„ათას ერთი ღამე“ და ქართული ზღაპრები (ერთი ზღაპარი)
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Date
2024
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ივანე ჯავახიშვილის სახელობის თბილისის სახელმწიფო უნივერსიტეტის გამომცემლობა
Abstract
The cultural and historical trajectory of Georgia has long been intertwined with both Western and Eastern civilisations, particularly during the periods of Persian and Arab dominance. This dynamic interplay is evident in various aspects of Georgian folklore, which shares significant thematic and narrative similarities with folk tales from other cultures, most notably the Arabic One Thousand and One Nights and the Persian Tuti-Nama (~Parrot Tale~).
In this study, Dalila Bedianidze examines one specific tale from the One Thousand and One Nights, namely "The Story of Flying Horse,~ alongside a Georgian magical tale, "The Ruler's Son and the Wooden Horse.~ The analysis focuses on identifying and exploring the parallels and divergences between these two narratives. Both tales derive from a common international narrative classified under ATU575 ("The Wings of the King") in the Aarne-Thompson-Uther tale type index. This shared narrative thread manifests in common characters and motifs, which underscores the cross-cultural exchange that influenced Georgian folklore.
Additionally, certain episodes within the Georgian folk tale resonate with elements found in other Georgian magical tales such as "The Emperor with Forty Sons," "The Lame Buffalo,~ and ~Iadon and the Nightingale,~ among others. These intersections suggest that Georgian folk tales emerged and evolved during a time when European interest in Eastern cultures was particularly pronounced. The similarities with the Persian Tuti-- Nama further support this connection, indicating a period when Georgian narratives were shaped by prolonged exposure to Persian and Arabic cultural influences. Georgia’s historical experience with Persianization and Arabism left an indelible mark on its folklore, resulting in the incorporation of characters, motifs, and story structures from Persian- Arabic fairy tales into Georgian narratives.
A crucial aspect of both the Arabic and Georgian tales under examination is the depiction of the hero's journey, where the prince uses a wooden horse to pursue and ultimately marry a princess. In the Arabic tale, there is a profound psychological dimension illustrated through the evolving emotional states of the characters, particularly the king's daughter’s illness and her subsequent healing by the prince. In contrast, the Georgian narrative emphasizes the prince’s emotional journey, culminating in a poignant moment of reflection when he encounters an image representing his destiny. The primary characters in both tales exhibit striking similarities: the king, his son, the wooden horse (crafted by a royal carpenter in the Georgian version and by a Persian master in the Arabic narrative), another ruler, and his daughter – whom the hero ultimately marries after abducting her using the wooden horse. In both stories, the prince embarks on his journey aboard the wooden horse to explore the world: in the Arabic tale, he arrives at a tower in the city of Sana, while in the Georgian tale, he begins his journey from an old man’s abode before reaching the tower where the princess resides.
Significantly, the symbolic element of the tower appears as a common setting in both Arabic and Georgian tales, yet the inclusion of a nun is unique to the Georgian version.
Another notable difference lies in the fate of the wooden horse: in the Arabic tale, it is broken by the ruler once its purpose has been fulfilled, whereas, in the Georgian tale, the horse is consumed by flames as the prince crosses a river, with fire taken from giants.
The differing materials used to construct the horse – wood and ivory in the Arabic tale, and simply wood in the Georgian narrative – further highlight cultural distinctions. The settings of these narratives also vary. In One Thousand and One Nights, the tale unfolds across multiple locations, including the city of Sana and the Kingdom of Rum, representing parts of the Arab world. In contrast, the Georgian tale is set in Georgia, though the specific location remains ambiguous. In both tales, the ruler's son is portrayed as an only child, and the motif of a woman's portrait, which connects these narratives with Tuti-Nama, plays a pivotal role in both stories.
In conclusion, the comparative analysis of these two tales reveals deep intercultural exchanges and mutual influences, reflecting the broader socio-historical context in which Georgian folklore evolved. This interplay between Persian-Arabic and Georgian storytelling traditions not only illustrates the convergence of different cultures but also highlights the unique adaptations that have given Georgian folk narratives their distinctive national identity.
Description
ეძღვნება პროფესორ თინათინ მარგველაშვილის ხსოვნას (1924 – 2006) / Dedicated to Memory of Prof. Tinatin Margvelashvili (1924 – 2006)
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Citation
აღმოსავლეთმცოდნეობა №13, თბილისი, 2024, გვ. 23-33 / Oriental Studies №13, Tbilisi, 2024, p. 23-33