მელანქოლიური დისკურსი, როგორც ორი ტექსტის შეხვედრის სივრცე

ანოტაცია

The substantial connection between Romanticism and Modernism (Symbo­lism) exists originally and this can’t be a new knowledge so far. It can either not har­dly be recognizable in Georgian contextual knowledge that Galaktion Tabidze’s po­etry has a reasonable connection to Nikoloz Baratashvili’s personality and poetry. We can consider that we’ll guide in this small article the same way. However we’ll try to represent this connection from a different field of vision.

Helping this interpretation we'll try to temporarily vanish and condemn their natural embraceable mystical veil and to represent the psychological basis of their connection.

In the first preliminary part of the article we'll briefly refer to the connection between Romanticism and Modernism as well as the existing connection between Nikoloz Baratashvili's "Merani" and Galaktion Tabidze's "Blue Horses" and we'll outline our contemporary objective and aim.

Helping psychoanalysis we’ll lead to according Sigmund Freud’s article “Mour­­ning and Melancholia” which was published in 1917: Mourning considers itself that subject observes reality which ensures it beyond doubt that beloved object doesn't exist anymore and he/she cannot change it anymore even theoretically. Rea­lity returns verdict. Thus it means that reality sets an enquiry and a requirement that the evocation from the lost object presented as a complete libido by means that it was invested from the side of the subject. A totally understandable resistance con­fronts this requirement: because a human being doesn't compromise his investment eagerly even then if a substitutional subject of his lost object exists nearby. This resis­tance is so strong and vivid that escaping from reality, distraction from reality takes place. In that case if the process leads normally reality must be accepted. Even though this sub-goal can't be achieved at once. Individually this problem can be solved after spen­ding certain time and certain psychical energy. At the same time, until this mo­ment lost object still continues existing. Each memory or anticipation by means of the subject was bounded to the lost object has been weakened and libe­ra­tion of libido takes place finally. After that the object will be digested completely- after mourning working finished, liberation of “Ego” takes place and it cannot be obscured by anything.

After this we’ll move to the practical part directly and try to represent what lost object takes place which is actual for both lyrical characters of the poems. Is that loss confessed, taken into consciousness and what kind of loss is that? How can we overview between Merani’ s self-sacrificed excitement and the symbol of death, also the attitude towards the death of the lyrical character of “Blue Horses”? How it occurs that in both cases the lyrical character perceives itself as a dead person? According to our interpretation in both cases death for the lyrical character isn’t a going path to eternal life but it is a symbolic imagination expressing of internal, melancholic condition. It considers transferring in internal rigor, stupor in static condition.

The characteristic for melancholic condition is that the subject cannot per­form creativity in activity, he/she isn’t capable of symbolizing its own unconscious and unconfessed condition, and articulate in language, in poetry. It could be possible after that melancholia can be subdued. The definite solution is directly that: language and poetry revealed as a life-saving one which brings dynamism in that internal rigor, stupor condition and is expressed as a symbol of hurtling horses.