On Some Lexical Units in the Creative Works of Shio Aragvispireli

Abstract

     In general, the charm of a writer lies in the ability to avoid artificial phrasing, to remain direct and sincere, and to draw the reader into a realm of profound emotional perception. From this perspective, even a cursory reading allows us to assert that Shio Aragvispireli fulfills with remarkable precision his responsibility toward both language and reader and effectively achieves his intended artistic goals. In this process, lexis and phraseology occupy a distinctive place, serving as a clear manifestation of the writer’s creative imagination and providing rich illustrative material for the study of his lexical repertoire.

     In this paper, we present only a selection of lexical units which, in our view, are of particular value according to various criteria and are likely to attract the reader’s attention: 1. lexical items whose meanings may be clear from the context yet are essential for the study of the author’s lexical idiosyncrasies; 2. lexical units that may be incomprehensible to a broad readership from a contemporary perspective. Most of these items are characterized by figurativeness, remarkable expressiveness and dynamism, a distinctive artistic mode of representation, and originate from living, colloquial speech.

(ცრემლვა [tsremlva] (tearing up/crying); ჭუჭკვა [tchutchkva] (crumpling/folding up); დაბუხვა [dabukhva] (becoming numb or stiff/freezing); მათრათი [matrati] (a clay bowl used for washing the face); ხამუშ-ხამუშ [khamush-khamush] (intermittently/from time to time); მარქაფა [marqapa] (reserve/spare); კრენხვა[krenkhva] (squinting/winking); ლავლავი [lavlavi] (pitiful, labored chewing); ქაფიანი [qapiani] (foamy); მსჯელობის ძაფი [msjelobis dzapi] (the thread of reasoning / the ability to reason or think logically); კრიჭის შებერტყვა [kritchis shebertkva] (wiping the mouth or face clean); გულის მოლაფნა  [gulis molapna] (softening of the heart; emotional yielding)...

     The complexity of the research, based on descriptive and lexicographic methods as well as analysis and synthesis, will subsequently enable us to once again identify and elucidate the fundamental regularities and tendencies of an essential nature that have operated and continue to operate in our language.                   

     In our view, the issue under study is of both theoretical and practical significance, as the diverse lexical units assembled therein constitute excellent material for various lecture-based and instructional courses (lexicology and lexicography, dialectology, the language and style of the writer, etc.).

            As a result of the research, it becomes evident that the ideological and artistic marker of Shio Aragvispireli’s text lies precisely in its diverse lexical units. Through their purposeful and effective use, the writer creates a unique and individual artistic linguistic world and demonstrates that he introduces and enriches the language with numerous innovations. This language, indeed, provides a solid foundation for assigning him a достой place in the development of the literary language.