Eesti sonett
Date
2019-05-02
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Abstract
Sonett jõudis eesti keelde üsna meie kirjaliku luule algusaegadel – esimesed sonetid ilmusid trükis 1881. aastal. Sellest ajast kuni tänapäevani on see luulevorm eesti kirjanduslugu läbinud kord erksama, kord tuhmima, aga katkematu niidina. Milline on eesti soneti spetsiifika? Väitekiri otsib sellele küsimusele vastust mitmeaspektilise analüüsi kaudu. Töö allikateks on kõik kuni 2015. aastani (k.a) trükiraamatutes, varasemal perioodil ka perioodikas ilmunud eestikeelsed algupärased sonetid, kokku 4551 luuletust. Uuritakse eesti soneti vormimustreid: värsimõõte ja riimiskeeme, samuti selle kanoonilise vormi tähtsust luules eri ajajärkudel. Diakrooniliselt analüüsitakse eesti sonetilugu, lähtudes semiootilisest vaatenurgast luulele: vaatluse all on üksikteoste, samuti eri autorite ja ajajärkude sonettide tähendusmehhanismid ja nende muutumine ajas. Ehkki sonetti peetakse ettemääratud vormireeglite tõttu kinnisvormiks, on selle ajalugu eesti luules tähendanud teisenemiste ajalugu. Analüüs näitas, et eesti sonett on olemuslikult leiutlev, mänguline ja eneseteadlik. Ehkki tihti implitsiitselt, iseloomustab seda tugev (auto)metapoeetilisus: sonetti kirjutades öeldakse midagi uut ka selle luulevormi kohta, kas otse väljendudes või dialoogis varasemate sonettidega. Nii on see luulevorm oma 135-aastase ajaloo vältel eesti luules püüdnud seista masinlikkuse vastu – sonette on kirjutatud vormi iseloomulike tunnustega, võideldes aga samal ajal automatiseerumise vastu. Ajajärguti on selleks kasutatud eri strateegiaid. Iga uus pööre eesti luuleloos on kaasa toonud sonetiõitsengu ning sonetist ongi saanud üks märgiline meedium, milles neid murranguid on manifesteeritud, püüdes seeläbi avardada mitte üksnes üht luulevormi, aga kõnelda luulest üldisemalt.
The aim of this dissertation is to to analyse the Estonian sonnet from multiple perspectives. The first sonnets in the Estonian language were published at the end of 19th century, in 1881, and since then this traditional form of poetry has been the most popular fixed verse form in Estonian poetry. As Estonian poetry is relatively young and its language quite small, there is a great opportunity to study not only the highlights of this form of poetry but the intention of this thesis is to examine all the Estonian sonnets ever published, 4551 sonnets altogether. From the short history of the Estonian sonnet we can see that this poetic form starts to flourish every time poetry as a discourse is undergoing major changes, even if these changes are oriented towards the liberation from formal boundaries, rhyme and meter, which by definition constitute the sonnet – the new discourse also tries to establish itself in the most popular fixed verse form in Estonian poetry, the sonnet. The sonnet in Estonian poetry has constantly fought against automatism – it is essentially playful, always reinventing itself, and is characterized by a tendency towards self-reflection, or so-called autometapoetical function. The sonnet, as the most widely used canonical form in Estonian poetry, has become an important medium through which revolutions in poetical discourse are manifested.
The aim of this dissertation is to to analyse the Estonian sonnet from multiple perspectives. The first sonnets in the Estonian language were published at the end of 19th century, in 1881, and since then this traditional form of poetry has been the most popular fixed verse form in Estonian poetry. As Estonian poetry is relatively young and its language quite small, there is a great opportunity to study not only the highlights of this form of poetry but the intention of this thesis is to examine all the Estonian sonnets ever published, 4551 sonnets altogether. From the short history of the Estonian sonnet we can see that this poetic form starts to flourish every time poetry as a discourse is undergoing major changes, even if these changes are oriented towards the liberation from formal boundaries, rhyme and meter, which by definition constitute the sonnet – the new discourse also tries to establish itself in the most popular fixed verse form in Estonian poetry, the sonnet. The sonnet in Estonian poetry has constantly fought against automatism – it is essentially playful, always reinventing itself, and is characterized by a tendency towards self-reflection, or so-called autometapoetical function. The sonnet, as the most widely used canonical form in Estonian poetry, has become an important medium through which revolutions in poetical discourse are manifested.
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Keywords
sonetid, tüpoloogia, lüürika, eesti, luuletajad, värsimõõt, poeetika, kirjandusajalugu