გალაკტიონის ცნობილი ლექსის უცნობი სონეტური ვარიანტი

აბსტრაქტი

სტატიიდან აღებული ავტორის ინგლისურენოვანი რეზიუმე:

Galaktion’s wellknown verse “My Life” dates 13th February, 1922. The unknown sonnet version of this known verse has been published in the eighth volume of the latest archive issue of Galaktion Tabidze’s 25-volume edition. As independent verse, the newly-published sonnet tercets were first published in Vakhtang Javakhadze’s journal “Utsnobi”, in the form of six-line stanza. This publication was based on one of the variants of the mentioned known verse - “My Life” which is included in the second volume of Galaktion’s twelve-volume edition, though autographs 4249 (B) and 4309 (C) in this edition do not take the form of a sonnet. In Galaktion’s edition of the year 2005, “My Life” is presented as an untitled and independent verse, classical, canonic, consisting of a 14-line (5/4/5) sonnet, by traditional scheme of quatrains and tercets rhymed: abba abba cc deed.

Of special importance for the composition of a sonnet is the separation of thesis and antithesis in the newly-published sonnet. On the one hand, Galaktion’s song (`me vmReri ise, viT aravis ar umReria...~) [I sing as none else has sung before], and on the other hand, barking of the envious poets (`da Suriani poetebis maradi ye- fa~)[And eternal barking of the envious poets]. The so-called “sonnet key” summarizes the opposition of the thesis and antithesis. 1922, the period when the studied sonnet was composed, was one of the most fruitful times in Galaktion’s creative activity. That year he wrote: “Ephemera” cycle, “Vilaneli” tercins, gazelle, etc.

The poet pays special attention to the perfection of the verse technique in his letter called “Gazela” which was published the same year in his own journal “Galaktion Tabidze’s Journal”. Galaktion attached great importance to the establishment of the sonnet form in his poetry. During consideration of the first collection of verses (1914), in 1950 Galaktion wrote: “There is a sonnet in the book”. The mentioned sonnet Laura was written after being inspired by the Petrarchan sonnets. Galaktioni has a 14-line (of 5/4/5) as well as a 10-line (5/5) sonnets (Gobelin, At the Opera-House, Historically, at a Steady Trot). Of the versatile sonnet forms, it should be noted Galaktion Tabidze’s last incomplete sonnet The Numerous Banners, the heterosyllabic (unequal number of syllables) sonnet: The Earth has Appeared.

The repetition of the words and phrases acquire special artistic function in Galaktion Tabidze’s sonnet: The Inscription on Anatol Frans’s Photo. The poet considered that instead of the sonnets variety “tercet” term, there may have been used Georgian “samiani”. In the analyzed sonnet, Galaktion’s reference to himself as ucnobi (the unknown): I’ve come here, I’ve come as an unknown, tender..” adds special value to the sonnet variation of this popular verse. In this sonnet, written in 1922, it is the first time when Galaktion refers to himself as ucnobi. Presumably, it is here that Galaktion links with each other Alexander Blok’s The Unknown and Valery Bryusov’s Villanelle: in Galaktion’s verse The Unknown we read: “Black light will descend insidiously”.

The “black light’ very precisely expresses the reality of the Soviet Georgia in the 20s of the 19th century in galaktionis cnobili leqsis ucnobi soneturi varianti which Galaktion had to live and create the verses in the spirit of socialist ideology and say no to the sonnet form. Further, when he happened to address this form, he used to do it only as a protest, for expression of his rebellious soul, in the sonnet form and did not print them keeping at his archive. Therefore, the sonnets written in the 1922-1932 appeared in Galaktion’s known, academic edition (G.Galaktioni, Collections in 12 volumes, Tb., publishing house “Sabchota Sakartvelo”, 1965-1975).

Galaktion Tabidze’s poetic innovations were criticized and denied in the 1920 - 1930s by the Soviet literary critics. The novelties, which Galaktion had established in the sphere of rhythm, were not properly evaluated by the literary critics of his time. Galaktion Tabidze’s sonnets and other innovations offered by him were ignored. The same fate was shared by Galaktion’s rich assonances (the variety distinct from rhyme). It is known that Galaktion is a master of classic precise rhythm on the one hand, and, on the other hand, he is a master of assonance and consonance – new rhythm, not identical (inaccurate) rhythm. Today nobody casts doubt on Galaktion’s innovation in the sphere of rhythm but at that time the “tsisperqancelebi” (“The Blue Horns”) and futurists tried to take the credit of Galaktion’s priority in this sphere to themselves.

Galaktion Tabidze expressed protest against this injustice. Really, the “assonance” or “instead of rhythm” required poet’s exceptional gift and virtuosity in mastering the verse technique. In Galaktion’s verses the assonance had already been introduced from 1915. In 1915-1922, Galaktion creates numerous masterpieces and claims for objective evaluation of his poetry. After being elected as a “poet king”, the number of Galaktion’s enemies had been increased since 1922. Thus, the great poet appeared to be faced alone to envy and acrimony and, therefore, he had to isolate himself in his imaginary, ephemeral world, and turn his back to the mean pigmies and envious persons.

In the analyzed sonnet, it is worth noting his reference to himself as “Utsnobi” (Stranger): “I’ve come here; I’ve come as a stranger, tender”. In the same sonnet, Galaktion pays special attention to the assonance as a supreme variety of a rhythm. It is shown in the paper that Galaktion’s unfamiliar, untitled sonnet “*** My Life” is of interest from the following viewpoints: 1)Galaktion sharply dissociates himself from the contemporary poets; 2) acknowledges individualism of his own creations; 3)highlights principle novelty of his own poetic technique. In the paper it is stressed that Galaktion Tabidze’s sonnet written in 1922 is one of the first specimen of announcing own poetry, self-reflection by the king of poetry - Galaktion; this sonnet variant was soon filtrated by Galaktion, improved and turned into the masterpiece by Galaktion.

გამოქვეყნებულია ჟურნალში „სჯანი“, ტ. 10 (2009), გვ. 93–105. ნაშრომის გახსნა