | lùpenom(is) | ||||
| Loc pl | kójose | zìrniuos(e) | ãdatose | lùpenose | ||||
| Voc pl | kójos | zìrniai | ãdatos | lùpenos |
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. batùs; dat.pl. pùpoms 'beans', acc.pl. pupàs.
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. batè 'shoe'. If the noun has -a in nominative singular, then this -a is stressed, e.g., nom.sg. pupà 'bean'.
| Nom sg | pirstas 'finger' | vistà 'hen' | laume 'witch' | |||
|---|---|---|---|---|---|---|
| Gen sg | pirsto | vìstos | laumes | |||
| Dat sg | pirstui | vìstai | laumei | |||
| Acc sg | pirsta | vìsta | laume | |||
| Inst sg | pirstù | vistà | laumè | |||
| Loc sg | pirstè | vìstoj(e) | laumej(e) | |||
| Voc sg | pirste | vìsta | laume | |||
| Nom pl | pirstai | vìstos | laumes | |||
| Gen pl | pirstu | vìstu | laumiu | |||
| Dat pl | pirstam(s) | vìstom(s) | laumem(s) | |||
| Acc pl | pirstùs | vistàs | laumès | |||
| Inst pl | pirstais | vìstom(is) | laumem(is) | |||
| Loc pl | pirstuos(e) | vìstose | laumese | |||
| Voc pl | pirstai | vìstos | laumes |
Demonstrative pronouns refer to:
The demonstrative sìs contrasts with tàs. Both sìs and tàs contrast with anàs which denotes a third object which is farther away than objects referred to by tàs, e.g.,
Demonstrative pronouns can be used both as nouns and as adjectives, e.g.,
When sìs, sì, tàs, tà, anàs, anà are used as adjectives (before a noun), they contribute definite status to the noun.
The pronouns sìtoks, sìtokia, tóks, tokià can also used before nouns as intensifiers, e.g., Sìtokia baisì avãrija 'such a terrible accident'.
The declension of sìs, sì is like that of the personal pronouns jìs, jì. The demonstrative pronouns tàs, tà and tòks, tokià are declined as follows:
| Masculine | Feminine | Masculine | Feminine | |||||
|---|---|---|---|---|---|---|---|---|
| Nom sg | tàs 'this' | tà | tóks 'such a' | tokià | ||||
| Gen sg | tõ | tõs | tókio | tokiõs | ||||
| Dat sg | tám | tái | tokiám | tókiai | ||||
| Acc sg | tã | ta | tóki | tókia | ||||
| Inst sg | tuõ | tà | tókiu | tokià | ||||
| Loc sg | tamè | tojè | tokiamè | tokiojè | ||||
| 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 | tàs | tókius | tókias | ||||
| Inst pl | tais | tomìs | tokiais | tokiomìs | ||||
| tõm | tokiõm | |||||||
| Loc pl | tuosè | tosè | tokiuosè | tokiosè | ||||
| tuõs | tokiuõs |
The declension of sìtas, sità is exactly like that of tàs, tà. Anóks, anókia and sìtoks, sìtokia have the same endings as tóks, tokià, 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: kàs 'what', 'who'; kóks, kokià 'what kind of'; kurìs, kurì 'which'; katràs, katrà 'which of two'; kelì, kelios 'how many', kelerì, kelerios 'how many (used with pluralia tantum); kelintas, kelintà 'which'.
The interrogative pronoun kàs 'who, what' is declined as follows:
| Nom sg | kàs 'who, what' | |
|---|---|---|
| Gen sg | kõ, kienõ | |
| Dat sg | kám | |
| Acc sg | kã | |
| Inst sg | kuõ | |
| Loc sg | kamè |
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, kokià are declined like tóks, tokià; kurìs, kurì are declined like jìs, jì; katràs, katrà are declined like tàs, tà; kelerì, kelerios are declined like kelì, kelios; kelintas, kelintà are declined like regular adjectives.
Kelì and kelios are used only in the plural:
| Masculine | Feminine | |||
|---|---|---|---|---|
| Nom | kelì 'how many' | kelios | ||
| Gen | keliu | keliu | ||
| Dat | kelíems, keliém | kelióms, kelióm | ||
| Acc | kelìs | keliàs | ||
| Inst | keliais | keliomìs, keliõm | ||
| Loc | keliuosè, keliuõs | keliosè |
When these pronouns introduce a direct question, they are interrogatives:
Kas, kurìs, kurì, kóks, kokià 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.
Kokià ziemà, tokià ir vãsara 'Whatever the winter is (like) thus also is the summer'.
Kàs 'someone', 'somebody', 'something' may be used as an indefinite pronoun by itself, e.g., Jám turbut pasivaideno kàs 'He probably imagined somebody'.
Kàs, kòks and kurìs also may be used in conjunction with nórs, kazì(n) and kaz-. Kas nórs, koks nórs, kuris nórs have the meaning 'someone', 'somebody', 'anybody' 'something', 'some kind of':
Kazkàs, kazkóks, kazkurìs 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 kazì(n), e.g., kazi(n) kàs, kazi(n) kóks, kazi(n) kurìs:
Adjectives agree in gender, number and case with words they modify. As attributes, adjectives can be used only with nouns, e.g., pàprastas sprendìmas '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', kilnùs 'noble'; nominative singular feminine liudnà, kilnì. 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 kilnùs and neuter kilnù. 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', sunkùs 'difficult', 'heavy'; comparative liudnèsnis 'sadder', sunkèsnis '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 tiesà 'the eternal truth'. Historically, definite forms derived from the blend of adjectival endings with the pronoun jìs 'he', jì 'she', e.g., amzinàsis '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 liudnamè and tamè; nominative plural masculine liudnì 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 | pìktas 'angry' | piktà | zãlias 'green' | zalià | ||||
| Gen sg | pìkto | piktõs | zãlio | zaliõs | ||||
| Dat sg | piktám | pìktai | zaliám | zãliai | ||||
| Acc sg | pìkta | pìkta | zãlia | zãlia | ||||
| Inst sg | piktù | piktà | zaliù | zalià | ||||
| Loc sg | piktamè | piktojè | zaliamè | zaliojè | ||||
| piktam | piktõj | zaliam | zaliõj | |||||
| Voc sg | pìktas | piktà | zãlias | zalià | ||||
| Nom pl | piktì | pìktos | zalì | zãlios | ||||
| Gen pl | piktu | piktu | zaliu | zaliu | ||||
| Dat pl | piktíems | piktóms | zalíems | zalióms | ||||
| piktíem | piktóm | zalíem | zalióm | |||||
| Acc pl | piktùs | piktàs | zaliùs | zaliàs | ||||
| Inst pl | piktais | piktomìs | zaliais | zaliomìs | ||||
| piktõm | zaliõm | |||||||
| Loc pl | piktuosè | piktosè | zaliuosè | zaliosè | ||||
| piktuõs | zaliuõs | |||||||
| Voc pl | piktì | pìktos | zalì | 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 | gilùs 'deep' | gilì | saldùs 'sweet' | saldì | ||||
| Gen sg | gilaus | giliõs | saldaus | saldziõs | ||||
| Dat sg | giliám | gìliai | saldziám | sáldziai | ||||
| Acc sg | gìlu | gìlia | sáldu | sáldzia | ||||
| Inst sg | giliù | gilià | sáldziu | sáldzia | ||||
| Loc sg | giliamè | giliojè | saldziamè | saldziojè | ||||
| giliam | giliõj | saldziam | saldziõj | |||||
| Voc sg | gilùs | gilì | saldùs | saldì | ||||
| Nom pl | gìlus | gìlios | sáldus | sáldzios | ||||
| Gen pl | giliu | giliu | saldziu | saldziu | ||||
| Dat pl | gilíems | gilióms | saldíems | saldzióms |