შემოქმედებითი პროცესის რეკონსტრუქცია აკაკი წერეთლის ,,აღმართ-აღმართისა“ და გალაკტიონ ტაბიძის ,,მთაწმინდის მთვარის“ მიხედვით

აბსტრაქტი

სტატიიდან აღებული ავტორის ინგლისურენოვანი რეზიუმე:

Key words: creative, inspiration, masterprieces.

In the recent period new field of literary criticism, Galaktiology successfully studies Galaktion Tabidze’s writing. In terms of diverse studies carried out exactly in its field it became possible to emphasize such problematic, to certain extent creative issue such as the problem of artistic reflection of creative process, so secret act of poetic text’s creation. As we know this process is based on inspiration and intention and wok on it is the best itinerary for art inspiration and elucidation in the convolutions of fantasy. On the basis of already reached results, when reasonably is stated artistic and conceptual value of Georgian lyrics’ reformation, the first (1914) and the second (1919) poetic collection, especially known under the name of “artistic flowers” in the process of its modernization (Ak.

Khintibidze, T. Doiashvili, I. Bregadze, D. Tserediani, Z. Kiknad- ze, I. Kenchoshvili and others), when there is explained degree of its relation and influ- ence with precursor poets (Baratashvili, Akaki), it becomes possible to apprehend this material interesting for us and to have new impressions. Completely different aesthetical verses written by Akaki Tsereteli and Galaktioni: “Aghmart-Aghmart” (Ascenting) and “Mtatsmindis Mtvare” (Moon over Mtatsminda), showed interesting coincidence in terms of relation with creative process. D. Tserediani’s perfect studies with regard to Akaki and Galaktioni prompted us such inference. Exactly D. Tserediani found resistance between Akaki’s usual performance (himself poet called it as “Zeus song”) and social obligations of realist writer expressed in the second half of the 19th century emphasized by cultural epoch though shared himself by Akaki (poet called it “canine barking”).

Pursuant to our observation the verse: “Aghmart-Aghmart” (Ascenting) is successful result of mergence these two different writings that may even be stated as the result of unusual synthesis of two different poetics. The first two strophes of verse “Aghmart-Aghmart” (Ascenting), written with eleven syllables of verse and also written with homonym rhyme, to mi minds it reflects subconscious fluctuations of explication, so called preparation for creative process. Ascending tonality, bodyless feeling, ascending – symbolically going up to mountain, looking closer to the rays, complete oblivion of reality and feeling of spiritual relief, also playing strings of invisible lyre is greatly like reorganization of creative second in fairy time.

And as a logical result of such inspiration, in the given section of verse and later even in “Mtatsmindis Mtvare” (Moon over Mtatsminda) is stated prevailing fear of death (“The sun covered its ray that time/I felt life and was not afraid of death”). Exactly that time when under this standpoint Akaki’s verse was to be appropriately and expressed mood was to be artistically, accomplished under the influence of “exhortation of truth voice” as though the rhythmic of verse is delayed for a second, semantically broken, are found feelings with completely different origin and author gazes to sweetheart fallen in the nettles, enthralled to enemy. Descending tonality, gradually ascending and finally reaches feelings like apathy is stipulated by ignoring devoted servants of its son from the part of homeland (that is why is shown ungrateful canine barking) and loose of action motivation.

Lines originated under creative impulses, intangible intimacy and lyrical vibration is dedicated for the idea of people’s service. Almost from his very first verses Galaktioni aimed ascertaining essence of creative process (obviously in terms of artist and interrelation of art) that actually becomes equal to the explanation of subconscious mental sphere of creator (“creation”, what is this feeling?”, “art”, “minute”, “invisible”, “poet’s word”, “hetaera”). Trace of traditions is yet found on “Me da Mtvare” (Me and Moon), though it already has innovative features A. Khintibidze. Within almost two years Galaktioni with rapid strides creates not only new poetics in “Mtatsmindis Mtvare” (Moon over Mtatsminda), but service for art (comp.

serving for people and country) the main goal of his life, but according to his statement the creative ecstasy is the only means for its fulfillment. In “Mtatsmindis Mtvare” (Moon over Mtatsminda), that certain dam often restraining Akaki Tsereteli from following personal inspiration is completely broken with Galaktioni. Galaktioni lived in other epoch differed from Akaki. Fortunately he wrote his masterpieces before establishment of socialist realism, though during next years he even could not forget thinking about rehabilitation of so profane art, the lyrics. He again recalled the theme of the most sacred art and creative process of poet in the poem “Talks about Lyrics” written in 1941.

As stated according to the records of diary as of March 12, 1941, Galaktioni had an intention of obviously not within time context related to this theme: “I think about book” Art Poetique (here is meant poetic art, one of the well-known verses as a literary manifest for Georgian symbolists written by Paul Verlaine influencing writing of Galaktioni’s Art Pooetique in 1915 even before publication of Georgian symbolic magazine “Tsisferi Kantsebi” (Blue Horns)). I want to include all verses in this book ever written by me about art. I want the first lines of the first book to be formed to leading vein, “who has seen black book, book written with red letters of blood drop and written with hope”.

It is obvious that such book would not be published in that period, Akaki and Galaktioni were also named as national poets and thus possibility of in-depth analysis of their writings was closed for a long period.

გამოქვეყნებულია ჟურნალში „სჯანი“, ტ. 21 (2020), გვ. 145–158. ნაშრომის გახსნა