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Teimuraz doiaSvili
(saqarTvelo)
akakis `gamzrdeli~
da ganmanaTleblobis paradigma
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Teimuraz doiaSvili
***
`gamzrdelis~ kulturuli kodis dasadgenad gansakuTrebuli mniS-
vneloba aqvs poemis pirvel Tavs, romelic mTlianad baTus cxovrebis
aRwera-daxasiaTebas eTmoba. vin aris mTis mwvervalTan dabudebuli es
ucnauri pirovneba, an ra gziT SeZlo man adamianuri yofierebis umaRlesi
miznis – bednierebis miRweva?
poema baTus sacxovrisis – `mercxlis budis~ aRweriT iwyeba, rasac
uSualod mosdevs personaJis wardgineba:
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akakis `gamzrdeli~ da ganmanaTleblobis paradigma
***
baTus narativSi mxolod rusoistuli idilia ki ar aris xorcSes-
xmuli, Tavad baTuc ganmanaTlebluri `bunebis adamianis~ koncefciiT
STagonebuli idea-personaJia. moCvenebiTi simartivis miuxedavad, mas kar-
gad gaazrebuli mrwamsi da cxovrebis principebi aqvs.
baTus swams RmerTi da aRiarebs RvTis gangebas, rac mkafiod Cans
Tavsdatexili ubedurebis SefasebaSi. sasowarkveTil meuRles baTu ara-
marto adamianurad anugeSebs, aramed gonivrulad, filosofiurad asa-
buTebs nazibrolas udanaSaulobas:
yovelgvari mosavali
kacis Tavze uneburi
RvTis risxvaa, tyuilad beds
ras uCivi, ras emduri.
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Teimuraz doiaSvili
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akakis `gamzrdeli~ da ganmanaTleblobis paradigma
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Teimuraz doiaSvili
***
ganmanaTlebluri ukufenis amocnoba akakis poemaSi mianiSnebs,
rom `gamzrdeli~, romelic, erTi SexedviT, `namdvili ambis~ upretenzio
poeturi Txrobaa, sinamdvileSi rTuli, orplaniani teqstia da filo-
sofiur parabolas warmoadgens. tipologiurad igi axlosaa ganmanaT-
leblur prozasTan (volteri, didro...) – aqac moCvenebiTi simsubuqiT
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akakis `gamzrdeli~ da ganmanaTleblobis paradigma
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Teimuraz doiaSvili
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akakis `gamzrdeli~ da ganmanaTleblobis paradigma
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Teimuraz doiaSvili
***
sanam sabolood daSordebodes, Seuracxyofili baTu safar-begs
aseT davalebas aZlevs:
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akakis `gamzrdeli~ da ganmanaTleblobis paradigma
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Teimuraz doiaSvili
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akakis `gamzrdeli~ da ganmanaTleblobis paradigma
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Teimuraz doiaSvili
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akakis `gamzrdeli~ da ganmanaTleblobis paradigma
damowmebani:
Asatiani, G. Sauk’unis P’oet’ebi. Tbilisi: gamomtsemloba “merani”, 1989 (asaTiani, g. saukunis po-
etebi. Tbilisi: gamomcemloba `merani~, 1989).
Bakradze, A. Ak’ak’i Bakradze – Sk’olas. Tbilisi: gamomtsemloba ,,universali”, 2004 (baqraZe, a. akaki
baqraZe – skolas. Tbilisi: gamomcemloba `universali~, 2004).
Gaprindashvili, M. Kartuli Sazogadoebrivi Azrovnebis Ist’oriis Nark’vevebi. T’. III. Tbilisi: gamom-
tsemloba “sabch’ota sakartvelo”, 1988 (gafrindaSvili, m. qarTuli sazogadoebrivi az-
rovnebis istoriis narkvevebi. t. III. Tbilisi: gamomcemloba `sabWoTa saqarTve-
lo~, 1988).
Danelia, S. Nark’vevebi Ant’ik’uri da Akhali Pilosopiis Ist’oriidan. Tbilisi: Tsu gamomtsemloba, 1985
(danelia, s. narkvevebi antikuri da axali filosofiis istoriidan. Tbilisi: Tsu
gamomcemloba, 1985).
Vertsman, I. “Zham-Zhak Russo – Myslitel I Kjudozhnik”. V kn.: Zham-Zhak Russo. Izbrannye So-
chineniya v Trekh Tomakh. T. I. Moskow: “gosudapstvennoe izdatel’stvo khudozhestvennoi literatury”,
1961 (Верцман, И. “Жан-Жак Руссо – мыслител и художник”. В кн.: Жан-Жак Руссо. Избранные
сочинения в трех томах. T. I. Москва: «Государственное издательство художественной лите-
ратуры», 1961).
Zanduk’eli, M. Tkhzulebani. T’. II. Tbilisi: Tsu gamomtsemloba, 1976 (zandukeli, m. Txzulebani.
t. II. Tbilisi: Tsu gamomcemloba, 1976).
Ingoroq’va, P’. Tkhzulebata K’rebuli Shvid T’omad. T’. I. Tbilisi: gamomtsemloba ,,sabch’ota sakart-
velo”, 1963 (ingoroyva, p. TxzulebaTa krebuli Svid tomad. t. I. Tbilisi: gamomcem-
loba `sabWoTa saqarTvelo~, 1963).
Lotman, Yu. “Russo I Russkaya Literatura XVIII – Nachalo XIX veka”. V kn.: Zham-Zhak Russo. Trak-
taty. Moskow: izdatel’stvo “nauka”, 1969 (Лотман, Ю. “Руссо и русская литература XVIII – начало
XIX века”. В кн.: Жан-Жак Руссо. Трактаты. Москва: издательство ,,Наука”, 1969).
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Lucag, T. B. Deni Didro. Moskow: izdatel’stvo “mysl’”, 1978 (Лучаг, Т. Б. Дени Дидро. Москва: из-
дательство ,,Мысль”, 1978).
Minashvili, Vl. Lit’erat’uruli Nark’vevebi da Ts’erilebi. Tbilisi: Tsu gamomtsemloba, 2003 (minaSvili,
vl. literaturuli narkvevebi da werilebi. Tbilisi: Tsu gamomcemloba, 2003).
Ninidze, M. “Tvitmk’vleloba, Rogorts Siuzhet’uri Met’afora”. Kartuli Lit’erat’uris Inst’it’ut’is IV
Saertashoriso Simpoziumis Masalebi. Tbilisi: lit’erat’uris inst’it’utis gamomtsemloba, 2010 (niniZe,
m. `TviTmkvleloba, rogorc siuJeturi metafora~. qarTuli literaturis insti-
tutis IV saerTaSoriso simpoziumis masalebi. Tbilisi: literaturis institutis
gamomcemloba, 2010).
Russo, J.-J. Traktaty. Moskow: izdatel’stvo “nauka”, 1969 (Руссо, Жан-Жак. Трактаты. Москва: из-
дательство ,,Наука”, 1969).
Kikodze, G. Kartuli Lit’erat’uris Ist’oria. XIX Sauk’une. Tbilisi: gamomtsemloba “sakhelgami”, 1947
(qiqoZe, g. qarTuli literaturis istoria. XIX saukune. Tbilisi: gamomcemloba
`saxelgami~, 1947).
Teimuraz Doiashvili
(Georgia)
Summary
If the “upbringing” is helpless without “personality”, why the wise governess kills
himself then?!
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akakis `gamzrdeli~ da ganmanaTleblobis paradigma
Our paper searches for such a view-point that naturally determines the peculiarities
of the poem in the frame of artistic logics.
In order to reveal the cultural code of Gamzrdeli, the first chapter is of a central
importance which is entirely dedicated to the description of one of the lead character Batu.
The detailed analyses of this chapter reveals that there are realized the enlightening op-
position of “hard” (civilized) and “simple” (natural) lives in the poem. In a word, Batu’s
narrative is the artistic realization of the Rousseauistic concept of “origin” _ returning to
the pristine environment and people.
The existence of enlightening reflection in Gamzrdeli points that not only is there a
linear narration of “the true story” in the text but it also represents philosophical parabola
in terms of a genre. The poem typologically is close to the enlightening philosophical prose
(Walter, Diderot), where the ideological-ethical problems of the epoch are “wrapped”.
Moreover, in the specially organized compositional space of the text idea-personages act
instead of characters meaning that their behavior is not lead by psychological motivations
but the logics of conception.
Aristocratic Safar-Beg represents the civilized life-style in the poem. In Gamzrdeli
the conflict between sensible positive character and the negative personage acting through
his passion is presented, which is the main collesion of the enlightening type of a novel.
Why does Batu send Safar-Beg to Haji-Usup? Batu did not kill his foster-sibling
as he choses to defend the tradition. And yet, is it possible to remain unpunished who ne-
glected the custom “firmer than religion” and destroyed the fundamental norm of the exis-
tence of the society?! In Gamzrdeli Batu’s personal tragedy gradually turns into the crisis
of the society leading us to the wide-scale dimension. This is only Haji-Usup who can
give a verdict and, actually, he has to do this as an educator of Safar-Beg and wise leader
of the people. The respond to the unhuman behavior of him is a suicide, which is the most
extreme form of despair – the catastrophe of a person. Therefore, it require to understand
vert accurately: what brought a wise educator to the tragic decision? According to the
poem this is not and cannot be the display of an affect. The author specially prepares the
act of suicide with a small but a very significant thematic maneuver, which increases the
lever of unexpectedness of the personage’s behavior. After the educator heard everything
from Safar-Beg, he started talking about the death in order to clear up conscience.
Logically, only the shot of this gun is left to destroy a real criminal. Safar-Beg is
ready too for this and the reader too with him, but… But before the suicide of the educator
Safar-Beg is already punished by ashamed life (“You do not deserve even death!). There-
fore the words “and in order to clear up the consciousness I will die” refers not Safar-Beg,
but the educator himself. These words are moral self-evaluation and the recognition of
his direct responsibility for the crime. That’s why Haji Usup’s suicide has nothing to do
with the sacrifice done for the sinner either with the model of sacrifice for God, as this is
misinterpreted by some researchers…
Thus, the final formation of the essence of the poem is connected with the suicide
of the educator. The wise educator who is the confessor of people and moral legislator as
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Teimuraz doiaSvili
well, in conceptual terms represents the image of a wise man formed through the param-
eters of enlightenment, always thoughtful as a symbol of enlightenment.
In the crime committed by his pupil, which in Haji-Usup’s opinion surpasses per-
sonal level and weakens the basis of the society, not only does he see the failure of his
pedagogical method which was based on almighty idea of upbringing, but he also sees the
end of the beginning of educative rationalistic ethics and traditional society, left alone in
front of irrational instincts. The suicide of Gamzrdeli is the catastrophe of the ideological
system, which shows Akaki Tsereteli’s, as an adept of enlightenment, metamorphosis from
educative optimism to scepsis and pessimism.
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