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The article focuses on the beginning of the Singing Revolution in Lithuanian culture and tries to identify the most significant dominant features in order to understand the entirety of the new changes in literature. In the face of political upheaval, such a dominant feature was the question of truth; however, the well-established poetry tradition– romantic, neo-romantic, modern neo-romantic, which coexisted with social realism in Soviet times, and experimental– did not raise such questions of truth but only reflected the nation's collective expectations. The evolution of Lithuanian literature, which was highly fragmented during all the decades of the Soviet occupation, united the country through the expatriate poet Bernardas Brazdžionis while he was visiting Lithuania in the summer of 1989. Poetic texts predominated during the first demonstrations of Sąjūdis (the Reform Movement), but while trying to understand their position in the general Lithuanian culture and literature discourse, one needs to acknowledge the leading nature of poetry throughout the Soviet times: having its niche in the cultural system, poetry posed a large number of vexed questions, sought philosophical profundity, and was able to constantly address the deepest metaphysical questions even in strict censorship conditions. Lithuanian prose, which evaded the requirement by the doctrine of social realism to portray the world and characters engaged in class struggles, also found support in the poetry system and created a non-linear but coherent narrative where metaphors prevail. Lithuanian prose poetry became a sign of esthetic quality in independent Lithuania too, where the question of truth, which was important for achieving independence, found a way similar to that of poetry– through memoirs and essays to esthetics and little prose. At the beginning of independence, poetry, which had fed Lithuanian prose with its ideas, themes, conception of the world and esthetic solutions, also merged with memoirs and essays, thus being part of the discourse of telling the truth. ; Šiame straipsnyje apžvelgiamas lietuvių literatūros procesas nepriklausomybės perspektyvoje, pradedant nuo Sąjūdžio mitinguose išryškėjusių dominančių, autoritetų ir kūrinių, kurie buvo ir yra aktualūs literatūros raidos požiūriu. Iš laiko perspektyvos matyti, kad trys nepriklausomybės dešimtmečiai aktualizavo šiek tiek skirtingas literatūros tendencijas, ir galėtume kalbėti net apie skirtingų žanrų dėliojamus akcentus, tačiau visus šiuos nepriklausomybės dešimtmečius Ariadnės siūlu istorinių įvykiu labirinte sujungia itin aktualus visam XX amžiui poezijos žanras. Poezijos tekstais prasideda Atgimimas, poezijos tekstus ir poetinę stilistiką sintetina eseistika, mažoji proza, poetinė proza, ir net pasiekusi trečią nepriklausomybės dešimtmetį lietuvių literatūra vis dar išsaugo poezijos pamokas. Šiame straipsnyje siekiama nueiti bent svarbesniais istorijos labirintų takeliais ir, apžvelgus ryškiausius autorių ir kūrybos ryšius ir sąsajas, įvardyti ir iš laiko nuotolio įvertinti reikšmingas literatūros raidos tendencijas, pokyčius bėgant laikui ir poslinkius stilistinėse sistemose. Apžvalginis straipsnio pobūdis leidžia suvokti poezijos įtakos galią, pastebėti ir įvardyti svarbiausius jos ženklus literatūros raidoje, tačiau specifiškesnius pačios poezijos, taip pat jos paliestus eseistikos, prozos tekstus vertėtų panagrinėti atskiruose tyrimuose.

The article focuses on the beginning of the Singing Revolution in Lithuanian culture and tries to identify the most significant dominant features in order to understand the entirety of the new changes in literature. In the face of political upheaval, such a dominant feature was the question of truth; however, the well-established poetry tradition – romantic, neo-romantic, modern neo-romantic, which coexisted with social realism in Soviet times, and experimental – did not raise such questions of truth but only reflected the nation's collective expectations. The evolution of Lithuanian literature, which was highly fragmented during all the decades of the Soviet occupation, united the country through the expatriate poet Bernardas Brazdžionis while he was visiting Lithuania in the summer of 1989. Poetic texts predominated during the first demonstrations of Sąjūdis (the Reform Movement), but while trying to understand their position in the general Lithuanian culture and literature discourse, one needs to acknowledge the leading nature of poetry throughout the Soviet times: having its niche in the cultural system, poetry posed a large number of vexed questions, sought philosophical profundity, and was able to constantly address the deepest metaphysical questions even in strict censorship conditions. Lithuanian prose, which evaded the requirement by the doctrine of social realism to portray the world and characters engaged in class struggles, also found support in the poetry system and created a non-linear but coherent narrative where metaphors prevail. Lithuanian prose poetry became a sign of esthetic quality in independent Lithuania too, where the question of truth, which was important for achieving independence, found a way similar to that of poetry – through memoirs and essays to esthetics and little prose. At the beginning of independence, poetry, which had fed Lithuanian prose with its ideas, themes, conception of the world and esthetic solutions, also merged with memoirs and essays, thus being part of the discourse of telling the truth.

The article focuses on the beginning of the Singing Revolution in Lithuanian culture and tries to identify the most significant dominant features in order to understand the entirety of the new changes in literature. In the face of political upheaval, such a dominant feature was the question of truth; however, the well-established poetry tradition – romantic, neo-romantic, modern neo-romantic, which coexisted with social realism in Soviet times, and experimental – did not raise such questions of truth but only reflected the nation's collective expectations. The evolution of Lithuanian literature, which was highly fragmented during all the decades of the Soviet occupation, united the country through the expatriate poet Bernardas Brazdžionis while he was visiting Lithuania in the summer of 1989. Poetic texts predominated during the first demonstrations of Sąjūdis (the Reform Movement), but while trying to understand their position in the general Lithuanian culture and literature discourse, one needs to acknowledge the leading nature of poetry throughout the Soviet times: having its niche in the cultural system, poetry posed a large number of vexed questions, sought philosophical profundity, and was able to constantly address the deepest metaphysical questions even in strict censorship conditions. Lithuanian prose, which evaded the requirement by the doctrine of social realism to portray the world and characters engaged in class struggles, also found support in the poetry system and created a non-linear but coherent narrative where metaphors prevail. Lithuanian prose poetry became a sign of esthetic quality in independent Lithuania too, where the question of truth, which was important for achieving independence, found a way similar to that of poetry – through memoirs and essays to esthetics and little prose. At the beginning of independence, poetry, which had fed Lithuanian prose with its ideas, themes, conception of the world and esthetic solutions, also merged with memoirs and essays, thus being part of the discourse of telling the truth.

During the decades of the first independence, Lithuanian poetry has followed the European tradition of modernism.The best Lithuanian poetry represented authentic European modernism, its stylistic diversity and individualism. Nevertheless, the Soviet reality limited Lithuanian literature to a particularly hermetic world that protractedly ignored the experience of European art; it exalted socialist realism and its collectiveness, as well as impersonality.Lithuanian social-realist poetry has essentially encroached on the historical memory of town and culture as well as Christian metaphysics. Without metaphysics, contemporary Lithuanian poetry has faced the physical and utopian time line of Communism, propagated by the dogmas of socialist realism. Talented Lithuanian poets didn't consider that such a possibility can be creative.During the Soviet era Lithuanian literature had been looking for its ontological identity in the prehistory of Baltic culture, international mythology of the earth ethos and the non-historical space of the Orient, which during the decades of the second independence were anchored already as a tradition of Lithuanian poetry.Meanwhile, in Polish literature, even during the period of socialist realism, they were able to stay in Christian discourse, and this was due to a stronger tradition of modernism, which allowed to carry out complex and more purposeful experiments of poetic form.When independence was restored, similar tendencies became significant: young Polish and Lithuanian writers adored some Polish poetry classics (mostly the neo-classics: Cz. Miłosz, Szymborska and Herbert) and were able to retain if not the attitude of Christian metaphysics then at least that of Christian ethics, as well as the philosophical and moral authority of Christianity under the circumstances of Soviet censorship.Towns and the history of human culture have become the mark of the world-view of contemporary Polish neo-classicism. Nobel prizes provided those marks with important international recognition. The civic attitude of Cz. Miłosz, as well as poetic philosophy in emigration writings, facing the regained independence of Poland have become an important moral argument for the expansion of the neo-classicist school in Poland. The excellence of Szymborska's and Herbert's poetry and philosophical attitude created a pretext of prosperity for the neo-classicist tradition in Polish poetry. ; Šio straipsnio tikslas – šiek tiek nušviesti naujausios lietuvių ir lenkų poezijos lauką, tiesiogiai paveiktą sudėtingos XX amžiaus II pusės politinės aplinkos. Būdamos artimomis kaimynėmis lenkų ir lietuvių literatūros pasipriešinimo primestai ideologijai strategiją kūrė skirtingais būdais ir formavo skirtingas literatūros tradicijas. Socrealizmo kanonui lenkų literatūra priešpriešino naują poezijos programą, kurios koncepcijoje glūdinti tiesinė istorijos samprata įkūnijo krikščioniškiesiems idealams artimą metafizinį turinį. Tuo tarpu lietuvių literatūra programų ir manifestų tuo metu nesukūrė, tačiau į utopinę laiko tiesę reagavo taip pat. Baltų gamtos pasaulėjauta tapo programinė visai sovietinės literatūros aplinkoje išaugusiai lietuvių poezijai, o gamtos ciklo laikas, paisantis gamtos prigimties ir logikos, tapo vienu iš lemtingų semantinių sprendimų, veikusių metafizinį to laikmečio mąstymą ir nulėmusių šiuolaikinės lietuvių poezijos pobūdį.