ვაჟა-ფშაველას „უიღბლო იღბლიანის“ ხალხურ ზღაპართან მიმართების ზოგიერთი საკითხი

Abstract

The literary fairy tale originated from folklore. Its foundation in folklore gave rise to the development of individuality within the artistic environment. This connection aims to uphold kinship with the immediate ancestors, sustaining a tradition that thrives with consistent vigor. The mate­rial in the visible world, recognized by people, forms the basis for creating fairy tales. Tradition often uti­lizes well-known folklore stories as a structural backbone for such writings. These stories serve as a platform where real-world ele­ments dissolve into the narrative. Within these tales, psychological and physiological layers are exposed, offering a glimpse into the complexities of human experience. While the external realities and compositional frame­works may evolve, the original folk essence re­mains visible, albeit with a fresh interpretation. The motives em­bedded in people's hearts, shaped by deep-seated beliefs and ideas appeared to be as the central axis around which the themes of liter­a­ry fairy tales revolve. The perception surrounding the folk essence of Vazha-Pshavela's work is widely acknowledged. Generally, the concept of folk literature can be some­what nebulous, as it suggests origins from the core of communal ex­pression and embodies the distinctive traits synonymous with folklore. While Vazha-Pshavela held a deep appreciation for folk crea­tivity as a wellspring for literature, he placed a paramount em­phasis on the individual creator's talent over the folk material when incor­porating folk narratives. Viewing legends and fairy tales as initial inspirations, he believed that the true empowering force lies in the transformative act itself, not merely in retelling. The poet, like the seed of an idea, has the task of expanding a sin­gle syllable into a myriad of meanings. Regardless of the richness and depth of people's tales, if the poet fails to infuse their own spirit, reshape the narrative in their crucible of crea­tivity, and craft something innovative from the source material rather than simply mirroring traditional accounts, the resulting work may lack the essen­ce that distinguishes genuine artistic endeavor. We will explore the link between folklore and literary fairy tales through the analysis of the folk fairy tale "Sun Woman" and Vazha-Psha­ve­la's poem "The Unlucky Lucky One"; Vazha-Pshavela categorizes "The Un­lucky Lucky One" as a fairy tale. Within the term "fairy tale," the author likely refers to a fictional narrative or, as the poet elucidates, a form of "fal­se-truth." Otherwise, this desig­na­tion would extend beyond the thematic scope, narrative charac­ter, and storytelling techniques typically associated with folk tales (Kurdovanidze, 1991, p. 70). An initial distinction arises here: while the folk tale "The Woma111111n of the Sun" stands as a prose narra­tive, Vazha-Pshavela's "The Unlucky Lucky One" unfolds in a poetic realm. In crafting his tale, Vazha-Pshavela incorporates the familiar opening formula from folk tales, "It was and not what it was." Yet, while in the folk tra­dition this phrase conveys a sense of timeless mystery and a departure from linear time, hinting at the trans­cendental nature of narrative time, in the literary realm, this for­mula lacks the same timeless essence. Instead, the introduction to a literary fairy tale often grapples with contemporary under­standing and addresses the societal issues and concerns of the period in which it is composed. Thus, Vazha-Pshavela returns to the motif of the fairy tale and, taking into account its tradition, establishes good and punishes evil (a healing spring flows over Sabralo's grave, and a swamp, living water, stands on the graves of Sabralo's brothers). In conclusion, it can be said that the literary fairy tale as a genre is a mixture of fairy tale and fantasy, which gives rise to a complex semantic variant of the works, which allows the author's ideas to be interpreted at different levels. Vazha-Pshavela's attitude towards folk material is creative even in "The Unlucky Lucky One". The poet transforms oral motifs, gives a new interpretation to traditional themes and elevates them to an original understanding.