პერსონაჟთა ქცევის კონცეპტუალური მოტივაციები ვაჟაფშაველას „სტუმარ-მასპინძელში“

აბსტრაქტი

სტატიიდან აღებული ავტორის ინგლისურენოვანი რეზიუმე:

Key words: myth, conflict, law, subjective will.

The conflict with community is only one reason of story development in Vazha Pshavela’s poem ,,Host and Guest’’. The same time deep inner unity with community is accentuated in the text (motivations of lonely fight of Jokhola and Aghaza suicide). By the means of this bipolar position tragical element is introduced in the poetry of Vazha Pshavela. The unity againsts which Vazha Pshavela’s characters straggle is structured only on the basis of enemy/friend opposition. The guarantee of united community is an image of the enemy. Having enemies is the first sign of ,,kai kma’’ (the concept of ,,kai kma’’ in Georgian language embodies ideal features of honorable man who loves freedom and is brave warrior).

,,being good’’ and ,,having enemies’’ are concepts with similar values. Jokhola as well as Zviadauri have enemies. Consequently could be claimed that Vazha’s characters are striving for humanizing customs and not for eliminating them. For them its important ethical degree of custom that will not reduce the idea of ,,kai kma’’ and will not harm their courage. Situation described in ,,Host and Guest’’ is so rare that community does not possess any relevant experience: ,,who had ever betrayed his guest, when it had ever happened among Kists?’’ Everything that is ethically and vitally valuable is happening among the three and by the three. The deed performed by these three is converted into myth or memory.

These three are seen at night on the top of the rock. Taking into account fire and rock connotations we can speak about special time and space dimension – chronotopos which has been created by huge sacrifice that is the essence of life itself and belongs to special category of values. These three reveal the essence of kindness, friendship and loyalty. Among mentioned virtues Vazha Pshavela names ,,knowing’’(,,they say about friendship, knowing and brotherhood’’) In Sulkhan Saba’s dictionary the word ,,knowing’’ is explained as ,,the call of soul’’. Zviadauri rises from grave on the call of Jokhola’s soul. The three communicate among each other by the language of soul.

The three characters represent Vazha Pshavela’s idea about the high cost one should pay for expressing free will. They are ,,knowing’’ people or people that intuitively sense the essence of life. Folk poetry names three,,untrained’’, free or ,,not slave’’ category: ,,three can not be trained: the wolf, the eagle and ,,kai kma’’ As we see popular conciseness senses well the common origin- more natural than cultural – of ,,untrained’’. From abovementioned three categories the most important for us is ,,kai kma’’as a social and moral being. The condition of being ,,untrained’’ is a starting point for transition into myth meantime the character becomes a legend and leaves the ,,word’’ about himself.

Zviadauri is ,,untrained’’ because he prefers death to living as a slave. Jokhola is ,,untrained’’ as well (,,many times he has confused us…’’) While drawing away from ,,community rules ‘’ makes Jokhola ,,untrained’’, following ,,God’s rule’’ makes him obedient to highest hierarchy. What is the role of Aghaza in this context? Aghaza is the constant wife of ,,kai kma’’. Zviadauri, Jokhola, Mutsal, Aluda are images of collective caucasic culture. Only Agaza is able to see suffering and death of Zvidauri in its whole scale. Only she can see importance of his death for the world. Human regret is only a tiny drop of a disaster. But still it’s obvious that both, Christian as well as Muslim culture appreciate ideals: ,,he has been a good warrior…’’ such prompt reaction of crowd is an impulse of culture, it is a collective voice on the background of enormous sorrow of nature.

It is an instant cry of mourning of life’s universal and impartible unity because of loosing unique human sample: its significant that Aghaza is first to name Zviadauri ,,kai kma’’ (,,who will give you to eat the carcasses of kai kma/ curse you dog...)Vaza Pshavela resumes the situation with woman’s words. The word and voice of a woman; tears of woman dropped because of a man; the tenderness and vulnerability of young and beautiful woman opposed to a strict picture of the nature – these images related to Aghaza’s character, its details and nuances are a subject of author’s concentrated interest and artistic elaboration. The rite of mourning traditionally is associated with woman’s tears while the evaluation of passed on is related with man’s word (,,crying for ,,kai kma is always suitable for a woman’’) Author depicts conflict of ego with superego.

In this very case personal will makes ego adapt to reality. Moreover, the situation when the person is not satisfied by the answer of superego forces him to start a conflict with superego. Agreement is impossible because general rule with a status of objective truth stands against private rules and subjective decision that consequently causes unhappiness and personaJTa qcevis konceptualuri motivaciebi death of people. It’s significant that opposed parties appeal to God, tradition and collective experience. Here the opposition between community and person is nothing else then straggle caused by fatal coincidence between two manifestations of custom.

Therefore the struggle of personal will is not less strong then the common law of tyranny. Opposed parties are at the edge of objectivism and subjectivism where these concepts interflow with each other. The idea of rule of law and its authority stands against the values of fairness and humanity of low. Poetry of Vazha Pshavela is a manifestation of sad reality that community can not contradict its laws despite the loyalty to the enemy; that the world is based on opposition principles and no mediation - even in case of high humanistic standards - is able to substitute this oppositional structure for a long time; that together with the light there is ,,somewhat mist’’ constantly interchanging between each other; that this very transition/ substitution is the essence of world’s motion.

But despite tragedy achievement gained by struggle is extremely important. Social consciousness, culture and social experience often obtain these values at the cost of human life. In the final of the poem these very ideals of myth are accomplished. But still, what specific message can have this myth? We think, its mission is to bring clarity to the problem stated in the final speech of Aghaza. The straggle between hostility and brotherhood - the reason of death of these two people is a structural analogue of life motion and is correspondingly constant, cyclic and rhythmic. Picture of brotherhood appears once a day. Compared with the length of the time it lasts an instant but it is intense and consistent.

It is a sparkle of light in permanent darkness. Existence needs this light, this intertwining of beams. The myth restores and revitalizes what reality has lost and killed. Such friendship and its spiritual heights constitute Vazha Pshavela’s myth. His reality is a torturing doubt and sadness. Nevertheless there is no reality without myth and Kists again ,,every night’’ will see the host and guest on the hill of the mountain. Romantic vision of Vazha Pshavela builds a myth as a balancing force of reality and history.

გამოქვეყნებულია ჟურნალში „სჯანი“, ტ. 21 (2020), გვ. 54–68. ნაშრომის გახსნა