Georgian translations of Iranian tales and their influence on the formation of Georgian classical literature

Abstract

Introduction

Some of those works translated from Persian literature into Georgian during the 15th to 18th centuries belonged to the field of narrative literature. The cultural similarities between the two nations led Georgians to welcome these stories alongside Iranian epic and didactic texts.
The main question of the present research revolves around the following: What is the history and background of Iranian tales in Georgia? During what historical periods were they translated into Georgian? What are the most important translated works? Also, how did Georgian translators and narrators' approach and interact with these tales? And finally, what role did these works play in the formation of Georgian classical literature?
 

Methodology

This research, conducted descriptively and analytically using library resources, aims to examine Georgian translations of Iranian tales and their influence on the formation of Georgian classical literature
 

Discussion

Among the translations of Persian texts, there were also some Iranian tales. According to Georgian manuscripts, some Persian tales that were very popular in Iran were translated into Georgian by direct order of kings such as Vakhtang VI. These include Weiss Ramayani, Bakhtiarnameh (Selected Persian Tales), Bahram Gelandamiani (by Bahram and Gelandamiani, the Neyshaburi scribes), Khosrow Shiriniani (the famous tale of Shirin and Khosrow by Amir Khosrow of Dehlavi), Yusuf Zulikhaniani (the Georgian tale of Yusuf and Zuleikha), and Bijaniani (the Georgian tale of Bijan and Manije).
During the 17th and 18th centuries, other works such as Miriani, Char Dervishiani, Karamiani, Silaniani, Pirmaliani, Varshakiani appeared, all of which were translated from Persian into Georgian. Some of these texts, during their presence in Georgian culture, were so intertwined in the fabric of Georgian culture and literature that they have become an inseparable and original part of Georgian literature. These narratives sometimes distanced themselves from their Persian originals due to the interference and appropriation of Georgian translators and scribes and took on the characteristics and characteristics of Georgian culture. However, the general trajectory of the works and the presence of Iranian names and cultural symbols in them is such that in most cases, traces and signs of the original Persian sources can still be found in them.
What emerges from examining these translations and their adaptation into works of classical Georgian literature is the unparalleled role of these tales in the formation of classical Georgian literature because many of the classic works of this literature were created solely under the direct influence of these tales.
Works such as the romantic and epic stories of "Amirandarjaniani" attributed to Musa Khonli (12th century), Tamariani by Grigol Chakhrukhadze (12th century), Abdolmasiani by Ivane Shavteli, and finally the masterpiece of Georgian poetry "The Leopard-clad" by Shota Rustaveli have emerged as a result of this cultural continuity.
One of the clear signs of this influence, apart from the themes, motifs, loanwords, descriptions, and imagery, is the presence of the names of the heroes of Persian lyrical and epic poetry in Georgian works. Almost all the pages of the aforementioned works contain one or more names taken from works such as Shahnameh, Vis, Ramin, Vameq, Azra, Shadbehr and Ayn-e Hayat. Names such as: Merab, Rostam, Ketevan, Giv, Zal, Tur Ioseb, Zelikha, shatbiar, Analat,, Viso Ramin, Vameq.
A closer examination of these stories reveals that the intellectual and cultural tastes of Georgians were very close to those of Iranians. The presence of elements such as feasting, joy, and revelry, love, as well as chivalry and adventure in these stories were among the most important reasons why Georgians were drawn to these stories.
Also, by scholarly research of these narratives, it can be acknowledged that the prevailing traditions in the transmission and narration of Persian folk literature were also followed in Georgia. Georgian narrators and narrators, according to the wishes of their audiences or their own tastes, have resorted to interfering with Persian narratives and Georgianizing them.
Another valuable and interesting feature that can be said about these narratives and stories is their specificity in the cultural sphere of Iran. In a way, in the lands under the influence of Iranian culture, there are few similar ones to them. In fact, in this vast cultural geography, Georgia is one of the few countries that has been influenced by Iranian narrative literature and even folk literature more than by official, traditional, and classical Iranian literature.
Meanwhile, examining works that were created in imitation of original Persian works is valuable in various ways, such as the works of Timuraz I, who composed some of the enduring poems of Georgian literature under the influence of the poems of Nizami and Amir Khosrow Dehlavi, and other Persian lyrical poems.
 

Conclusion

 From the discussions presentes, it can be concluded that a major part of Georgian narrative literature was translations of Persian narrative works and Iranian tales, which were mainly translated into Georgian in the 16th and 17th centuries (the period of Georgian presence in the political structure of Iran). Some of these works were published during the 20th century, and some are still preserved in manuscript form. Due to their many cultural affinities and commonalities with Iranians, Georgians became fond of Iranian tales and found them suitable their intellectual and cultural tastes. Therefore, after translating them, they began to adopt and rework them, first publishing Georgian versions of those tales (such as the Georgian versions of the Shahnameh), then under the influence of those same tales, they began to create similar tales and narratives, and became the founders of Georgian classical literature. However, these stories remained influenced by Iranian tales in form, content, structure, and narrative style, as well as in descriptions, poetic images, and even naming.