daviT guramiSvilis locvisa da samebisadmi vedrebis interpretaciisaTvis

`daviTianis~ mxatvrul-esTetikur da ideologiur-msoflmxedvelobriv mravalferovan samyaroSi

gansakuTrebul yuradRebas iqcevs pirvel wignSi moTavsebuli `locva, odes daviTs tyveobasa Sina moSivda
da RmerTs puri sTxova~ da `samebis vedreba: gzis warmarTvis Txovna daviTisagan~, romlebSic poetma
upirvelesi qristianuli locvis `mamao Cvenos~ teqstis CarTviT RvTisadmi Sewevnis Txovna, RvTis sasoeba,
sakuTari ganwyobilebebi, gancdebi da sulieri momavlisaken swrafva gamoxata. orive leqsi iambikos
formiTaa dawerili, rac maT himnografiasTan, sagalobelTan aaxloebs rogorc formiT, ise saxismetyvelebiTi
gamomsaxvelobiTi saSualebebiT.
saRvTismetyvelo literaturaSi `mamao Cvenos~ teqsti sxvadasxva dros ganumartavT wmida mamebs,
raTa ukeT sawvdomi gaexadaT igi mrevlisaTvis. qarTuli himnografia icnobs am locvis sagaloblad
gardaqmnis SemTxvevasac, kerZod, rodesac ioane minCxma teqstis mcireodeni SecvliT, _ zogierTi sityvis
SecvliTa da zogierTis damatebiT, _ faqtobrivad, axali sagalobeli Seqmna `mamao Cvenos~ Tematikasa da
motivebze. `mamao Cvenos~ Tema gansxvavebuli mizandasaxulobiT gamoiyenes himnografebma, daviT
guramiSvilma, ilia WavWavaZem (`locva~), akaki wereTelma (`Cveneburebis `mamao Cveno~) da TavianTi
nafiqr-naazrevi miitanes mkiTxvelisa Tu msmenelis grZnoba-gonebamde.
daviT guramiSvilis simboluri ena, romliTac igi gvesaubreba ukve dasaxelebul leqsebSi, bibliur
saxismetyvelebiT aspeqtebs warmoaCens da am mimarTulebiT misi kvleva didi xania mimdinareobs. Cemi
yuradReba miiqcia im garemoebam, rom orive leqsSi horizontalur-vertikalur WrilSia RvTisadmi locva
warmoTqmuli da avtoris ZiriTadi saTqmeli msmenel-mkiTxvelisaTvis miwodebuli. vertikalurad aq sruladaa
`mamao Cvenos~ teqsti damowmebuli, rac adamianis sulis zecad aRyvanebasa da mis sulier ganRmrTobas
moaswavebs. horizontalur WrilSi, rac `mamao Cvenos~, rogorc locvis, samyaroSi ganfenilobas mowmobs,
avtori Tavisi Rrmaazrovani simboluri metyvelebiT gamoxatavs RvTisadmi damokidebulebas, rwmenas, mis
moimedeobas, siyvaruls, rac saRvTo saxelTa da bibliur personaliaTa moxmobis safuZvelze
msoflmxedvelobrivi mrwamsis gamoxatulebad aRiqmeba. leqsebis arsis vertikalur-horizontaluri WriliT
warmoCena avtoris mier mxatvrul-gamomsaxvelobiTi saSualebebis flobisa da esTetikuri gancdis iSviaT
Serwymas warmoadgens. daviT guramiSvilma samyaros erTianobis, adamianis mTlianobis, RmerTis,
samyarosa da adamianis mimarTebaTa Cvenebis fonze adamians, rogorc RvTisgan qmnil arsebas, am
SemTxvevaSi _ sakuTar Tavs, TviTSemecnebisaken mimavali rTuli gza mouniSna, rac RmerTis, samyaros,
adamianis Secnobis mcdelobisa da sulieri gamocdilebis Sedegad miiRweva.

nestan sulava
daviT guramiSvilis locvisa da samebisadmi vedrebis interpretaciisaTvis

`daviTianis~ mxatvrul-esTetikur da ideologiur-msoflmxedvelobriv mravalferovan samyaroSi

gansakuTrebul yuradRebas iqcevs pirvel wignSi moTavsebuli locva da vedreba: `locva, odes daviTs
tyveobasa Sina moSivda da RmerTs puri sTxova~ da `samebis vedreba: gzis warmarTvis Txovna
daviTisagan~, romlebSic poetma upirvelesi qristianuli locvis `mamao Cvenos~ teqstis CarTviT RvTisadmi
Sewevnis Txovna, RvTis sasoeba, sakuTari ganwyobilebebi, tyveobisas aRZruli gancdebi da sulieri
momavlisaken swrafva gamoxata. orive leqss aqvs minaweri `iambiko~, Tumca, iambikos formiT araa
dawerili, orive leqsi ToTxmetmarcvliania. miuxedavad amisa, orive leqsi himnografiasTan, sagalobelTan
axloa saxismetyvelebiTi gamomsaxvelobiTi saSualebebiT, sametyvelo eniT, formac aseTsave
STabeWdilebas tovebs. isic unda aRiniSnos, rom isini xalxuri msoflgancdiTa da saleqso sazomiTac
enaTesavebian folklors, gansakuTrebiT es iTqmis sariTmo marcvlebze, am tipis sariTmo marcvlebs daviT
1
guramiSvili sxvaganac iyenebs. am leqsebSi gamoyenebuli sariTmo marcvlebi maT sasaubro intonaciasac
aniWebs. sagulisxmoa, rom es leqsebi lekTa tyveobidan Tavdaxsnili poetis xelaxali gancdiTaa
dawerili, rogorc Tavad ambobs, rodesac moSivda da RmerTs puri sTxova.
unda aRvniSnoT leqsebis struqturuli modeli, maTSi daculia `mamao Cvenos~ taZarSi
Sesrulebis saRvTismsaxuro wesi: `mamao Cvenos~ locvis teqstisagan gamoyofilia
mRvdlis saTqmeli locva, _ misi saTauria `samebis vedreba: gzis warmarTvis Txovna daviTisagan~, _
rac poetis liturgiul cnobierebasTan erTad RvTismsaxurebis mravalsaukunovan tradiciasac miuTiTebs.
saRvTismetyvelo literaturaSi saxarebiseuli sauflo locvis `mamao Cvenos~ teqsti
sxvadasxva dros araerTgzis ganumartavT wmida mamebs, raTa ukeT sawvdomi da
gasacnobierebeli gaexadaT igi mrevlisaTvis. kerZod, davimowmeb wm. ioane oqropiris,
wm. Teofilaqte bulgarelis egzegetikur Sromebs. qarTuli himnografia icnobs am locvis
sagaloblad gardaqmnis SemTxvevasac, kerZod, rodesac ioane minCxma teqstis
mcireodeni SecvliT, _ zogi sityvis SecvliT da zogis damatebiT, _ faqtobrivad, axali
sagalobeli Seqmna `mamao Cvenos~ Tematikasa da motivebze. `mamao Cvenos~
Tema gansxvavebuli mizandasaxulobiT gamoiyenes da asaxes daviT guramiSvilma da
ilia WavWavaZem (`locva~), romlebmac TavianTi nafiqr-naazrevi mkiTxvelisa Tu
msmenelis grZnoba-gonebamde miitanes.
daviT guramiSvilis simboluri ena, romliTac igi gvesaubreba dasaxelebul leqsebSi,
bibliur saxismetyvelebiT aspeqtebs warmoaCens. sazogadod, daviT guramiSvilis mTeli
memkvidreobis am mimarTulebiT kvleva didi xania mimdinareobs. am leqsebSi
yuradReba miiqcia im garemoebam, rom orivegan horizontalur-vertikalur WrilSia
RvTisadmi locva warmoTqmuli da avtoris ZiriTadi saTqmeli msmenel-mkiTxvelisaTvis
miwodebuli. vertikalurad aq sruladaa `mamao Cvenosa~ da mRvdlis warmosaTqmeli
locvis teqsti gadmocemuli, rac momavalSi adamianis sulis zecad aRyvanebisa da misi
sulieri ganRmrTobis momaswaveblad SeiZleba aRviqvaT. horizontalur WrilSi, rac
`mamao Cvenos~, rogorc qristianTa upirvelesi locvis, samyaroSi ganfenilobas
mowmobs, avtori Tavisi Rrmaazrovani simboloebiTa da saxismetyvelebiT gamoxatavs
RvTisadmi damokidebulebas, rwmenas, mis moimedeobas, siyvaruls, rac saRvTo
saxelTa da bibliur personaliaTa moxmobis safuZvelze msoflmxedvelobrivi mrwamsis
gamoxatulebad aRiqmeba. am leqsebis arsis vertikalur-horizontaluri WriliT warmoCena
avtoris mier mxatvrul-gamomsaxvelobiTi saSualebebis flobisa da esTetikuri gancdis
iSviaT Serwymas warmoadgens, riTac es Txzulebebi sagaloblis liturgiul daniSnulebas
exmianebian, taZarSi Sesrulebis simboluri aRqmis safuZvels qmnian. taZari, sadac
adamiani dgas da RvTismsaxurebaSi monawileobs, swored vertikalur-horizontaluri
sivrculi arealiT warmarTavs adamianis suls, vertikaluri mimarTulebiT _ RmerTisaken da
horizontaluri mimarTulebiT _ yoveli adamianisaken. esaa adamianis srulyofilebis,
sisrulis dadasturebis, misi sulieri misiis gamovlineba. daviT guramiSvilma samyaros
erTianobis, adamianis mTlianobis, RmerTis, samyarosa da adamianis mimarTebaTa
Cvenebis fonze adamians, rogorc RvTisgan qmnil arsebas, am konkretul SemTxvevaSi
_ sakuTar Tavs, TviTSemecnebisaken mimavali rTuli gza mouniSna, rac RmerTis,
samyaros, adamianis Secnobis mcdelobisa da sulieri gamocdilebis Sedegad miiRweva.
orive leqsi avtoris sulier mdgomareobas, Sinagan samyaros, adamianis mier uflis
mimarT vedrebas gamoxatavs. leqsebis mTel teqstebs RvTis wyalobis sasoeba,
RvTisagan madlis gardmovlenis molodini warmarTavs. pirveli leqsi mama RmerTis,
rogorc yovlismpyrobelis, mowyalisa da Semoqmedis, mimarT vedrebiT iwyeba da RvTis

2
mier samyaros Seqmnis, misi gvirgvinis _ adamianis Seqmnisa da samyaroSi misi
adgilis RvTisagan ganCinebiT warimarTeba. leqsis pirveli strofiT gamoTqmuli locva
momdevno strofebis sityvebsa da azrs Sinaarsobrivad miemarTeba, maTSi grZeldeba
avtoris ganwyobilebis gamoxatva:
iyavn Cemzed mowyalebiT, Sen damifareo;
saxelisa SenisaTvis aw mamexmareo;
Seni uxvi mowyaleba Sors nu wamgvareo,
movedin mowyalebiTa, isev Semyareo!
sufeva warmoavline, madly momfineo;
Seni ganCenili var da Sen damarCineo!
iyavn neba Seni Cemze, Cemo meufeo,
viTarca pirvel mamaTa Sen uwyalobeo.
locva adamianis sulieri ganmwmendeli da srulmyofia, ris gamoc orive leqss
mTlianobaSi eniWeba poetis sulieri ganwmendis, srulyofis, amaRlebis mxatvruli
funqcia. Cans, rom poeti ganicdis RvTis madlisa da wyalobis daklebas, amitom
momdevno strofSi RvTis wyalobis imediT gamsWvaluls RmerTTan kvlav Sexvedris
molodinis grZnoba aRavsebs. daviT guramiSvili Zveli aRTqmiseuli hipodigmur-
paradigmuli saxismetyvelebiT warmoaCens Tavisi biografiis, tragikuli cxovrebis
avbediT furclebs. `avarTa mTasa~ myofi, ucxo tomelTa Soris dakarguli tyve RmerTs
SesTxovs, rom umZimes wuTebSi mas RvTis wyaloba da madli ar moaklos ise, rogorc
gasaWirSi myof israelelebs dRisiT Rrublis, RamiT naTlis svetiT gza gaunaTa, gaukvala
da udabnoSi myofT cidan manana uwvima, rac maTi sulieri da fizikuri gadarCenis
simboluri niSani iyo.
ცათა შინა ისრაელთა საზდო უწვიმეო,
ეგრეცა ნათლის სვეტითა ღამე ავლინეო,
ქვეყანასა ვარ უცხოსა დაკარგული ტყვეო,
ზედა მთასა ავართასა, აწ მამეშველეო.
sulieri xsnis molodini poetma `naTlis svetis~ movlinebiT gamoxata, xolo naTlis
svets, sazogadod ki svets daviT guramiSvilis poeziaSi gansakuTrebuli mxatvruli funqcia
akisria, poeti xSirad mimarTavs am metafora-simbolos, riTac RmerTTan wvdomis
vertikalur xazs gamokveTs. egviptis monobidan ebraelTa gamosvlis Tema uflis
SewevniTa da nebiT saRvTismetyvelo literaturaSi, cxadia, qarTul literaturaSic,
gavrcelebuli da konceptualuria, radgan igi adamianis, sazogadod, kacobriobis sulier
xsnazea orientirebuli. daviT guramiSvilma es Tema Taviseburad damuSavebul-
interpretirebuli SemogvTavaza, sakuTar msoflxedvas Seuxama da sakuTari poeturi
memkvidreobis erT-erT umniSvnelovanes qvakuTxedad dagvisaxa. ucxoobasa da
tyveobaSi myofma poetma RvTis madlisa da wyalobis sinaklule SeigrZno, man uflis
madlmoklebulad miiCnia Tavi; moenatra yovlismpyrobeli, samyarosa da adamianis
Semqmnel-dambadebeli RmerTi, mowyale, madlis mimfeni adamianTaTvis da udidesi
gulwrfelobiT mimarTavs mas, rogorc kacobriobis mxsnels, sulier gadamrCens. poeti
RmerTis Ziebis procesSi warmogvidgeba, romelic am gzaze fizikuri da sulieri SimSilis
mdgomareobaSi naTlis svetis movlinebasa da sazrdos boZebas natrobs, raTa bneli
gaunaTdes da sakvebi, rogorc fizikuri, ise sulieri, miiRos. bibliuri moZRvrebiT, naTlis
svetis RamiT gzis gakvalva, ise rogorc almodebuli mayvlis buCqis xilva, romelic alisgan
ar iwvoda, uflis gamocxadebis, uflis Cenis, Teofaniis gamovlinebaa. gamoslvaTa wignSi
3
vkiTxulobT: `xolo aRiZra angelozi igi winamavali banakisa ZeTa israÀlisaTasa da
vidoda ukuanagan, da aRiZra suetica Rrublisa pirisagan maTisa da dadga
ukuanaTagan maTsa~ (gamosl. 14,19); `da iyo saÃumilavsa ganTiadisasa da mihxeda
ufalman banaksa megÂptelTasa suetiTa cecxlisa da RrublisaTa da ganawyo banaki
megÂptelTaÁ~ (gamosl. 14,24); `xolo ufalman hrqua moses: aha, me moval Senda
suetiTa RrublisaTa, raTa esmas ersa. vityodi me Senda momarT da hrwmenes Seni
ukunisamde. da miuTxrobda mose sityuaTa erisaTa ufalsa~ (gamosl. 19,9); `da
viTarca Sevidis mose karavsa mas, gardamoÃdis sueti igi Rrublisa da dadgis karTa mis
karvisaTa da etyÂn ufali moses~ (gamosl. 33,9). bibliur personaliaTagan
gansakuTrebul yuradRebas iqcevs mose winaswarmetyveli, romelic ramdenjerme
ixsenieba leqsSi da romelzec aris adamianis sulieri xsnis motivacia orientirebuli.
sveti naTlisa da sveti Rrublisa saswaulis niSania hagiografiasa da himnografiaSi,
am ukanasknels saocrad Rrmad da safuZvlianad ukavSirdeba `daviTiani~. aq
himnografiuli sametyvelo eniT, hipodigmur-paradigmuli struqturiTa da
saxismetyvelebiTi saSualebebiT kerZo piris natvra da Txovna ki araa warmosaxuli,
aramed sazogadod kacobriobisa, romelic RvTisagan moelis wyalobas, madls, arsobis
purs. amitom momdevno strofebSi kvlav grZeldeba bibliur saxe-xatTa kvalobaze poetis
Txovna da vedreba, raTa RmerTma miutevos Secodebani rogorc sulgrZelma da
gulmowyalem, RmerTma Tavad gadaixados Tavisi vali, radgan poeti miiCnevs, rom
RmerTs Tavisi movaleoba akisria, Tavisi vali aqvs adamianis winaSe, radgan misi
Seqmnilia yoveli arsi. RmerTma uboZa adamians yovelive da RmerTmave unda
uwyalobos arsobis puri, romelsac dacilebulia, gayrilia da mis nacvlad Sambs Zovs.
naTlis svetis simboluri saxe `daviTianSi~ bevrjer SeiniSneba, SeiZleba iTqvas, rom igi
msWvalavs mTel `daviTians~. miuxedavad imisa, rom daviT guramiSvilis es leqsebi
ucvlelad mihyveba `mamao Cvenos~ sityvebs, igi mainc Rrma individualobiTa da
poeturi xelweriT gamoirCeva, radgan poeti axal realobas, axal samyaros, axal
TvalTaxedvas qmnis, axal msoflgancdas badebs da, faqtobrivad, Tavis `mamao
Cvenos~ gvTavazobs, romlis orientiri maTes saxarebis locvaa. aqve unda aRiniSnos
daviT guramiSvilis erTi `galoba~, romelic Cvens gansaxilvel leqsebTan uSualodaa
dakavSirebuli da romelic aseve mama RmerTisadmi mimarTviT iwyeba da maleve
gadadis macxovrisadmi vedrebaze, rom ganiRviZos, nu sZinavs, codvili kacobrioba
aRadginos, xolo daviTs, romelsac mtrebi sdevnian da ubedureba Tavs dastydomia, mis
win mdebare gza gaunaTos.
`mamav, Seni Zeo, viTxov miboZeo;
viqcevi, qveskneTs vardebi, misvet-miboZeo,
rad gZinavs, aRdeg, ufalo, aw ganiRviZeo,
modi, gammarTe wel-gulSi, sul davibRunZeo.
RmerTo, daviTis mTnevelo, mamao da Zeo,
is mterni Cemi mdevnelni devne, ganaZeo,
Sen gamirkvie daviTsa, rac win gza miZeo!~ (guramiSvili, 1980: 128).
aqac, leqsis meore nawilSi, poeti RmerTs SesTxovs sulier sazrdosa da Semosvas, rac `samoseli
pirveliT~ Semosvas ukavSirdeba.
simboluri azriTa da SinaarsiT uaRresad datvirTulia `daviTis Sesxma pirveli~, romelSic poeti aseve
RmerTs esavs, romelmac unda ixsnas sulieri tyveobisa da bnelSi yofnisagan: `bnelSi mgdebare gamoved
gare, viTa davRamdi, ise gavsTendi! Ze mogveboZa, gvesvet-gveboZa, me daqceuli misgan avSendi...~

4
(guramiSvili, 1980: 151). esec exmianeba gansaxilveli leqsebis motivebs, romelTa gaazreba bnelis
ganaTebasTan, naTlis movlinebasTan asocirdeba.
leqsSi sainteresoa kaenisa da abelis saxismetyvelebiTad warmosaxva, romelTa mier RvTisadmi
Sewiruli msxverpli gansxvavebuli Sina-arsisa iyo da rasac Sedegad Zmis mier Zmis mokvla mohyva
Sedegad. daviT guramiSvilis sityvebSi ki RvTisaken kacobriobis msasoebeli mzera SeigrZnoba. poeti
RmerTs evedreba, rom Zvel saxmilT nu gauxsenebs da nu ganuaxlebs. misi vedreba Seisminos ise, rogorc
abel marTlis msxverpli Seiwira:
ჩვენთანა შენი წყალობა ნუ განაქარვეო,
ნადებნი ძველნი სახმილნი ნუ განგვიახლეო,
ჩვენნი მსხვერპლი კაენისა ნუ მიამზგავსეო.
ვითარცა აბელ მართლისა შენ შეიწირეო.
daviT guramiSvilis Txovna-vedrebiT gajerebuli leqsi optimizmiTaa gamTbari. es imediani ganwyoba
grZeldeba meore leqsSic, romelic samebisadmi vedrebaa, raTa poets gza warumarTos da codvebi Seundos.
daviT guramiSvilis orive leqss gasdevs daviT winaswarmetyvelTan sulieri naTesaoba, rac 148-e da 150-e
fsalmunuri motivebis samebisadmi vedrebis bolo strofSi warmoCeniT vlindeba:
აწ დავით იტყვის: დიდება, შენდა, მეუფეო,
მარადის და უკუნითი უკუნისამდეო!
ამინთე მე ბნელს სანთელი და მამინათეო,
დავით მე შენ გევედრები, გზა წარმიმართეო!
daviT guramiSvilis `mamao Cvenos~ Temaze dawerili leqsebis mxatvruli funqcia aRsarebiT-
liturgiulia da RvTisadmi aRvlenili locva-vedrebis ganzogadebuli, krebsiTi azris gamoxatulebaa;
STagonebulia naTlis maradiuli arsebobis imediT. leqsebi bibliur personaliaTa simravliTac gamoirCeva:
abeli, kaeni, abrami, isaki, mose, daviTi. avarTa mTebSi tyved myofi poeti, daviT winaswarmetyvelis sulieri
memkvidre, qristianuli liturgiuli cnobierebiT miiltvis uzenaesisaken, RmerTisaken, raTa ara mxolod
sakuTari, aramed mTeli kacobriobis sulier momavalze izrunos. daviTis leqsebSi Rrmad gamoixata qarTveli
erisa da mTeli kacobriobis rwmena sulis ukvdavebisa, misi suli ki ver gatexa verc samkvidrodan
gadaxvewam da mowyvetam, verc pirovnulma tragikulma gancdebma da cxovrebam, romlebic erTmaneTs
iyo gadajaWvuli. daviT guramiSvilis `mamao Cvenos~ Temaze Seqmnilma leqsebma poetis
msoflmxedveloba warmoaCina da poeturi SesaZleblobebi gamoavlina. am mimarTulebiT mas
memkvidreebic gamouCndnen, romelTagan gansakuTrebulia amave Temaze Seqmnili ilia WavWavaZis
leqsi `locva~, romelSic mwerlis mrwamsi _ mtrisTvis Sendobis Txovna _ qristianul safuZvlebs emyareba.

locva, odes daviTs tyveobasa Sina moSivda da RmerTs puri sTxova

(იამბიკო)
მამაო, ყოვლის მპყრობელო, ღმერთო მოწყალეო!
ჩვენო გამაკაცებელო, შემქნელ-დამბადეო!
რომელი ხარ ცათა შინა არსის საყდარზეო,
წმინდა არსი მაგალობე, შენი ეო-მეო.
იყავნ ჩემზედ მოწყალებით, შენ დამიფარეო;
სახელისა შენისათვის აწ მამეხმარეო;
შენი უხვი მოწყალება შორს ნუ წამგვარეო,
მოვედინ მოწყალებითა, ისევ შემყარეო!
სუფევა წარმოავლინე, მადლი მომფინეო;
შენი განჩენილი ვარ და შენ დამარჩინეო!

5
იყავნ ნება შენი ჩემზე, ჩემო მეუფეო,
ვითარცა პირველ მამათა შენ უწყალობეო.
ცათა შინა ისრაელთა საზდო უწვიმეო,
ეგრეცა ნათლის სვეტითა ღამე ავლინეო,
ქვეყანასა ვარ უცხოსა დაკარგული ტყვეო,
ზედა მთასა ავართასა, აწ მამეშველეო.
პური არა მაქვს, მიბოძე, მშიან, მაჭამეო!
ჩვენი შენგნით მოცემული, რად დამიმალეო?
არსობისა პურს გამყარე, შამბი მაძოეო!
მომეც, გვედრებ, შენი ვალი გარდაიხადეო!
ჩვენ გცოდეთ და შენ შეგვინდევ სულგრძელ-მოწყალეო,
დღეს სადილად არა მაქვს-რა, გამომიჩინეო;
დავიკრიფე ყოვიფჩხილა და ისი ვსჭამეო!
მომიტევენ შეცოდება, თუ რამ შეგცოდეო.
ჩვენთანა შენი წყალობა ნუ განაქარვეო,
ნადებნი ძველნი სახმილნი ნუ განგვიახლეო,
ჩვენნი მსხვერპლი კაენისა ნუ მიამზგავსეო.
ვითარცა აბელ მართლისა შენ შეიწირეო.

ჩვენ მიუტევებთ თუ ძმათა, შენც მოგვიტევეო!

თანამდებთა გარდავიხდით, მივსცემთ რაცა გვძეო,
მათ ჩვენთა აღნადგინებთა სხვათა ნუ აძლეო.
დამბადებელო მიბოძე, ეს რა ვითხოვეო.
ნუ შემიყვანებ ღრმა ზღვათა, რომ არ დავინთქეო,
ჩვენ შენად სადიდებელად მთლად განგვარინეო,
განსაცდელსა მოგვარიდე, კარგო მენავეო,
არამედ მიხსენ, ვით მოსეს შუა განუპეო!
ჩვენო მოწყალევ! ეს ძღვენი გიძღვენ დავით მეო,
ბოროტისაგან დამიხსენ ყოვლად ავით მეო!

სამების ვედრება: გზის წარმართვის თხოვნა დავითისაგან

(იამბიკო)
რამეთუ გცოდე, უფალო, ვითხოვ შემინდეო!
შენი ვარ მონა, წყალობა შენ მე დამმართეო.
არსადა მყავს მისამართი, მე შენ მოგმართეო,
სუფევა შენი მშვიდობით გამოავლინეო.
ძალი და ღონე მიბოძე, მტერთა ვეყო მრეო.
დიდება შენდა ნათელო, ერთო, სამ-სახეო!
მამისა აბრამისასა სტუმრად მსხდომარეო,
დაბერებულთა მათ ბერწთა შვილთ ახარეო,
ძისა მათისა ისაკით ძე მოასწავეო.
დამმარხველს, დამტირებელსა ვითხოვ, მიბოძეო!
წმინდისა სამებისაო მადლო. დამფარეო,
სულისა ჩემის საოხად, რაც ვთქვი, მახმარეო.

6
 აწ დავით იტყვის: დიდება, შენდა, მეუფეო,
მარადის და უკუნითი უკუნისამდეო!
ამინთე მე ბნელს სანთელი და მამინათეო,
დავით მე შენ გევედრები, გზა წარმიმართეო!

 "Spekali" #7
 Study of Literature
 Nestan Sulava

For the interpretation of Davit Guramishvili’s

Prayer and Supplicate for Trinity
Prayer is an expression of faith, and faith is the power that keeps evil away from the human soul. This is
the "merge request confirmation" with God [Baramidze, 1992:25]. The spirit which never regrets and
prays experiences kindness. Prayers are the regenerative and renovate force for the spirit. It brings
virtue, kindness, regeneration and spiritual perfection. In the artistic thoughts of Davit Guramishvili
prayer mostly has a symbolic function. This problem has always been of a much interest for scholars.
Several works have been dedicated to this issue. The works of Revaz Baramidze and Bela Balkhamishvili
are noteworthy [Baramidze, 2005; Balkhamishvili, 2005]. According to Revaz Baramidze: "Davitiani" is an
united piece of work, an extended prayer dedicated and showing aspirations to a single, supreme deity
and repentance, where real-historical pictures or guidance contained passages are knitted in" [Baramidze
2005:16]. B. Balkhamishvili researched an episode of "The Shepard or a cheerful summer". A prayer of
the girl Shepard, where "is the complex of the common and the arisen to replace each other, there is fear
and dear, trusting and obeying God and the will to resist" [Balkhamishvili, 2005:171]. In "Davitiani" the
line of prayer is given, which has a specific function in the artistic structure of the work. The main
features of symbolic thinking, the Biblical images, allusions, reminiscences, enigmas, antinominality, and
dualism are fully reflected in "Davitiani" and are the ones determining the artistic phenomenon of the
Work.

In the Artistic-aesthetic and ideological-vision world of "Davitiani" special attention should be drawn on
the prayer and the supplication placed in the first book: "Prayer, when Davit felt hungry during
imprisonment and asked God for bread" and "The Supplication to Trinity: Asking to show the road to
Davit", where the poet foremost by engaging the Christian prayer, Lord's prayer, "Our Father", shows his
request to God, his sentiments, feelings and spiritual aspirations for his future. Both verses have a
postscript "Iambic", and even though they are not written in an iambic perimeter, both of them are
fourteen syllable verses. Nevertheless, both verses form a similar impression of hymnography, by its
imagery, expressive means and language it looks much alike chants. However, it should be noted, that by
their world outlines and verse measurements these verses are akin to folklore, and such kind of
measuring syllables are used by Davit Guramishvili in other verses as well. The rhythmic syllables used in
the verses give them the intonation of speech. It is noteworthy that these verses were created when the
poet freed himself from the capture of the Lezghins, and as he himself admittes they are written by this
experience, when he was hungry and asked God for bread.

The structural model of verse should be mentioned, the divine rule of saying "Our Father" in the church
are preserved: From "Our Father" prayer text the prayer assigned for the priest to say is singled out, its
title is "The Supplication to Trinity: Asking to show the road to Davit", that indicates on both the poet's
Liturgical consciousness, and the knowledge of the centuries-old tradition worship. However, it should be
noted, that these prayers of "Davitiani" have not been of a special scholarly interest.

In clergical literature the text of the prayer of "Our Father" has been defined many times by different holy
fathers, so that it would become more understandable for the parish. In particular, I will use the

7
exegetical works of St. Ioane Okropiri and Theophylact the Bulgarian to justify this issue [St. Ioane
Okropiri, 1996: 12-13]. This prayer clearly indicats what the gospel is, its whole essence and purpose. It
is a merge of God's will with the inner, divine communion and joy to the world with the knowledge that
seeks and obtains eternal good; This prayer gives people the power of God in order to be protected from
evil. A. Harnakma while reviewing "Our Father," said that the name, the will and the divine world are the
constituent elements of prayer, whose influence extends to the holy and earthly motives [Гарнак, 1907:
46]. Georgian hymnography is familiar case of the transformation of the prayer and becoming a hymns
of, namely, when Ioane Minchxi with little alteration - changing some of the words, and adding some, - in
fact, created a new song on the themes and motives of "Our Father". The theme of "Our Father" was used
to determine different topics and are reflected in the works of Davit Guramishvili and Ilia Chavchavadze
("Prayer"), who brought their thoughts to the hearts of their reader.

The symbolic language of Davit Guramishvili, by which he writes in his verses mentioned above, shows
the aspects of biblical imagery. Generally, there have been a number of researches of David
Guramishvili's work in this respect. These poems attracted the attention of the fact that both the
horizontal-vertical slot times to God in prayer and delivered the key message are conveyed to the
listener-reader. Vertically it is fully the text of the prayer of "Our Father" that the priest narrates and
which gives the future of the human soul and the finding of heaven by the human may be realized. In the
Horizontal section, by the prayer of "Our Father" that is rather important for Christians, and testifies the
world of the area, the author by using the deep symbols and imagery shows his attitudes towards God,
faith and belief, love. This divine names and ideological beliefs based on biblical personnel redeploy
perceived expression. The substance of the vertical-horizontal sections of these verses reveal the author's
artistic-visual and aesthetic experience through the use of a combination of the rare case that this
function works Replies to Liturgical chant, the temple grounds are creating the perception of symbolic
execution. The church where the human stands and takes part in public worship, precisely leads human
soul in vertical-horizontal spatial area, the vertical direction - towards God and the horizontal direction -
towards all mankind. It is human perfection, completeness verification, revealing his spiritual mission.
Davit Guramishvili's world unity, the unity of God, the relationship between Universe and Human, as a
creature created by God, in this particular case - to oneself, self-identification which is a difficult road to
go on, which can only be achieved as a result of trying to understand God and the universe, and spiritual
experience.

Both verses show the spiritual condition of the author, his internal world, a begging towards Go from the
side of a human. The full text of the poems is a try to obtain God's mercy, and expectation of getting
grace from God. The first verse of God the Father, as all-controlling, merciful and creator, begins by the
supplication towards God and the creation of the world by him and, the crown of it - the creation of
mankind and finding their place in the the world created by God. The prayer expressed in the first stanza
of the verse has a relation with the next to the words and ideas and contents of other stanzas, showing
the expression of the author's mood:

„იყავნ ჩემზედ მოწყალებით, შენ დამიფარეო;

სახელისა შენისათვის აწ მამეხმარეო;

შენი უხვი მოწყალება შორს ნუ წამგვარეო,

მოვედინ მოწყალებითა, ისევ შემყარეო!

სუფევა წარმოავლინე, მადლი მომფინეო;

შენი განჩენილი ვარ და შენ დამარჩინეო!

იყავნ ნება შენი ჩემზე, ჩემო მეუფეო,

ვითარცა პირველ მამათა შენ უწყალობეო" [გურამიშვილი, 1980: 117-118].

8
Prayer serves as a spiritual cleaner and perfectioner, which is why both of the poems raise the artistic
function of the spiritual purification and improvement of the poet. It seems that the poet is experiencing a
decrease in the mercy of God and, therefore, in the following stanzas, is a hope for God's mercy,
expectation for the re-meeting with God. David Guramishvili through the hypo-dogmatic-paradigmatic
imagery shows the complexity, difficulty and tragic events of his life. Being beyond the "Mountains of
Avar", being lost towards foreigners he asks God for help, that in this gravest moments God's should have
mercy and grace on him, as He was in the case of the Israelis, when He lightened their way during
daytime, as well as at night, on the way, gave them Manana from the sky, while they were in the desert,
which is symbol of their spiritual and physical survival:

„ცათა შინა ისრაელთა საზდო უწვიმეო,

ეგრეცა ნათლის სვეტითა ღამე ავლინეო,

ქვეყანასა ვარ უცხოსა დაკარგული ტყვეო,

ზედა მთასა ავართასა, აწ მამეშველეო" [გურამიშვილი, 1980: 119].

The awaiting for spiritual deliverance is expressed by the poet in the image of "Light Pillar". Light Pillar,
and generally pillar, has an important artictic function in Davit Guramishvili's Poetry. The poet likes to use
this metaphor-symbol, by which gives access to God in a vertical line. The coming of Hebrews out of
slavery from Egypt and the theme of the Lord's help is actual not only in theological literature, but also in
Georgian Literature is wide-spread and conceptual, because in it is oriented on the spiritual salvation
man, more generally, mankind. Davit Guramishvili gives his own interpretation, combines it with his world
outline and made it into one of the quintessence of his works. The poet, who was in a foreign land and in
slavery felt the lack of God's grace and mercy, felt alone; the poet missed the creator of the universe an
mankind, merciful, showing His clemency on mankind and asks Him with great sincierty, as He is the
savior of mankind, the spiritual saviour. The poet is in the process of search. On this road, hungry and
physically exhausted the poet seeks for the light pillar and food, to enlighten his night and to take a
snack. By the biblical outline, Light Pillar (Exodus 13, 21-22), showing the road at night (like seeing the
flaming blackberry bush that did not burn) is the expression of God's presence. To justify my position I
will bring an example from the Book of Exodus: "Then the angel of God, who had been traveling in front
of Israel's army, withdrew and went behind them. The pillar of cloud also moved from in front and stood
behind them" (Exodus 14,19); During the last watch of the night the Lord looked down from the pillar of
fire and cloud at the Egyptian army and threw it into confusion (Exodus 14,24); The Lord said to Moses, "I
am going to come to you in a dense cloud, so that the people will hear me speaking with you and will
always put their trust in you." Then Moses told theLord what the people had said (Exodus 19,9); As Moses
went into the tent, the pillar of cloud would come down and stay at the entrance, while the Lord spoke
with Moses (Exodus 33,9). From the biblical characters mentioned in the verse Moses is the most
noteworthy, not only because he is mentioned several times but also he is the one oriented on the
spiritual saving of man.

The Light Pillar and The Cloud Pillar is considered to be a miracle in hymnography, which is deeply rooted
in "Davitiani". Here by the use of hymnographic language, hypo-digmatic-paradigmical structure and
imagery is depicted the supplication not of an individual, but the whole mankind, who desperately needs
mercy and grace from Lord. Therefore in the stanzas below poet asks God for forgiveness, not only
because He is merciful generous, but also because He also has the duty of caring towards mankind, whom
He has created. God has given humans everything and He is the one who should give them their daily
bread. The symbolic image of Light Pillar is often mentioned in "Davitiani", it can be said that the whole
poem is full of it.

Despite the fact, that the verses of Davit Guramishvili follow the words of "Our Father", they still show the
individuality and poetical creativity, because the poet created a new reality, new realm, new world outline,
prayer of "Our Father" who focuses on the Gospel of Mathew. Here one "hymn" of Davit Guramishvili
should be mentioned, that is closely related to the verses we are dealing with and which begins by the
begging towards God the Father and then transits into supplication towards Christ, who should awake and
save mankind from sins, as well as show Davit the way and enlighten the road in this tragic moments of
his life.

9
„მამავ, შენი ძეო, ვითხოვ მიბოძეო;

ვიქცევი, ქვესკნეთს ვარდები, მისვეტ-მიბოძეო,

რად გძინავს, აღდეგ, უფალო, აწ განიღვიძეო,

მოდი, გამმართე წელ-გულში, სულ დავიბღუნძეო.

ღმერთო, დავითის მთნეველო, მამაო და ძეო,

ის მტერნი ჩემი მდევნელნი დევნე, განაძეო,

შენ გამირკვიე დავითსა, რაც წინ გზა მიძეო!" [გურამიშვილი, 1980: 128].

Here, in the second part of the poem, the poet asks God for spiritual nutrition, that is realted to the
putting on of the "First Garment".

"The first dressing of Davit" is loaded with deep symbolism and content, where the poet asks God to save
him from spiritual enslavement and darkness: „ბნელში მგდებარე გამოვედ გარე, ვითა დავღამდი, ისე
გავსთენდი! ძე მოგვებოძა, გვესვეტ-გვებოძა, მე დაქცეული მისგან ავშენდი..." [გურამიშვილი, 1980: 151]. This
also echoes the motifs of poems, which considers the enlightment of dark.

The imagery of Caen and Abel in the verse is rather interesting, where the sacrifice towards God had a
different nature and which resulted in the killing of brother by brother. The poet asks Lord for Help. The
poet begs God that He may forget their previous sins and does not remember them. The poet entreats to
God that He might hear his supplication as He received the sacrifice of Abel:

„ჩვენთანა შენი წყალობა ნუ განაქარვეო,

ნადებნი ძველნი სახმილნი ნუ განგვიახლეო,

ჩვენნი მსხვერპლი კაენისა ნუ მიამზგავსეო.

ვითარცა აბელ მართლისა შენ შეიწირეო" [გურამიშვილი, 1980: 118].

The verse by Davit Guramishvili, full of begging is saturate with optimism. This positive attitude can be
seen in the second verse as well, which is supplication towards trinity, which aims to show the author the
road and forgive his sins. The spiritual relation between Davit Guramishvili and David the Prophet follows
both verses, and is reflected by the using of the motives of Psalm 148 and Psalm 150 in the last stanza of
Davit Guramishvili's poem:

„აწ დავით იტყვის: დიდება, შენდა, მეუფეო,

მარადის და უკუნითი უკუნისამდეო!

ამინთე მე ბნელს სანთელი და მამინათეო,

დავით მე შენ გევედრები, გზა წარმიმართეო!" [გურამიშვილი, 1980: 119].

The verses of Davit Guramishvili written on the theme of "Our Father" have an artistic function of
confession and liturgy and generalization of prayer towards God; it is inspired by the eternal existence of
Light. The verses are full of biublical personnel: Abel, Caen, Abraham, Issac, Moses, David. The enslaved
poet, who has a Christian world outline, by his liturgical conscious, strives to God, mot only for himself,
but for the spiritual salvation of the whole mankind. In Davit's poems faith in the nation and the eternal

10
and undying spirit of entire human soul are deeply expressed, the poet's spirit was not broken even his
enslavement and being on a foreign land, his tragedy or personal life, which no doubt intersect with each
other and are related to one another. The verses of Davit Guramishvili written on the theme of "Our
Father" showed not only the world outline of the poet but his artistic creativity. In this direction Davit had
his followers, from which Ilia Chavchadze's verse "The Prayer" should be highlightened that is based on
the main principle of Christianity - the forgiveness of enemies.

References
Balkhamishvili B. “Shuagam Adga, Gogomiloca”, Davit Guramishvili -
2005 300,Tbilisi
Baramidze R. The general themes in “Davitiani”, Tbilisi
2005
Baramidze R. The artistic function of prayers in “The Life of Grigol
1992 Khandzteli”, Religion, #5
Guramishvili D. Works, Tbilisi
1980
Saint Ioane Translation of the Gospel of Mathew, Volume 2, Tbilisi
Okropiri
1996
Гарнак А. Сущность христианства, СПБ.
1907

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