პერსონაჟთა დახატვის ხერხები დავით კლდიაშვილის შემოქმედებაში. Character Drawing Techniques in Davit Kldiashvili’s Literary Works
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2021
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ივანე ჯავახიშვილის სახელობის თბილისის სახელმწიფო უნივერსიტეტის გამომცემლობა
Abstract
All of David Kldiashvili’s characters are decorated with individual
features. The question arises: What makes same so individual?
What is the writer’s technique of drawing characters and what determines
their different literary image? Analysis of Kldiashvili’s short
stories shows that at first the author describes a character by author’s
discussion and then by their way of speech. Speech, phrases give
him the peculiarity, which other characters lack. The most famous
story by Davit Kldiashvili is Samanishvili’s Stepmother. Author starts
the story by describing Bekina Samanishvili: “Bekina Samanishvili, of
course, was a poor noble, quite poor even…” This is followed by the description of Bekina’s property and his attitude towards his situation
– “Bekina believed himself to be rich and there was no man on
earth who could make Bekina to admit his poverty.” This attitude is
by the author’s assessment, expressed in the words of others: “As
they say in Imereti region, Bekina was always “dressed up.” (Kldiashvili
1988: 94). Along with the author’s words, Kldiashvili’s character
is also well described by his own style of speech. About his daughterin-
law giving birth often, the old man smilingly says: “Woman, in some
cases, being good in something is not beneficiary, it is harmful
even…” While commenting to his son that his decision to marry will
not harm the family, Bekina says: “My good man, why would it kill
you if I bring some old woman here?... How can you be afraid of an
old woman, you, poor man?! (Kldiashvili 1988 : 97). With these words
Bekina neutralizes his serious decision and makes the expected severity
of this decision for his son seem easier. When Bekina learns
about his son’s intension to choose the twice widowed, childless woman
for his father, he asks a humorous question: “If that cursed woman
makes me to follow those two previous, what will you do then?
Ha? Ah, ah, ah!” When Platon borrows peasant Pavlia Gomiashvili’s
old horse to travel, Bekina ironically asks: “Who did he get this stallion
from, Melano, my dear?” and adds: “It might fall down on the way,
woman!” Irony and lightness characterizes Bekina’s narrative. Even
when the tragedy happens, Bekina does not refrain from recognizing
his mistake and attempts to neutralize the complexity of his child’s
situation: “I wish I would have diedp Wish I would have been eaten
by the grave like Marika and never seen this day!” This phrase is full
of grief and completes the character’s image.
As an example, we have discussed Bekina’s literary image from
Kldiashvili’s works. In general, observation of his characters by Davit
Kldiashvili has shown to us that the writer repeats the given scheme
of describing characters almost everywhere – author’s description is
replaced by the character’s action, author’s assessment of that action
and character’s dialogue with other character, which even sharper
reveals his image – nature and mood.
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დავით კლდიაშვილი, მხატვრული შემოქმედება, პერსონაჟი, დახატვის ხერხი, Davit Kldiashvili, Literary Works, Character, Drawing Techniques
Citation
ივანე ჯავახიშვილის სახელობის თბილისის სახელმწიფო უნივერსიტეტის ჰუმანიტარულ მეცნიერებათა ფაკულტეტის ახალი ქართული ლიტერატურის ისტორიის კათედრა, XIX საუკუნე − ეპოქათა მიჯნა, სამეცნიერო შრომათა ჟურნალი N 2, თბილისი, 2021, გვ. 77-88 / Ivane Javakhishvili Tbilisi State University Faculty of Humanities Department of History of New Georgian Literature, XIX CENTURY – AT THE CROSSROADS OF EPOCHS, JOURNAL OF SCIENTIFIC WORKS N 2, Tbilisi, 2021, pp.: 77-88