Teona Metreveli

Nikoloz Baratashvili's Creative Laboratory According to One Manuscript Collection The collected workd of Nikoloz Baratashvili were published many times after the poet's death. The first collection was compiled by Petre Umikashvili in 1876, and the latest academic edition was prepared half a century ago (edited by Iv. Lolashvili and Ak. Gatserelia, in 1972). Naturally, during this time, many new details became known about the author and his work, and the preparation of a new academic two-volume edition became a matter of immediate necessity. One of the main principles of an academic edition is establishing the authentic text and taking into account the author's final creative will. For this very reason, in the process of preparing the new academic two-volume edition of Nikoloz Baratashvili's works, it became necessary to thoroughly study the autographs, as all previous editions were compiled following the textological principles accepted at the time, which are now incompatible with current reality. It is well known that the poems of great authors flow effortlessly, as if read in a single breath, but how they are written or what path a poem takes from the author's mind to the pages of a publication, few know. It is precisely from this point of view that our attention was drawn to Baratashvili's collection of autographs, which is preserved in the National Centre of Manuscripts under number H-1115. The manuscript H-1115 is interesting because it shows the author's creative process; this collection is the only rough / draft manuscript that has reached us, and it is precisely here that the working version of some poems is preserved. This time, the object of our interest is the corrections made by the author. For example, this collection preserves the picture of the creative reworking of the well-known poem, "Twilight on Mtatsminda" (Shemogameba Mtatsmindazed). Apart from this poem, the author introduced changes in 8 other poems, which can be grouped by different criteria: • Lexical-connotative • Morphological • Rhythmic-metrical • Structural • Semantic The poem "To My Friends" (Chemt Megobart) stands out in this regard; the poet fundamentally reworked it, introduced all types of changes in several stages, and created a new redaction of the poem. A noteworthy change occurs in the poem "Ketevan": Elizbari ] Amilbari. This last change aroused great interest in scientific circles, as it deepened the interest in the search for the poem's prototype (see Julieta Gabodze's paper "To whom did Baratashvili dedicate the poem 'Ketevan' - truth and fiction" - published in "Literary Researches"). The process of creative reworking of a poem is even more interesting and particularly important when we do not know much about the author and his working principles. N. Baratashvili is precisely such an author, because except for H-1115, every manuscript collection that came from his hand was carefully transcribed, and determining the author's corrections is only possible by dating the collections and comparing the texts. The purpose of the paper is to present the creative evolution of several poems through the description and comparison of the changes made by the author in H-1115, and to show how important the author's rough / draft notes are for determining the sequence of variants or redactions of poems and, consequently, for establishing the author's final creative will.

ნიკოლოზ ბარათაშვილი, ავტორის შემოქმედებითი ლაბორატორია, ხელნაწერი კრებული H-1115, ავტოგრაფები, ტექსტოლოგია, აკადემიური გამოცემა, ავტორის ნება, ლექსის შემოქმედებითი ევოლუცია.