CAUCASUS SPACE IN "DAVITIANI"
Abstract
"Davitiani" is a multifaceted, multidimensional, complex structure, the artistic concept of which should be studied in accordance with its predecessor and modern Georgian and foreign fiction, artistic-aesthetic layers and systems characteristic of literary epochs, theological literature. A full study of David Guramishvili's work in the Georgian and, on the other hand, in the European intercultural context requires finding the foundations of David Guramishvili's poetry in different civilized worlds, namely: 1. establishing relations with Georgian traditions and 2. Western European, Ukrainian, Polish and Russian literary-cultural to show analogies in his work, to define the historical context of typological similarities, to connect it with modern cultural processes, because it was in this area that the poet had to spend most of his life and create a literary heritage; This is a characteristic of research aimed at revealing the integration of historical-philological thinking with European traditions. It is in this context that the space of the Caucasus in the poetic world of Davit Guramishvili and its artistic value are placed, because he left a great mark on the life and work of Davit Guramishvili as a link between Georgian traditions and the Western world.
It should be noted that the theme of the Caucasus is not leading in Davitiani, because the purpose of Davit Guramishvili's poetic heritage is to define God, the world, the country, the place of man, a special place of which is given to man, which is expressed in Guramishvili's words. It reads: "The boy must learn to know for himself who Sida came from, where he is, he will go to dispute." These four theses are included in the forced presence of the poet personally in the Caucasian space. Nevertheless, the Caucasian space played a crucial role in the life of Davit Guramishvili and left a deep mark on his poetic work. The poet needs the political-ideological, social, cultural background to better imagine the kind of citizenship of his country. Therefore, it actually shows the situation in which he had to live and work. From this point of view, the historical facts and the historical-geographical area presented in "Davitiani" are important, which is based on the author's time-space perception. Reflecting on these events and space, Davit Guramishvili's work is one of the best historical sources along with those historical works that are not artistic in terms of genre and are historical.
The difficult political situation in Georgia, weakened by feudal instability as a result of the Ottoman and Persian invasions, was compounded by the Lek raids. All this had a great impact on Davit Guramishvili's family, in particular, on his personal life. My life was tragic. It turned out to be fatal to run into lovers in Lamiskana, from where the Leks were kidnapped in the village of Osoqolo in Dagestan.
Davit Guramishvili's feelings, thoughts, hard physical existence in the Caucasus mountainous region became the basis for the poet's spiritual meditation, which was revealed in his various lyrical works and which showed his inner nature and spiritual world. Davit Guramishvili's poetic "I" is formed here, for which the motive of self-knowledge and self-establishment is the most important. On the path of self-knowledge, he outlined the world-homeland-personality, from which a person must realize where he comes from, who he is, where he is going. In doing so, his focus is on the Savior, the All-Holy Mother of God, who is addressed through an artistic system of symbolic and allegorical thinking and who, in captivity in Dagestan, seeks to escape the ordeal. It is these spiritual feelings and the poet's meditative judgment based on them that we will talk about in the report.
Keywords: the Caucasian space, Davit Guramishvili's poetic, symbolic and allegorical thinking.
