ფასეულობაშეცვლილი სამყაროს იდეურ-ესთეტიკური გამოძახილი: გალაკტიონ ტაბიძის „პარალელური“ ტექსტები

Abstract

The modern era shows a great interest in Socialist Realism. Numerous approaches and concepts were revised, a number of literary facts and events were newly evaluated. In this regard, the creative heritage of Galaktion Tabidze provides very interesting material. Galaktion, like any other writer, could not escape the influence exerted on him by the prevailing views in society. Therefore, he could never be absolutely free during his creative activity. In general, absolute freedom in artistic creation is almost unattainable, because the writer takes into account the readers, their interests, publishing houses, their requirements, and so on. Many subjective or objective circumstances impose open or secret control over the writer’s work: personal, social, economic factors. The Soviet writer had to be accountable, first and foremost, for the interests of the party, because Soviet publishers were not focused even on the interests of the read er, but on the course of the party. It is known that this factor led to a lot of panegyric works written by Georgian writers. Galaktion’s manuscripts, which are kept in the family of his step-son Davit Ebanoidze1, preserve his two poems dating back to September 3, 1958, which we call “parallel texts” because of their similar form and ideological purpose. One is entitled “The Lenin Flag”, the other is called “1500 years” and is dedicated to the 1500th anniversary of Tbilisi. The manuscripts are done in pencil on the light blue sheets of Soviet telegram forms. They are copied cleanly, clearly, have the date and the poet’s well-known signature. “The Lenin Flag” is written on one form, and “1500 years” is written on two forms. On a separate form is a black manuscript of the poem “The Lenin Flag”, which shows traces of the poet’s diligent work. Since these poems are less known to the public, we also bring their texts in full: The Lenin Flag "knows The power of heaven and earth, And we hear an oath: Go forward, my motherland Go! The Lenin flag Is a shield And the world is a gate Go forward, go, my motherland! The rider! For the peace Fighting all the times- Go forward, my motherland Go!" September 3, 1957 .... “1500 years” Tbilisi knows The power of heaven and earth, And we hear as an oath: Go forward, Tbilisi Go! Everywhere and always, fighting for peace and life with the Lenin flag hoisting Go forward, Tbilisi Go! The rider! For the peace Fighting all the times- Go forward, my motherland Go! Tbilisi always knows The power of heaven and earth, And we hear an oath: Go forward, Tbilisi Go! Everywhere and always, fighting for peace and life with the Lenin flag hoisting Go Tbilisi Go! The rider! For the peace Fighting all the times- Go forward, my motherland Go! The Lenin flag Is a shield And the world is a gate Go forward, Tbilisi, Go! Whether the sun or rain Whether tempest or snow Hoisting flag of Lenin Tbilisi, go, go! Whether ancient or new, you have lived many a yeara thousand and five hundred, Go, Tbilisi, go! Years are like ashes- Throw them up and down thousand and five hundred years old, go- go! September 3, 1958 Out of the poems written on the same day, “The Lenin Flag” was probably written first, because it was his draft manuscript on which the poet worked much: The whole world now knows The power of a fiery oath Go forward, go go! Go forward, go go! As we can see, the draft of the first stanza is quite different from the final version. Next to this draft, Galaktion wrote the final version1, and then, in its analogy, created a “parallel” text for the poem “1500 years”. Virtuoso poetic technique allows Galaktion Tabidze to create “parallel” social-realist poetic texts with a similar sound form, in the first of which (“The Lenin Flag”), social-realist moods are given in a “pure form”, in the second (“1500 years”) the mood is more “diluted” with the love of Tbilisi and homeland. As mentioned, the poems are dated September 3, 1958, thus, they were written 7 months before the poet’s death (March 17, 1959). Of course, neither the poet nor the public at that time could have imagined that the “pink way” of death was so close. The astonishing thing is that, despite universal recognition, the poet was still so careful and composed new poems in accordance with socialist law.