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I don’t know if it took so long to use hidden methods to make such a simple decision, to torture a soul tired of arguments, it is not clear who asks: is it a monument to talent, or a symbol of occupation, just a collaborator? If we use a definition (collaboration is a conscious, meaningful and voluntary help for the occupant’s purposes), then the energetic figure of the writer with “literature” in hand and symbolizes the direction – with art towards a bright future.
I am neuronizing the last words: since the time of Christ, humanity has been fighting for this in various ways, of course, not just by artistic means. Who dares to say that it is bad?
I think that Fr Cvirka, who comes from the poor, by nature receptive to ideas, believed in the thoughts that it is possible to change not only their districts, but also the world.
Today, in the age of information contamination, we have no idea what a new idea meant to a young man who understood it in those days, albeit without an analysis of the consequences.
There are hundreds of examples of world famous personalities who began to admire Marxism in their youth. Even those who became his fierce opponents.
Who was P. Cvirka? A young man who came from a poor past to a seething Europe, of which Lithuania became a part after a long period of Russian oppression. The pen, which controls the pen and shows an unlearned mastery of narrative, was quickly noticed by both the left and the right.
Lithuanian interwar humanitarian culture after 1926 did not experience large waves of censorship by authoritarian authorities, despite the closure of newspapers with “inappropriate” content. As a promising talent, P. Cvirka, officially supported, went to Paris.
Many young people at that time did not go out into the world at large through economic migration alone. And much came back. Not disappointed, but eager to change lives in their own countries.
More detailed research, as in the 20th century. In the first half of the 19th century, Western Europe operated in Lithuania. All the modernist currents manifested themselves in the Lithuanian art world.
Political and social life was not far behind. Directly and secretly, the processes in Russia had a great influence. Generally, large ideologized social movements operate cumulatively until they clash with self-similarities or burn out on their own.
Coincidentally or not, after meeting the prominent French Communist writer L. Aragon, who later became no less famous and as an emerging surrealist, P. Cvirka got into Marxism and went through all levels of empathy.
The heyday of the rise came in 1940, when the still young artist also felt himself the creator of a new order.
Much detailed information about this tragic period has been written for the Lithuanian state and the role of P. Cvirka and his comrades.
P. Cvirka’s involvement in handing over Lithuania to the Soviets was not the result of a brief emotional state of mind.
He was a high-ranking Soviet civil servant from the beginning of the occupation until his death in 1947. A writer with a peculiar narrative style as if he did not stay, a pure civil servant.
And it is better not even to show the students what is left of the work. Journalism is full of praise for socialist Russia, in a series of articles (mostly in 1940) an infinite love (in other words, hard to find) for J. Stalin.
Request a medical diagnosis. For teachers presenting the work and social activities of P. Cvirka to an audience born in the 21st century. At the beginning of the 19th century, no doubts should be raised about the political assessment, but a student who has abruptly withdrawn from Facebook may be tempted to ask: What, wasn’t it a shame that a writer who wrote so sensitively about his country deported? and kill even his homeland?
If it doesn’t get into a person’s head, the respondent will respond. Or maybe try?
Earlier this year the novel Circo de Baik, Cvirka by the writer G. Aleksa (b.1946) was published. The author is the compatriot of P. Cvirka, he still lives there, of course, he does not remember his famous neighbor, but he heard many stories.
In an interview, G. Aleksa admitted that the idea of writing a novel about P. Cvirkas had matured for 30 years, until he finally decided to get into the head of a “tragic personality”.
The testimony of J. Velička, the father of the novel’s baptism, who met P. Cvirkas, became a kind of impulse, that the writer understood that he was wrong and would like to write a work in which he would reveal the whole truth on the order of the occupants. P. Cvirka was very excited and even cried: “Juliau, you can’t even imagine what smell (I mean J. Stalin. – ML) from our throats we fell”.
The outline of the novel is not complicated, its presentation says: It’s just a memory. “
The book convincingly reveals that P. Cvirka saw and survived what happened in Lithuania after the war. It is known from other sources that P. Cvirka has helped humanely bury the victims desecrated by the stribes.
I think he gave in not only in the novel and understood what happened to the Lithuanian state. I am probably not wrong in believing that both a sudden breath and an attempt to extinguish confused feelings with a “flammable liquid” and even swallowing “worms three times a day” quickly brought death closer.
It remains, as in G. Aleksa’s novel, to set the clock to make the last trip: J.Stalino Avenue to Rožių Alley, past the place where the monument will sprout, to the special polyclinic, and from there to Rasas, to the Judge higher than monument experts.
