Main Strategies for Creating Literary Texts in Georgian

Abstract

Literary language, as an expression of practical stylistics, constitutes a distinct field of study and is clearly differentiated from other functional styles. In Georgian, various linguistic resources are considered for creating this type of text; however, it is ultimately the writer’s skill in strategically and masterfully selecting among them to achieve specific goals and express ideas that determines success. This is by no means an easy task. In our view, it is through such careful selection that a writer can captivate readers, develop a unique individual style, and create a personal world that sets them apart from others. In this regard, the focus of our study is the works of Davit Turdospereli (Chkheidze).       

Both quantitative and qualitative research reveal that, for a writer, the key concern is not only their worldview but also the adequacy of its expression, which is excellently achieved through the main strategies for creating literary texts—namely, the richness and diversity of tropological expressions. Among these, the primary metaphor stands out as a direct product of the author’s creativity and as the most effective means of shaping literary form. Through these metaphors, the connection of features and qualities of objects and events is determined directly by the writer’s individuality: ,,ტყეს სიხარულისაგან  სახე აუფეთქდა“ [tkes sikharulisagan sakhe aupetqda] (The forest’s face burst with joy); “ ,...ბნელოდა  კიდეც,  ნესტიც  იდგა,  შიმშილიც  იზმორებოდა“ [... bneloda kidets, nestits idga, shimshilits izmoreboda] (…it grew dark, the dampness lingered, and hunger gnawed); “,,ერთ  მთვარიან  ღამეს  გაისმა ზამთრის  თითების  კაკუნი“ [ert mtvarian ghames gaisma zamtris Titebis kakuni] (On a moonlit night, the tapping of winter’s fingers was heard).

     In comparison, through this stylistic device of representation and one of the most prominent forms of literary description, Davit Turdospereli masterfully achieves the juxtaposition of objects and events or, based on the transfer of externally similar or internally characteristic features, their contrast. The texts analyzed contain a rich array of comparisons created through various techniques, imbued with emotional nuance: ,,-საოცარია, არავითარი მებაღე არა ჰზრუნავს მათზე... არავინ უვლის... ასე ტურფანი კი არიან... თითქოს ნამით კი არა, მსუყე რძით იყვნენ ნაპკურები და ნაზარდნი..,“ [saotsaria, aravitari mebaghe ara hzrunavs matze... aravin uvlis... ase turphani ki arian... titqos namit ki ara, msuke rdzit ikvnen napkurebi da nazardni] (It is astonishing, no gardener tends to them… no one cares for them… yet they are so tender… as if they were not nourished by sap, but by rich milk…) ,,რცხილა  ლაწალუწით  გადაეშვა... სახელოვან  გმირსავით  დაეცა უთანასწორო  ბრძოლაში“ [rtskhila latsalutsit gadaeshva... sakhelovan gmirsavit daeca utanastsoro brdzolashi] (The chestnut fell with a flutter… it fell like a celebrated hero in an uneven battle.)

     The epithet is an integral component of both literary and non-literary styles, emphasizing a property of an event and used to enhance the reader’s impression. It vividly expresses the speaker’s ideological perspective and the nuances of subjective attitude. At the same time, it beautifies and adorns the appearance of an object or event, or, conversely, can demean and belittle it. For our study, metaphorical epithets became a particular focus of investigation. Quantitative analysis showed that this phenomenon is a prominently characteristic strategy: ,,გვიძლიერდებოდა სურვილი, როგორმე შევმძვრალიყავით და გაგვეთბო გაჭირხლული სახსრები“ [gvidzlierdeboda survili, rogorme shevmdzvralikavit da gagvetbo gacirkhluli sakhsrebi] (The desire grew stronger to somehow escape and warm our shivering bodies). ,,უფათერაკოდ  გადავიარეთ  გიჟთვალა  ხევები“ [uphaterakod gadaviaret gijTvala khevebi] (We crossed the ravines as if possessed by madness). ,,ხეების  შემომწვარი  ჩონჩხები  გატიტვლებული  იყვნენ  აღმართულნი“ [kheebis shemtsvari chonchkhebi gatitvlebuli ikvnen aghmartulni] (The charred skeletons of trees were raised, dried out and withered).

      Personification is a stylistic device in literary expression characterized by the attribution of human qualities to objects and events, effectively humanizing both inanimate and spiritual entities. In personification, an inanimate object is presented as a human being who feels, reasons, and acts: ,,ტყეს ჟრჟოლამ დაუარა“ [tkes zjrzjolam dauara] (A shiver ran through the forest). ,,კიდევ  ბევრს იჭარტალებდა  ასკილი,  მაგრამ  ბოროტ  ფიქრთა  დენა  შეუწყვიტა  ბავშვების  ჟრიამულმა“ [kidev bevrs itcharkhleboda askili, magram borot piqrta dena sheutskvita bavshvebis jriamulma] (The ash tree still cracked in many places, but the children’s joyful noise cut through the flow of evil thoughts). ,,სიამოვნებისგან ათრთოლდნენ ყაყაჩოები“ [siamovnebisagan atrtoldnen kakachoebi] (The poppies trembled with pleasure). ,,მთელი ღამის განმავლობაში ქვითინებდა ქარი“ [mteli ghamis ganmavlobashi qvitinebda qari] (The wind wailed throughout the night)...

          Thus, the analysis confirms that the richness of tropological expressions is a fundamental strategy in creating literary texts. These devices indeed play a decisive role in achieving textual expression and effect. The diverse means, employed with high artistic mastery, help the reader to better perceive and analyze the ideological meaning of the text.