I'll start of course with A. S. Pushkina
Monastery on Kazbek
High above the family of mountains,
Kazbeg, your royal tent
Shines with eternal rays.
Your monastery is behind the clouds,
Like an ark flying in the sky,
Soars, barely visible above the mountains.
A distant, longed-for shore!
There, saying goodbye to the gorge,
Rise to the free heights!
There, in the sky-high cell,
It’s up to me to hide in God’s neighborhood!…
The darkness of night lies on the hills of Georgia;
Aragva makes noise in front of me.
I feel sad and light; my sadness is light;
My sadness is full of you.
By you, by you alone….my despondency
No one torments, no one worries,
And the heart burns and loves again - because
That it cannot help but love.
Vladimer Mayakovsky
To our youth (excerpt)
Three different sources of speech in me
I'm not one of the smart-ass guys.
I am a Cossack grandfather, a Sich member to others,
And by birth he is Georgian.
Vladikavkaz-Tiflis (excerpt)
I know: stupidity - Eden and paradise!
But if they sang about it,
It must be Georgia, a joyful land,
Poets meant.
Boris Pasternak
Waves (excerpt)
The shadow of the castle was already growing from the scream
Those who have found the word, and in the mountains,
Like a stutterer frightened by his mother,
Devdorah hummed and melted.
We were in Georgia. Let's multiply
Need for tenderness, hell for heaven,
Let's take the greenhouse under the ice,
And we will get this edge.
And we will understand in how subtle doses
Mixed with earth and sky
Success and work, and duty, and air
So that a person like here comes out.
So that, having formed among the foodless,
And defeats and captivity,
He became a model, having taken shape,
Something as strong as salt.
Nikolay Tikhonov
I know Georgia like this
And I strictly cherish it in my heart -
Loud avalanches rejoice,
And the tours jump in the snow.
Diamond ducts thunder,
And above the green world to everyone
Ice steps hang like strings
Poems frozen in the air.
Overnight in the towers, modest dinner
On this royal land,
I slept under a semi-dark vault
I have never seen more fun dreams.
A wonderful photo of a courtyard with Svan towers was taken from the site http://www.risk.ru/users/veronika/4755/ and taken by Veronika Sorokina.
Yakov Polonsky
A walk around Tiflis (letter to Lev Sergeevich Pushkin - excerpt)
….A wonderful view opened up. - From here, from behind the baths,
I can see the castle behind Kura,
And it seems to me that the stone cornice
Steep bank, with overhanging houses,
With balconies, bars, pillars, -
Like decoration for a magical benefit performance,
Luxuriously lit with sparklers.
From here I see - beyond the blue mountains
The dawn, like an altar, burns - and Tiflis
Greeted with farewell rays -
Oh, how brilliantly this hour passes!
Great for unaccustomed eyes
Painting! Remember the whole mass of these buildings,
This whole mixture of ruins without legends -
Houses built, perhaps, from ruins -
Gardens entangled with grape branches,
And these domes, of which there is only one type
It will remind you of the outskirts of Constantinople.
And agree what to draw
Tiflis is not my pen...
Sergey Yesenin
In the Caucasus
Since ancient times our Russian Parnassus
Drawn to unfamiliar countries
And most of all, only you, Caucasus,
It rang like a mysterious fog.
Here Pushkin is in sensual fire
With his disgraced soul he composed:
“Don’t sing, beauty, in front of me
You are the songs of sad Georgia.”
And Lermontov, curing melancholy,
He told us about Azamat,
How is he for Kazbich's horse
He gave his sister instead of gold.
For the sadness and bile in your face
The boiling of yellow rivers is worthy,
He, like a poet and an officer,
Was calmed down by a friend's bullet.
And Griboyedov is buried here,
As our tribute to the Persian gloom,
At the foot of a big mountain
He sleeps to the sound of zurna and tari crying.
And now I am your smoothness
He came without knowing the reason:
Is it possible to weep over our native ashes here?
Or spy on your hour of death!
Yakov Helemsky
***
“Borjomi” is better to drink in Borjomi
And “Akhasheni” - in Akhasheni.
Captivates us in an open house
Taste of the original source.
This is a unique miracle
Everything is familiar and unfamiliar... So it is in the poet’s homeland
You listen to the poems in a different way.
Magic current born in the vines
In the soul, in the silence of the underground vaults,
Does not tolerate difficult transportation,
Does not tolerate false translations.
Vsevolod Rozhdestvensky
Batumi (excerpt)
So sometimes, wounded by light sadness,
Looking at the surf strip,
Here in Batumi, a longtime northerner,
I carry the sun in my chest.
As if I was once born here
Or lived for many years,
And he greets me like a brother,
Lighthouse green star.
Andrey Voznesensky
Tbilisi bazaars
Down with Raphael!
Long live Rubens!
Trout fountains,
Colorful rudeness!
Here are holidays on weekdays
Arbs and watermelons.
Traders are like tambourines,
In bracelets and beads.
Indigo turkeys.
Wine and persimmon.
Are you without money now?
Drink for free!
Long live the women
Lettuce vendors
Match the baobabs
In four girths!
Markets are fires.
It's fiery and young here
Burning tan
Not hands, but gold.
There are reflections of oils in them
And golden wines.
Long live the master,
What will write them out!
Alexander Kushner
***
I'm in Georgia. I don't know anyone.
Someone else's speech. The customs are foreign.
It’s as if my life has turned over the edge,
It’s like I’m sleeping and I see blue
Hills. A magpie is walking around the yard.
If only I knew why, having forgotten the nesting place,
It's crazy to search and travel so far
As the singer Sophia used to say.
Ah, you see, I like the balcony,
Such a balcony, long, wooden.
Forgive me that the answer is so evasive,
Like this ledge of the guttural street.
Cheer up. because what happened to us,
It’s not more fun than what will happen to us.
Ah, you see, I like the railings
And everyone wants buildings and people.
Of course, both buildings and people!
But I will die - for the balcony
I'll grab it and jump out of the horror,
And I’ll wipe off the dust and crumple up the handkerchief.
Love held me - it collapsed.
Everyone is being pulled down, so at least don’t give up,
Ah, Georgia, you are mercy in this life,
An extension to it, a refuge and a whim!
Alexander Griboyedov
***
Where Alazan winds,
Bliss and coolness blows,
Where in the gardens they collect tribute
Purple grapes
The ray of day shines brightly,
They search early, love a friend...
Are you familiar with that country?
Where the earth knows no plow,
Forever young shines
Lush with bright flowers
And he gives a gardener
Golden fruits?
Wanderer, do you know love?
Not a friend to the dreams of the dead,
Scary under the sultry sky?
How does her blood burn?
They live and breathe it,
They suffer and fall in battle
With her in my soul and on my lips.
So samums from the south are bursting,
The steppe is heating up...
What fate, separation, death!..
Sergey Gorodetsky
Evening
Shadows fall from the mountains
To my purple city.
Invisible steps
A silent hour passes.
And the ringing of important cathedrals
Flows into the heights
Like the rustle of wet lilies,
Getting sleepy.
And the smoke melts quietly
Warm dwellings,
And a month as a pilgrim
He comes out naked and prostrate.
Birds call chicks
And mothers and children.
Here the stars' eyelashes will flash
Streams of rays.
The night is approaching
cozy wing,
So that everyone who is lonely,
It relieved my heart.
Bella Akhmadulina
Dreams about Georgia
Dreams about Georgia - what a joy!
And in the morning it’s so clean
Grape sweetness,
Overshadowed lips.
I don't regret anything
I do not want anything -
In golden Svetitskhoveli
I light the poor candle.
Small stones in Mtskheta
I give praise and honor.
Lord let it be
Forever as it is now.
May it always be news to me
And they cast a spell on me
Dear homeland severity,
The tenderness of the homeland is alien.
Osip Mandelstam
***
I dream of hunchbacked Tiflis,
Sazandarey's moan rings,
There are crowds of people on the bridge,
The entire carpet capital,
And below Kura is making noise.
There are spirits above Kura,
Where is the wine and sweet pilaf,
And the perfumer there is ruddy
Serves glasses to guests
And ready to serve guests.
Kakheti thick
It's good to drink in the basement, -
It's cool there, it's calm there
Drink plenty, drink two,
You don't need to drink alone!
In the smallest dukhan
You will find the deceiver.
If you ask “Teliani”,
Tiflis will float in the fog,
You will float in a bottle.
A person can be old
And the young lamb -
And under the lean month
With pinkish wine steam
Barbecue smoke will fly.
Evgeniy Yevtushenko
My Tbilisi (excerpt)
The old plane tree, barely shaking its leaves,
You are wise, as if you were Karachokheli.
Calling Galaktion with a sign,
In Tbilisi, Pushkin wanders with Pasternak.
Oh my city, smoking khinkal,
A little crazy and homely,
Give me such happiness after death
To become your shadow forever, a part...
Tbilisi has a special charm.
The stars have their eyes on this city.
Always close to Tbilisi for some reason
To Rome, to Athens and San Francisco.
In Tbilisi with the feeling of an old Tbilisi citizen
I know all the pavement stones by sight.
Whoever left knows for sure
It is impossible to leave Tbilisi.
Tbilisi is not leaving you,
When he accompanies you on the road.
And if you start to forget - somewhere in the atrium
The mountain crystal of Cachueta pricks.
Like that, which Milky Way immortally milked
I believe that the city is eternal.
Alexander Tsybulevsky
Of course, there is no corner spirit,
Like the very corner - everything around is new,
The organ grinder is dead. But still the shadow of the Maidan
She slammed into someone else's asphalt...
Nothing from the old dukhan.
How simple everything is. Here's a nimble old woman -
She quickly needs to cross the road:
Buy a bottle of lemonade when it's hot.
Rinse in a glass drum
The remnants of the sky are pale blue.
The basis of life is close to a sulfur bath,
The phenomena are artless and clear.
Without choice, go through any
Like poor plastic rosary beads.
Bulat Okudzhava
Georgian song
I'll bury a grape seed in warm soil,
And I will kiss the vine and pluck the sweet grapes,
And I will call my friends, I will set my heart to love...
Get ready, my guests, for my treat,
Tell me straight to my face, who am I known to you?
The King of Heaven will forgive all my torment and doubts...
Otherwise, why do I live on this eternal earth?
In her dark red, my Dali will sing for me,
In my black and white I will bow my head to her,
And I will listen, and I will die from love and sadness...
Otherwise, why do I live on this eternal earth?
And when the fog begins to swirl, flying around the corners,
Let them float before me again and again in reality
Blue buffalo, and white eagle, and golden trout
Otherwise, why do I live on this eternal earth?
Anton Chekhov
From a letter to K. S. Barantsevich
...I survived the Georgian Military Road. This is not a road, but poetry, wonderful fantastic story, written by Demon and dedicated to Tamara... Imagine yourself at an altitude of 8000 feet... Can you imagine? Now, if you please, mentally approach the edge of the abyss and look down: far, far away you see a narrow bottom along which a white ribbon winds - this is gray-haired, grumpy Aragva; On the way to it, your gaze meets clouds, fishing lines, ravines, rocks. Now raise your eyes a little and look ahead of you: mountains, mountains, mountains, and on them the insects are cows and people... Look up - there is a terribly deep sky, a fresh mountain breeze is blowing... Live somewhere on Gudaur or near Daryal and not write fairy tales are disgusting!...
Alexey Tolstoy
In the Caucasus
….Early in the morning from the balcony I saw the brown, reddish, tiled Tiflis, its eastern side. A lot of smoke rose above the houses in the transparent and still air; on the muddy, fast Kura, floating mills slowly turned with large wheels; behind them, from the Kura itself, stood the old walls of houses, so high that the river seemed to flow along the bottom of a deep gorge; In some places there were ladders hanging from the doors leading to the water; further, on the Asian side, gray minarets, domes and smoke are visible; Even further away, the city was surrounded in a ring by rocky and brown hills, and beyond them mountains, and even further away - snow...
Konstantin Paustovsky
Throw to the South (excerpt)
I already knew many places and cities in Russia. Some of these cities have already captured the imagination with their uniqueness. But I have never seen such a confused, colorful, light and magnificent city as Tiflis.
And I end my poetic report again with A.S. Pushkin J
Alexander Pushkin
Travel to Arzrum during the campaign of 1829
I have never seen anything more luxurious than the Tiflis baths either in Russia or Turkey. I will describe them in detail.
The owner left me in the care of a Tatar bathhouse attendant. I must confess that he was without a nose; this did not stop him from being a master of his craft. Hassan (as the noseless Tatar was called) began by laying me out on the warm stone floor; after which he began to break my limbs, pull out my joints, beat me hard with his fist; I did not feel the slightest pain, but an amazing relief. (Asian bathhouse attendants sometimes get delighted, jump on your shoulder, slide their legs along your thighs and dance on your back in a squat, and great. After this, he rubbed me for a long time with a woolen mitten and, splashing me heavily warm water, began to wash with a soapy linen bubble. The feeling is inexplicable: hot soap pours over you like air! NB: a woolen mitten and a linen bladder must certainly be accepted in a Russian bath: connoisseurs will be grateful for such an innovation.
After the bubble, Hassan let me go to the bath; and that was the end of the ceremony.
§ 3. Georgian literature
The second half of the 19th century is the most important period in the history of Georgian culture, in particular in the history of artistic expression. By this time, a new generation of writers was entering the literary arena, whose work reflected Georgian reality until the 10s of the 20th century. It is noteworthy that it was this galaxy of Georgian writers that established the realistic method in Georgian literature.
Ilya Chavchavadze (1837–1907)- is certainly the central figure of Georgian literature and socio-political life of Georgia in the 19th century. He set the tone and determined the main directions of development not only of Georgian literature, but also the path of development of the socio-political movement in Georgia, as well as the spiritual life of the Georgian people. Ilya Chavchavadze was a leader and an active participant in all undertakings vital for the nation. As a writer, thinker and political figure he is a completely unique phenomenon in the history of Georgia. He was rightly dubbed the “uncrowned” king of Georgia.
I. Chavchavadze’s contribution to the renewal and revival of the Georgian language and literature is invaluable. He is a reformer of the Georgian literary language.
The main thing in a writer’s work is the national motive. All of Ilya Chavchavadze’s artistic work is imbued with the ideas of the struggle to save the Georgian people from degeneration, to preserve the national identity and unity of the nation, and to increase national self-awareness.
The treasury of Georgian literature has been enriched by the timeless masterpieces created by Ilya Chavchavadze. These are: “Notes of a Traveler”, “Mother of a Georgian”, “Glorious Motherland”, “Vision”, “The Beggar’s Tale”, “Flock’s Widow”, “Is He a Man?” and others.
The works of Ilya Chavchavadze, imbued with an ardent love for the motherland and a call for national struggle, have long served as spiritual food for fighters for the freedom and independence of the Georgian people. He showed the Georgian people the only path that led to achieving their cherished goal - the restoration of lost state independence.
Akaki Tsereteli (1840–1915). In the forefront of the fighters for national freedom Together with Ilya Chavchavadze stood the outstanding Georgian writer Akaki Tsereteli. He, like I. Chavchavadze, was a pioneer and an active participant in all vitally important national affairs. Poet, prose writer, publicist, translator, satirist and humorist, Akaki Tsereteli was primarily a lyric poet.
The poetry of Akaki Tsereteli is imbued with boundless love for his homeland and the ideas of the national movement, as evidenced by his numerous works: “Gray hair”, “Chonguri”, “My Bitter Fate”, “Spring”, “Suliko”, “Dawn”, “Educator”, “Tornike Eristavi”, “Bashi-Achuki” and others.
The optimistic works of Akaki Tsereteli, imbued with faith in the future of the Georgian people, played a big role in establishing and increasing their national self-awareness.
Jacob Gogebashvili (1840–1912). A very special place in the history of Georgian literature and in general in the history of Georgian culture is occupied by the activities of the outstanding figure of the Georgian national movement, the great teacher and children's writer Jacob Gogebashvili.
His creation of textbooks “Deda Ena” (“Native speech”, 1876), “Georgian alphabet - the first book for students to read” (1876), among the phenomena of the 19th century, should be considered a fact of special significance. Jacob Gogebashvili is the author of numerous children's stories of patriotic content, among which stand out: “What did Iavnana do?”, “King Heraclius and the Ingiloika”, “Selfless Georgians” and others. These stories served to awaken and strengthen patriotic consciousness in children.
Lavrenty Ardaziani (1815–1870) in the novel “Solomon Isakich Medzhganuashvili” depicted the process of formation of the Georgian bourgeoisie. This was a completely new topic in Georgian literature.
Rafiel Eristavi (1824–1901). The creative activity of Rafiel Eristavi begins in the 50s of the 19th century. Patriotic themes occupy a significant place in his work. His famous poem “The Motherland of Khevsur”, recognized as a masterpiece of Georgian poetry, is dedicated to this topic.
Georgy Tsereteli (1842–1900). The work of George Tsereteli is a remarkable phenomenon in the history of Georgian literature, journalism and publicism, as well as in the history of the development of political thinking in Georgia. The writer’s worldview is determined by patriotic motives, the struggle for national freedom and social equality.
In his works: “The Flower of Our Life”, “Aunt Asmat”, “Gray Wolf”, “The First Step” Georgy Tsereteli painted interesting picture life of the post-reform and subsequent eras of Georgia. His work served to establish critical realism in Georgian literature.
Alexander Kazbegi (1848–1893). The literary talent and civic courage of Alexander Kazbegi were especially clearly manifested in his creative activity in the 80s of the 19th century. In his novels and stories, the inner world of the characters, their feelings and experiences are conveyed with great artistic power.
Alexander Kazbegi truthfully portrayed the cruelty of Russian enslavers and the plight of the Georgian people under the yoke of the colonial regime of the Tsarist autocracy. Tragic pictures of the life of an oppressed people and their unbridled desire for freedom and independence are depicted with great artistic skill in the works: “Heavisbury Gocha”, “Mentor”, “Elguja”, “Eliso” and others.
Vazha-Pshavela (1861–1915)- pseudonym of the great Georgian poet Luka Razikashvili. In Vazha-Pshavela’s poetry, life is an endless confrontation between light and darkness, good and evil. In his lyrical works: “The Good Serf”, “Eagle”, “Night in the Mountains”, “Ancient Song of Warriors” and others, the homeland is embodied in the image of God.
The crown of the poet’s poetry are his poems: “Snake Eater”, “Bakhtrioni”, “Gogoturi and Apshina”, “Aluda Ketelauri”, “Guest and Host”. It can be said that after Ilya Chavchavadze and Akaki Tsereteli, it was the patriotic poetry of Vazha-Pshavela that had a huge influence on the rise and development of Georgian national consciousness.
Egnate Ingorokva (1859–1894) in Georgian literature he is known under the pseudonym “Ninoshvili”. The work of Egnate Ninoshvili reflects life and everyday life native land(Guria). Against the background of the miserable existence of peasants at the time of the establishment of capitalism in Georgia, the writer shows social contradictions, existing between different layers of Georgian society. The stories “Gogia Vishvili”, “Mose, the Village Clerk”, “Simona” are dedicated to this topic.
His work “Revolt in Guria” is dedicated to the 1841 uprising in Guria.
Avksenti Tsagareli (1857–1902) - famous playwright, champion of the renewed Georgian theater.
The feature films “Keto and Kote” and “Different Times Nowadays” were based on the plots of his timeless comedies.
Populist ideas were reflected in Georgian literature of the second half of the 19th century. From this point of view, the works of Anton Purtseladze (1839–1913), Ekaterina Gabashvili (1851–1938), Sofrom Mgaloblishvili (1851–1925) and Niko Lomouri (1852–1915) are of interest. At that time, writers who were passionate about populist ideas were called “admirers of the common people.” The most popular works of popular writers belong to Peru: “Lurja Magdana”, “Kadzhana”, “Matsi Khvitia”.
IN late XIX and the beginning of the 20th century, a new generation of Georgian writers appeared in the literary field, among which, first of all, it should be noted Shio Dedabrishvili (Aragvisspireli), David Kldiashvili, Vasily Barnaveli (Barnova), Kondrate Tatarashvili (Unarmed), Chola (Bikenti) Lomtatidze and Shalva Dadiani.
Shio Dedabrishvili (1867–1926) in Georgian literature he is known under the pseudonym “Aragvisspireli”. The main theme of his work is the relationship between man and society.
David Kldiashvili (1862–1931)- a brilliant chronicler of the life of the Georgian small nobility, who lost economic soil and privileges at the time of establishment bourgeois relations. The writer, with unsurpassed skill and subtle humor, shows the tragedy of the impoverished nobles, who were once proud of their privileged position and reached complete impoverishment.
In the works of David Kldiashvili: “Solomon Morbeladze”, “Stepmother Samanishvili”, “The Adversity of Darispan”, the heroes who find themselves in a comic situation become victims of a tragic fate.
Vasily Barnov (1856–1934) revived the genre of the historical novel in Georgian literature. His historical novels “The Dawn of Isani”, “Martyrdom of Love”, “The Destruction of Armazi” captivate the reader with deep patriotism and sublime love.
Kondrate Tatarashvili (1872–1929) (“Unarmed”) in his work “Mamluk” against the background tragic fate two people shows one of the most monstrous phenomena that took place in Georgia in the 18th century - the purchase and sale of prisoners.
Chola (Bikenti) Lomtatidze (1878–1915) introduced the theme of horror into Georgian literature prison life. His most famous works on this topic are “Before the Gallows” and “In Prison.”
Shalva Dadiani (1874–1959) enriched Georgian literature with his dramatic work"Yesterday's" and historical novel“Georgi of Rus'”, dedicated to the era of Queen Tamar.
At the beginning of the 20th century, future masters of artistic expression began their creative activity: Mikheil Javakhishvili, Niko Lordkipanidze, Leo Shengelia (Kancheli), Alexander Chochia (Abasheli), Galaktion Tabidze, Titian Tabidze, Joseph Mamulashvili (Grishashvili), etc.
Mikheil Javakhishvili (1880–1937) my literary activity began at the beginning of the 19th century. He actively participated in the national movement. His first stories (“Chanchura”, “Gabo the Shoemaker”, etc.) are realistic and imbued with the ideas of humanism.
Niko Lordkipanidze (1880–1944) He wrote his first works under the influence of impressionism (“Heart”, “The Unwritten Story”, “To the Moon”, etc.). His short stories are imbued with a feeling of disappointment in life caused by its dullness and cruelty.
From early works Leo Chiacheli (1884–1963) the most significant is the novel “Tariel Golua”, a brilliant example of Georgian prose, in which the social struggle found its realistic reflection.
Titian Tabidze (1895–1937) was one of the most typical representatives of Georgian symbolism. In his work one can feel the connection between Georgian poetry and romantic-patriotic traditions.
Creation Galaktion Tabidze (1891–1959) is an inexhaustible encyclopedia human soul, which equally reflects the real and the unreal, human weakness and strength, joy and sorrow.
Joseph Grishashvili (1889–1964) entered Georgian literature with his optimistic, patriotic poems. In his work, in addition to the theme of love for the Motherland, leading place occupy exotic species antiquities Tbilisi.
Georgian literature second half of the 19th century and the beginning of the 20th century took its rightful place in the treasury of achievements of world culture.
Literature is the thoughts, aspirations, hopes and dreams of a people. The art of words, which can both wound, offend and crucify, and elevate, give meaning and make happy.
1. Guram Dochanashvili
Guram Dochanashvili is one of the brightest representatives of modern Georgian prose. Born in 1939 in Tbilisi. He owns stories, novellas, novels, essays. The Russian reader is familiar with Dochanashvili from the books “There, Behind the Mountain”, “Song Without Words”, “Only One Person”, “A Thousand Little Cares”, “I Will Give You Three Times” and other works. Guram Dochanashvili’s books are odes to love, kindness and sacrificial struggle; they have been translated into many languages of the world and have repeatedly formed the basis of many films and performances.
The novel “The First Vestment” is the pinnacle of Guram Dochanashvili’s creativity. It is written in the style of magical realism and is close in spirit to the Latin American novel. A fusion of utopia and dystopia, and in general - about a person’s search for a place in this life and that the true price of freedom, alas, is death. The novel can be parsed into quotes. Unfortunately, Guram Dochanashvili’s later works have not been translated into Russian.
2. Aka Morchiladze
Aka Morchiladze (Georgi Akhvlediani) is a famous Georgian writer living in London. Born November 10, 1966. In 1988 he graduated from the Faculty of History of Tbilisi University. Author of many novels and short stories, five-time laureate of the Georgian literary prize"Saba." Based on the works and scripts of Aki Morchiladze, such famous Georgian films as “Walk to Karabakh” and “Walk to Karabakh 3”, “I Can’t Live Without You”, “Mediator” were shot.
Aka Morchiladze often creates works in the detective genre. And for this reason, critics often compare him with Boris Akunin. However, in parallel with his experiments in the genre of historical detective fiction, he also writes novels about modernity. They are talking about something completely different: about a new type of relations in society, about elitism, snobbery and teenagers. In Morchiladze's books one can often find stylization of the modern manner of speaking of Georgian society, as well as the argot and jargon of modern colloquial speech in Georgia.
3. Nino Kharatishvili
Nino Kharatishvili is a famous German writer and playwright from Georgia. Born in 1983 in Tbilisi. She studied to be a film director, and then in Hamburg to become a theater director. As the author of plays and leader of the German-Georgian theater group, about Us early years attracted attention. In 2010, Kharatishvili became the laureate of the Prize named after. Adelberta von Chamisso, which honors authors who write in German and whose work is affected by the change cultural environment. Nino Kharatishvili is the author of many prose texts and plays that were published in Georgia and Germany.
Her first book, Der Cousin und Bekina, was published in 2002. She collaborated with various theater troupes. Currently he is a regular writer for the Deutsche Theater in Göttingen. “When I’m in Georgia,” says Nino Kharatishvili, “I feel extremely German, and when I return to Germany, I feel like an absolute Georgian. This, in general, is sad and creates certain problems, but if you look at it differently, it can also be enriching. Because if, by and large, I don’t feel at home anywhere, then I can build, create, create my own home everywhere.”
4. Dato Turashvili
David (Dato) Turashvili is a writer, playwright and screenwriter. Born on May 10, 1966 in Tbilisi. The first collection of Turashvili's prose was published in 1991. Since then, 17 original books have been published. IN currently Turashvili's works have been published in seven languages in various countries. In particular, the novel “Escape from the USSR” (“Generation Jeans”) became a bestseller in Georgia, becoming the most popular work in the country over the past twenty years. This book was reprinted in Holland, Turkey, Croatia and Italy and Germany. The novel is based on real events: in November 1983, a group of young people in Tbilisi attempted to hijack a plane from the USSR.
As a playwright, David Turashvili worked with the world famous Georgian director Robert Sturua. Twice awarded the prestigious literary prize of Georgia “Saba” (2003, 2007).
5. Anna Kordzaia-Samadashvili
Anna Kordzaia-Samadashvili is a well-known author in Georgia of many books and publications (“Berikaoba”, “Children of Shushanik”, “Who Killed the Seagull”, “Rulers of Thieves”). Born in 1968 in Tbilisi, a graduate of the Faculty of Philology of Tbilisi state university. For the last 15 years, Korzdaya-Samadashvili has worked as an editor in Georgian publications, as well as a correspondent in Georgian and foreign media.
Anna Kordzaia-Samadashvili is a two-time winner of the prestigious Georgian literary award “Saba” (2003, 2005). In 1999 she was awarded the Goethe Institute Prize for the best translation of the laureate's novel Nobel Prize, Austrian writer Elfriede Jelinek “Mistresses”. Her collection of stories “I, Margarita” was included in the list in 2017 best works women authors in the world according to the New York Public Library.
6. Mikhail Gigolashvili
Mikhail Gigolashvili is a Georgian writer living in Germany. Born in 1954 in Tbilisi, he graduated from the Faculty of Philology and graduate school at Tbilisi State University. Candidate of Philological Sciences, author of studies of the works of Fyodor Dostoevsky. Published a number of articles on the topic “Foreigners in Russian Literature.” Gigolashvili is the author of five novels and a collection of prose. Among them are “Judaea”, “The Interpreter”, “Ferris Wheel” (readers’ choice of the “Big Book” award), “Capture of Muscovy” (shortlist for the NOS award). Since 1991 he has lived in Saarbücken (Germany), teaching Russian at Saarland University.
This year, his novel “The Secret Year” won the Russian Prize in the “Large Prose” category. It tells about one of the most mysterious periods of Russian history, when Tsar Ivan the Terrible left the throne to Simeon Bekbulatovich and secluded himself for a year in the Alexandrovskaya Sloboda. This is a current psychological drama with elements of phantasmagoria.
7. Nana Ekvtimishvili
Nana Ekvtimishvili is a Georgian writer, screenwriter and film director. Born in 1978 in Tbilisi, a graduate of the Faculty of Philosophy of Tbilisi State University. I. Javakhishvili and the German Institute of Cinematography and Television named after. Konrad Wolf in Potsdam. Nana's stories were first published in the Tbilisi literary almanac "Arili" in 1999.
Nana is the author of short and full-length films, the most famous and successful of which are “Long Bright Days” and “My Happy Family.” Ekvtimishvili made these films in collaboration with her director husband Simon Gross. In 2015, Nana Ekvtimishvili’s debut novel “The Pear Field” was published, which received several literary awards, including “Saba”, “Litera”, the Ilya University Prize, and was also translated into German.
8. Georgy Kekelidze
Georgy Kekelidze is a writer, poet and TV presenter. His autobiographical documentary novel“Gurian Diaries” has been an absolute bestseller in Georgia for the last three years in a row. The book has been translated into Azerbaijani and Ukrainian, and will soon be published in Russian.
At 33 years old, Kekelidze is not just a fashionable writer and public figure, but also the country's chief librarian. Georgiy Kekelidze heads the Tbilisi National Parliamentary Library and is also the founder of the Book Museum. A native of the Georgian city of Ozurgeti (Guria region), Georgiy is the winner of almost all Georgian literary awards in Georgia. The foundation of the first Georgian electronic library. Kekelidze also constantly travels around the regions of Georgia, restoring rural libraries and helping schools with books and computers.
9. Ekaterina Togonidze
Ekaterina Togonidze is a young novelist, television journalist and lecturer. Born in Tbilisi in 1981, she graduated from the Faculty of Journalism of Tbilisi State University. I. Javakhishvili. She worked on the First Channel of the Georgian Public Broadcaster: the leading information program “Vestnik” and the morning edition “Alioni”.
Since 2011, she has been published in Georgian and foreign publications and magazines. In the same year, her first collection of stories, “Anesthesia,” was published, which was awarded the Georgian literary prize “Saba”. Ekaterina is the author of the novels “Another Way”, “Listen to Me”, the short story “Asynchron” and others. Ekaterina Togonidze's books have been translated into English and German.
10.Zaza Burchuladze
Zaza Burchuladze is one of the most original writers of modern Georgia. He also published under the name Gregor Samsa. Zaza was born in 1973 in Tbilisi. Studied at the Tbilisi State Academy of Arts. A. Kutateladze. The first publication was the story “The Third Candy”, published in 1998 in the Tbilisi newspaper “Alternative”. From that time on, he was published in the newspaper “Alternative” and in the magazine “Arili” (“Ray”).
Selected publications by Zaza Burchuladze – collection of stories (1999), novels “ Old song"(2000), "You" (2001), "Letter to Mom" (2002), story "The Simpsons" (2001). Zaza's latest works include the novels Adidas, Inflatable Angel, Mineral Jazz, and the collection of short stories Soluble Kafka.
Many great names of world literature are associated with Georgia Tbilisi. “Russian poets inevitably pass through Georgia in terms of their hearts,” said N. Tikhonov. This city has always been attractive to Russian poets, writers and artists; they linked their fate with him, and when leaving Tbilisi, they always mentally returned to him. A.S. called this city a “magical land”. Pushkin, who was deeply moved by the reception he received in Tbilisi. “I don’t remember a day,” the poet wrote, “on which I would have been more fun than this; I see how loved, understood and appreciated I am, and how this makes me happy.”
Decembrist writers V. Kuchelbecker, A. Bestuzhev-Marlinsky, A. Odoevsky, poets of the Pushkin galaxy - D. Davydov, A. Shishkov, V. Teplyakov lived in Tbilisi and Georgia. M. Lermontov, a cornet of the Nizhny Novgorod Dragoon Regiment, served in Tbilisi, exiled to the Caucasus for the poem “On the Death of a Poet” and dedicated his “Demon”, “Mtsyri”, “Gifts of the Terek” and other works to Georgia. From Tbilisi, the poet wrote: “If it weren’t for my grandmother, then, in all honesty, I would willingly stay here.”
14 years after M. Lermontov left, L. Tolstoy came here. Preparing to join the Caucasian Army, he settled in the house of a German colonist and kept diaries about his stay in Georgia. Here L. Tolstoy wrote his first work, “Childhood,” and decades later, the story “Hadji Murat,” which reflected many of his Tbilisi impressions.
Russian playwright A. Ostrovsky visited Tbilisi more than once.
Young Alexey Peshkov published his first story “Makar Chudra” in the Tbilisi newspaper “Caucasus” and for the first time signed it with the name “Maxim Gorky”. The poem “The Girl and Death”, sketches for the legend “Danko”, several stories - all this is the Tbilisi period of M. Gorky’s work.
IN different time passed through Tbilisi literary paths G. Uspensky, A. Bely, Good friends were found in Tbilisi Mayakovsky, S. Yesenin, B. Pasternak, O. Mandelstam, K. Paustovsky were here And Chekhov
Russian writers and other prominent figures of Russian art had many friends in the “warm” city of Tbilisi. Many stayed in the hospitable house of Prince Alexander Chavchavadze, a romantic poet and the most educated man of his time. Contemporaries said about him: “Everything that came from St. Petersburg, decent and dignified, young and old, belonged to the prince’s living room. His charming family... was the only one in Tbilisi in which visiting guests from the North and West found the beginning of holy Georgian hospitality in complete agreement with the conditions of an educated European society."
The fate of A. Griboyedov was closely connected with Tbilisi and the family of Prince A. Chavchavadze, who, according to one of his contemporaries, “loved Georgia so passionately, so purely, as few people even love their homeland.” Even before the comedy “Woe from Wit” was released, it was staged on the Tbilisi stage by amateurs. Contemporaries recognized A. Griboedov’s unfinished tragedy “Georgian Night” as worthy “to decorate not only Russian, but the whole European literature" A.S. Griboyedov was married to Nina, the daughter of Prince A. Chavchavadtse.
Halfway to the holy Mount Mtatsminda, hanging from the west over Tbilisi with a bristly ridge. Near the church, on two terraces of different heights, the Pantheon of Georgian writers and public figures is located,
In the rock on the lower terrace, in a small grotto with a stone arch, two graves are visible. An inscription in Georgian is carved on the arch: “Here lies the ashes of Griboyedov. This monument was erected by his wife Nina, daughter of the poet Alexander Chavchavadze, in the year 1832.”
On the hills of Georgia
Alexander Pushkin
The darkness of night lies on the hills of Georgia;
Aragva makes noise in front of me.
Dreams about Georgia
Bella Akhmadulina
Dreams about Georgia - what a joy!
And in the morning it’s so clean
grape sweetness,
overshadowed the lips.
From the poem “Vladikavkaz - Tiflis”
Vladimir Mayakovsky
…I know:
stupidity - Eden and paradise!
But if
sang about it
must be
Georgia,
joyful land,
the poets meant...
To the poets of Georgia
Sergey Yesenin
The land is distant!
Alien side!
Georgian flint roads.
Amber wine
The moon streams into your eyes,
Deep into the eyes,
Like blue horns.
I dream about the humpbacked Tiflis
Osip Mandelstam
I dream of hunchbacked Tiflis,
Sazandarey's moan rings,
There are crowds of people on the bridge,
The entire carpet capital,
And below Kura is making noise.
Land of Georgians
Evgeniy Yevtushenko
Oh Georgia - wiping our tears,
you are the second cradle of the Russian muse.
Carelessly forgetting about Georgia,
in Russia it is impossible to be a poet.
— — —
Land of Georgians
Land of Georgians, you are so small!
Not a thousand miles long
you are mighty, and by attraction
both man and eagle.
Fragment of the poem “Waves”
Boris Pasternak
...We were in Georgia. Let's multiply
Need for tenderness, hell for heaven,
Let's take the greenhouse under the ice,
And we will get this edge.
Ivan Tolstoy:
Oh, Georgia! Wiping away our tears,
You are the second cradle of the Russian muse,
Carelessly forgetting about Georgia,
It is impossible to be a poet in Russia.
Evgeny Yevtushenko... How beautifully, with what love it was said, with what understanding of tradition! Evgeny Alexandrovich! Where is your voice today?
Oh, how my soul yearns for freedom!
Will the night come or will the day come -
Thought of my tormented people
Haunts me like a sad shadow.
Am I sitting in the family of my beloved,
If I pray in church, it follows me everywhere,
She follows like an invisible companion,
To disturb my peace of mind.
My consciousness never ceases to burn:
It's time, it's time! Go into dangerous battle!
Raise your bloody sword for your homeland!
Why hide: an untimely grave
He will crown his brave feat
Who will measure their strength in a fierce struggle?
With a ruthless enemy tormenting the people.
But, my God! At least open it to the people -
Who still is, when, in which country
Without sacrifice and without wounds I bought my freedom
And did you completely get rid of your enemies?
And if I'm in the prime of my young life
Now I stand on the edge of existence, -
I swear to my beloved fatherland:
I bless such a death!
Grigol Orbeliani. Translation by Nikolai Zabolotsky.
Georgia, Georgian spirit, Georgian names dissolved in Russian culture and inseparable from it. Shota Rustaveli, Nina Chavchavazde, Niko Pirosmani, Lado Gudiashvili, Bulat Okudzhava, Irakli Andronikov, Zurab Sotkilava, Nani Bregvazde, Vakhtang Kikabidze, Otar Ioseliani, Georgiy Danelia, Sofiko Chiaureli, Nikolai Tsiskaridze, Nina Ananiashvili, Tengiz Abuladze - whose culture is this? Georgian? Russian? No - worldwide. But, of course, born in the mutual attraction of Russia and Georgia.
Before delving into this topic, we asked our correspondent Yuri Vachnadze to tell us what is happening in Tbilisi today.
Yuri Vachnadze: Against the backdrop of increasingly strained relations with Russia, the panorama of Georgian life in recent days provides a kind of audio-visual counterpoint. The explosive dissonant chords of television and radio news are superimposed on the familiar picture of everyday life. On the one hand, it’s as if something hitherto unimaginable is happening, but on the other, nothing seems to be changing. For an ordinary resident of Georgia, I speak about this first-hand, there are no contradictions here. Everyone understands perfectly well that the spy story has become, as it were, a litmus test. In Russia, those forces have appeared and openly declared themselves that, both in Soviet and modern times, constantly nurtured in their souls hatred for the so-called “persons of Caucasian nationality,” in particular, and sometimes especially, for Georgians. For the time being, this was hidden behind hypocritical words about friendship and love. As for the usual course of life, we should not actually introduce the term “persons of Slavic nationality” into everyday use, and, moreover, we should not organize a raid on them. This has never happened in Georgia simply because it can never happen. By the way, giving an interview at the Tbilisi airport before flying to Moscow, the Russian embassy employees unanimously regretted what they thought was a temporary departure, hoped for a quick return and checked in boxes of Georgian wine and Borjomi as luggage. Despite all my, I would say, desperate attempts to pin down at least one case of public manifestation of hostility towards the Russian people of the same faith, this was not possible. Small half-hour demonstration against the action Russian authorities near the Russian Embassy building, of course, does not count. After a long search, in one of the Georgian newspapers I managed to find a note that in the Bakhtrionsky supermarket in Tbilisi, one of the regular customers of Ochakovo beer said in his hearts to the saleswoman: “Give me any Georgian beer. Just not Russian!” That's probably the whole story.
Ivan Tolstoy: Our program today is still dedicated to what unites peoples, which provides an example of the wonderful mutual fertilization of cultures - Russian-Georgian creative connections. Yuri Vachnadze will introduce his interlocutor Nodar Andguladze.
Yuri Vachnadze: Nodar Davidovich Andguladze - famous Opera singer, People's Artist of Georgia, Head of the Department of Solo Singing at the Tbilisi Conservatory - for over 40 years he has performed leading tenor roles on the stage of the Tbilisi Opera House and at world opera scenes. His father, the legendary Georgian tenor, People's Artist of the USSR, student of Vronsky and Stanislavsky, David Yasonovich Andguladze, was the founder of Georgian vocal music. opera school. He trained a whole galaxy of wonderful singers - Zurab Andzhaparidze, Zurab Satkilav and many others. The son and worthy student of David Yasonovich Nodar Andguladze became a worthy successor to his father’s work.
Nodar Andguladze: Culturally, such a situation as has now been created has never existed. It has always been a very harmonious relationship, internally warmed, especially warmed by inner understanding on both sides. If we can talk about the sides here. Because some kind of unity of spirit here prevailed over some opposing moments. Rather, it is of such a formative nature. In terms of content, it has always been one culture. Maybe it is due to Orthodoxy and some historical destinies Europe in the East.
And in the context of these great traditions of cultural relationships, some kind of collapse suddenly occurs. Of course, we think that this will not affect culture; it’s as if we are hanging in the air. It is very difficult to get to Moscow or back from Moscow to Tbilisi, everything has somehow become insurmountable. And cultural ties mean an ongoing dialogue, the relevance of problems. I just watched a program about Okudzhava in Moscow today. This image alone is enough. This is some kind of symbol for me of everything that unites us precisely in a cultural, creative sense, in the sense of art, a large layer of art, poetry, spirit, understanding of history. We had such connections in our family. This is sometimes ignored.
Yuri Vachnadze: Ignored by whom?
Nodar Andguladze: Some kind of official structure. Nobody listens to this. Stanislavski was my father's teacher. You see, here is the autograph of Konstantin Sergeevich, given by him in 1934. Konstantin Sergeevich thought about this inscription. “To the dear traitor Datiko Andguladze from his loving Stanislavsky. 34-1 year.” The fact is that my father, after returning to Moscow, went to the Bolshoi Theater.
Yuri Vachnadze: Returns from where?
Nodar Andguladze: From Tbilisi. He was with Konstantin Sergeevich from 27 to 29, returned to Tbilisi, and then the Bolshoi Theater invited him. And under such quotation marks this “betrayal” was emphasized here. Although they did not lose contact until the death of Konstantin Sergeevich. David Andguladze was the first student of Konstantin Sergeevich, who lived with him in the Swiss for several months after arriving in Moscow for the first time, and the first person to whom Konstantin Sergeevich read his work “The Actor’s Work on Oneself.” Andguladze was a conductor of Stanislavsky's ideas in the opera house. And he created his own creative biography and personality on the aesthetics of the Stanislavsky theater and taught it to all of us.
Ivan Tolstoy: Let's turn our gaze to the past. What color did Georgia add to Russian life 150-200 years ago? At our microphone is the editor-in-chief of the Moscow magazine “Friendship of Peoples” Alexander Ebanoidze.
Alexander Ebanoidze: If we try to listen to the atmosphere of Moscow at the beginning of the 19th century, literally speaking, Famusov’s Moscow, we will clearly hear a Georgian note in it. It is brought by the settlers of Bolshaya and Malaya Gruzinskaya streets, the retinue and servants of the Georgian kings with their children and household members. I will not talk about the textbook characters of this time - the 13 Georgian generals who defended Moscow in the Battle of Borodino, even about the most famous of them, the national hero of Russia Peter Bagration. I’ll try to look at the past from a completely different and not entirely ordinary perspective. From the said Moscow milieu came one of famous women Pushkin era Alexandra Osipovna Smirnova-Rosset. “Black-eyed Rossetti,” as her contemporaries called her. Close friend of Pushkin, Zhukovsky, Gogol, Lermontov, founders best literature world, I would say, who appreciated her intelligence, charm and spontaneity in communication.
However, my story is not about her, but about her grandfather, Prince Dmitry Tsitsianov-Tsitsishvili. In an imaginary conversation with Alexander the First, Pushkin writes: “All illegal writings are attributed to me, just like all witty antics are attributed to Prince Tsitsianov.” This man was truly unusually witty, and I will try to show the originality of his humor with some examples. Prince Dmitry assured his Moscow friends that it was profitable to start manufacturing production in his homeland because there was no need to dye yarn. All sheep are born colorful, he said. And the beekeeper-landowner, some gentleman near Moscow, who was boasting of his purebred bees, was puzzled by the careless: “What kind of bees are these? Here we have bees - each one is as big as a sparrow! When the landowner asked in amazement how they could get into the hive, the prince, realizing that he had gone too far, explained with a smile: “Well, ours is not like yours;
The mentality of this first absurdist in Rus', the Russian Munchausen, surprised his contemporaries, as well as us, and made an impression. Thus, according to many Pushkin scholars, one of the stanzas, not included in the final text of Eugene Onegin, leads to a Tsitsian joke. Prince Dmitry said that His Serene Highness, that is, Potemkin, sent him to the Empress with something extremely urgent, and he rushed off so quickly that the sword sticking out of the carriage cracked along the mileposts, as if through a palisade. From this most expressive hyperbole Pushkin’s lines were born:
Automedons are our strikers,
Our threes are unstoppable,
And miles, delighting the idle gaze,
They flash by like a fence.
Another colorful Georgian of Famusov's Moscow was Prince Pyotr Shalikov, Shalikashvili, apparently one of the ancestors of the famous American general John Shalikashvili. A certain Moscow brigand challenged him to a duel, saying: “We’ll shoot tomorrow, in Kuntsevo.” But what is the answer! “What,” said Prince Peter, “do you want me to stay up all night and come there on shaking legs? No, if you shoot yourself, then right now and here.” The brute was slightly taken aback by such determination and, laughing, extended his hand as a sign of reconciliation. Undoubtedly, the two resurrected characters and the stories associated with them bring Georgian flavor, Georgian flavor, I would say, Georgian charm to old Moscow. Of course, I could give many examples of a more serious nature. The work of such luminaries of Russian culture as Pushkin, Lermontov, Odoevsky, Yakov Polonsky, Tchaikovsky is connected to Georgia to varying degrees; it also began here creative path Leo Tolstoy, Gorky, Florensky’s theology and Ern’s philosophy began here. Let’s not forget the twinning of national elites, including royal families right up to the present day, the glorious activities in the military and scientific fields of the Gruzinsky princes, the contribution to Russian culture of Tsertelev, Yuzhin, Gruzinov and many others. Let us finally remember the Georgian origin of the composer Borodin and the Georgian roots of the largest statesman Mikhail Torelovich Loris-Melikov, according to the will of the chancellor, buried in his native Tbilisi.
My message cannot be called an essay, except perhaps with strokes, which I will complete with the words of the excellent expert on the Caucasus, Vasily Lvovich Velichko, which quite accurately expresses the nature of Russian relations at the beginning of the 20th century.
“As long as we value our faith, Georgia is spiritually close to us. This connection is imprinted by the streams of knightly Georgian blood shed under Russian banners on the battlefield in the struggle for our common cause, the cause of Orthodox culture. As long as we believe in this task and attach importance to our banners, we must look at the Georgians as brothers. Could everything really change so much in just 10-15 years?”
Ivan Tolstoy: One of the most famous translators of Georgian poetry in Russia was Boris Pasternak. What did Georgia mean to him? The son of the poet Evgeny Borisovich reflects.
Evgeny Pasternak: Georgia meant a lot to Pasternak. He met her at a critical moment in his life, in the year that he called “the last year of the poet,” because it was the year of Mayakovsky’s suicide, the year of dispossession, which he saw and which made a monstrous impression on him. Then Paolo Yashvili found him and invited him and his new wife Zinaida Nikolaevna to Tiflis. And a country in which tragic historical changes had not yet begun, a country with a history that was untouched, acquaintance with the Georgian intelligentsia, which retained the features of those people who received Pushkin, Lermontov, Griboyedov in their time, during the Caucasian wars, and were for their society, before that Andrei Bely had just been there and was also friends with Georgian poets - all this was a new source of inspiration for Pasternak. And this new source of inspiration allowed him to write the book “The Second Birth”, in which the description of the trip to Georgia is equipped with large historical excursions and an expression of the delight that this country aroused in him then.
Leonidze, Paolo Yashvili, and, first of all, Titian Tabidze became his close friends. Upon returning to Moscow, in the fall, correspondence with Georgia was established, and Pasternak, Tikhonov and several other people began translating new Georgian poetry and, in fact, created lyric poetry of Georgia in Russian.
These books came out, they were discussed, Georgians came here for ten days, and were a huge success. It was such a creative delight. But creative delight soon turned into deep sorrow and anxiety. Because the year 1937 has begun in Georgia. Stalin and Beria dealt with the Georgian intelligentsia and historical consciousness to a large extent even harsher than in Russia. In any case, if we talk about Pasternak’s friends, Tabidze and Yashvili died, Mitsishvili, Shenshashvili and many others, and their families were left without support. Pasternak took upon himself the care of Titian's widow Tabidze Nina Alexandrovna and their daughter. And this concern, concern about the fate of Titian, who was believed to be imprisoned and, it seemed, there were hopes for his release, colored his entire future life until the death of Stalin, when at the trial of Beria and his accomplices it was found out that Titian had been killed almost on the day of his arrest.
The grief of this loss was expressed in a letter from Pasternak to Nina Tabidze. He understood the criminality of the regime and the authorities, the deep criminality and deep guilt of everyone before the memory of the departed, because all this is injustice and historical meaninglessness. These letters constitute some of the brightest pages of Pasternak’s life.
The next time Pasternak was in Georgia in 1933, in 1936 he wrote two long poems from “Summer Notes to Friends in Georgia,” then he translated the greatest Georgian lyricist Baratashvili, a poet akin to our Baratynsky and Lermontov, entirely into Russian. I went with this to Tiflis and there I saw Nina Aleksandrovna Tabidze, who did not appear in society (she was forbidden to do so), and worked in a slaughterhouse as a veterinary technician, and demanded that she be allowed into the Bolshoi Opera House, where he read his translations from Baratashvili, to addressing her.
Nina Alexandrovna came to Pasternak often. When Pasternak was in Georgia for the last time, a year before his death, he stayed at her house and at the station shouted to her, already standing on the platform of the carriage: “Nina, look for me in your house. I stayed there."
So Nina Alexandrovna came when she found out about the latest fatal disease Pasternak, and was with him and took care of him until his last day. Pasternak enjoyed great love in Georgia as a close poet who understood the essence of Georgian talent and Georgian culture. This has continued in our memory and continues now. His papers, which were partially found there, are carefully preserved, and his letters were published by the wonderful, now deceased literary critic Gia Margvelashvili, in the form of a separate volume that has circulated in all languages of the world.
I take advantage of the fact that you have given me the opportunity to talk about Pasternak and Georgia in order to convey greetings to those in Georgia who remember him, who will understand that Pasternak’s attitude towards Georgia is an indicator of the attitude towards Georgia of the best part of the Russian intelligentsia, the Russian creative intelligentsia , Russian poetry, Russian literature, lasting from our great literature of the 19th century.
Ivan Tolstoy:
Dreams about Georgia - what a joy!
And in the morning it’s so clean
grape sweetness,
overshadowed the lips.
I don't regret anything
I do not want anything -
in golden Sveti Tskhoveli
I put the poor candle on.
Small stones in Mtskheta
I give praise and honor.
Lord let it be
forever as it is now.
May they always be news to me
and they cast a spell on me
dear homeland severity,
the tenderness of someone else's homeland.
Bella Akhmadulina.
Vakhushti Kotetishvili: What is happening now, in my opinion, is, firstly, due to a lack of culture, due to a lack of culture, and this cannot continue for long.
Ivan Tolstoy: The poet-translator Vakhushti Kotetishvili is represented by Yuri Vachnadze.
Yuri Vachnadze: Vakhushti Kotetishvili’s voice, its dull, cracked sound, is the result of a serious illness. Vakhushti, first of all, is a wonderful translator of Persian, German, Russian poetry into Georgian, but he is also a writer, a collector, a promoter of folk poetic folklore, and an excellent poet himself. Recently published in St. Petersburg autobiographical book Kotetishvili “My Age is Minute”, and just the other day a book of his translations of Russian poetry into Georgian with parallel texts was published in Georgia. At one time, while visiting Vakhushti, Andrei Voznesensky dedicated an impromptu song to him:
There are no princesses everywhere,
And the frogs,
If you want a miracle -
Check out Vakhushti.
Vakhushti Kotetishvili: Despite the fact that I have experienced a lot of tragic events, I am still an optimist and I believe in spirituality, and I believe that this spirituality will win. As for Russian-Georgian cultural ties, it’s not even worth talking about, because it’s clear what kind of cultural ties we had, what channels of spirituality, spiritual communication we had, and what Russian culture means for Georgians and, in my opinion , and for Russians too, because it was not for nothing that Pasternak, Mandelstam, Marina Tsvetaeva and other great Russian poets translated Georgian poetry into Russian. So this is clear and everyone knows.
In addition, I want to note that one of my specialties is translation. And a translator is a mediator between peoples, a cultural mediator. This relates very deeply to me. I am very worried about every nuance and I really regret that now there is such a difficult situation, such fascist habits, unfortunately, on the part of Russia. They just can’t get used to the idea that Georgia can and wants to become a free independent country, an independent state. You know, culture has no boundaries, art has no boundaries. For me, Russian poetry, Russian culture, French culture, and Italian culture are my culture. Dante is my poet, Goethe is my poet, Pushkin is my poet. And no one can take that away from me. And, naturally, Rustaveli is also close to them. So no politics can interfere with this.
Ivan Tolstoy: Another Russian poet, whose work is unimaginable without translations from Georgian, was Nikolai Zabolotsky. ABOUT his Georgia is told by his son, Nikita Nikolaevich.
Nikita Zabolotsky: For Zabolotsky, translations were absolutely necessary, because his own poems were reluctantly published - only at the end of his life did things somehow improve. Therefore, Nikolai Alekseevich looked for translations. Moreover, he did not want to translate anything that came to hand. And the poetry of Georgia interested him, he immediately realized that this was a significant phenomenon in world literature. The first acquaintance with Georgian poetry occurred before the year 1935, when Tynyanov advised Zabolotsky to translate Grigol Orbeliani’s poem “The Healthy Toast.” And so he set to work, and in 1935, an evening of Georgian poetry was organized at the literary club of the Writers' Union in Leningrad. He met two of, perhaps, the best poets of Georgia - Simon Chikovani and Titian Tabidze. And in fact, this acquaintance decided the whole matter. The important thing is that both Chikovani and Titian Tabidze somehow immediately drew attention to Zablotsky. They read poetry there, Nikolai Alekseevich also read his poems. They knew Russian well and mutually liked each other. Simon Chikovani became a close friend of Nikolai Alekseevich. Until his last days, he was not only friendly, but also ready to provide any help.
Things were worse with Titian Tabizde, because in 1937 he was arrested and shot. Therefore, this acquaintance was short-lived, although active. Simon Chikovani invited Zabolotsky to Georgia. In the fall of 1936, Nikolai Alekseevich went to Georgia, and here he became acquainted with a wider circle of Georgian poets and Georgian poetry, and Georgia in general. As Georgians know how to do, he was greeted very hospitably. He wrote to his wife in a letter: “I have great success here, famous writers, order bearers, invite me to feasts every day, force me to read poetry and groan with delight. There will be a portrait of me in the newspaper and a conversation with me, and they will take me around Georgia. I entered into an interlinear agreement with Iordanishvili. They take you to theaters.”
In general, in 1936 it can already be considered that Zabolotsky got to know Georgia, Georgians and Georgian poets, and upon returning to Leningrad, he translated several poems by Chikovani and Tabidze. And the main thing is that he has already talked in Georgia about making a reworking of the poem “The Knight in the Skin of a Tiger” by Shota Rustaveli for youth.
Everything seemed to be fine. But then March of 1938 came, when Zabolotsky was arrested and accused of various fantastic sins. It is interesting that there were several points in the indictment, and one point was: “Established organizational and political connections with Georgian bourgeois nationalists.” So friendship with Georgians was interpreted in this way.
Ivan Tolstoy: Alexander Ebanoidze undertook to continue the review of Russian-Georgian cultural ties - now in the twentieth century.
Alexander Ebanoidze: Under Soviet conditions, Georgia and the Georgians were not threatened by Russification, which was a slow process in the 19th century. I remember how in the once popular TV show of Genrikh Borovik, the host asked a Georgian girl: “What country do you live in?” Judging by the way the plot of the program was constructed, by its pathos, he was expecting an answer - in the Soviet Union. But the girl simply and completely ingenuously answered: “In Georgia.” The most she was able to persuade her to do with additional questions was “In Soviet Georgia.”
I would like to call Mayakovsky the cornerstone in our relations in the 20th century. Not a declaration of an internationalist, but a deep and sincere emotion can be heard in his words: “And as soon as I set foot in the Caucasus, I remembered that I am Georgian.” A native of Baghdadi, to whom the poet remained in poetic debt, a student at the Kutaisi gymnasium, he was fluent in Georgian, constantly carving out puns in Georgian. So, persuading the poet Nadiradze to go with him to a poets’ cafe instead of a concert of the tenor Batistini (this was in pre-revolutionary St. Petersburg), he said: “At least you can listen to poetry, but your Batistini is just batistrini” (in Georgian this means duck brains). And when he entered a Tbilisi dukhan with two friends, he said to the waiter, who put 4 glasses on the table: “Either bring one person, or take away one glass.” Mayakovsky is in Georgia. The days of Mayakovsky, the beloved and dear poet, are celebrated there every year.
The closeness of Russian and Georgian literatures, two great poetry, is wonderful and has been sufficiently studied by literary historians. It was not the fruit of state policy, which, however, created the conditions for its manifestation. She was born from the depths of that mutual affection, mutual attraction, which, in particular, Vasily Velichko spoke about. But likes and attractions are in the spiritual sphere. Intellectual, artistic.
There were other points of application and manifestations of mental community. This is the theater of Nemirovich-Danchenko, a native of Tbilisi, Kote Mardzhenishvili and Georgy Tovstonogov, Robert Sturua and Chkheidze, who enriched with their productions best scenes Moscow and St. Petersburg, Rezo Gabriadze, who voiced the performances of his magical theater in Russian and reassured the Russian audience with his “ Battle of Stalingrad, these are the acting destinies of Yuzhin and Kuzmina, Lebedev and Luspekayev. This is the cinema of Mikhail Kalatozov, Marlen Khutsiev, Georgy Danelia, who brought to Russian cinema what her friends described as spontaneity in communication when characterizing the black-eyed Rossetti.
This is, finally, Georgian cinema of the 70-80s, recognized as an original and striking phenomenon of world cinema - Abuladze, Chkheizde, Ioseliani, Shengelaya and others. After all, they are all graduates of the Moscow VGIK. How many magnificent Georgian singers remembers the Bolshoi Theater, just as the Tbilisi Opera remembers Lemeshev and Pirogov, who began on its stage.
The great Russian composer Stravinsky once exclaimed: “To hear Georgian singing and to die.” This is what fine musical taste means. The pride of every Georgian music lover (almost the entire population of the country is innately musical) are the words of Chaliapin: “I was born twice - for life in Kazan, and for music - in Tiflis.” Experts know that it was there that the Russian genius received his first vocal lessons and went on stage.
And yet let's return to literature. Nikolai Tikhonov wrote: “For Russian poets, Georgia was the same as Italy for European poets. Following the high tradition, all generations of Soviet poets from Yesenin and Pasternak to Yevtushenko and Voznesensky were drawn to it by the attraction of their hearts. And what is such a Russian-Georgian figure like Bulat Okudzhava worth? But I would say that the relationship between Georgia and Akhmadulina is filled with special tenderness. Her famous book, published in the 70s in Tbilisi, is lovingly called “Dreams about Georgia.” Bella Akhatovna also named a large poetic cycle dedicated to Georgian friends and published in the magazine “Friendship of Peoples”.
Ivan Tolstoy: These days, Yuri Vachnadze met with director Robert Sturua.
Yuri Vachnadze: The famous Georgian director Robert Sturua does not need any special introduction. National artist, laureate of many theater awards Georgia, state awards of the USSR and Georgia. He staged more than 80 performances. Of these, over 20 are on world theater stages. The director also works fruitfully in Russia. At the Satyricon Theater Sturua staged Shakespeare's Hamlet and Goldoni's Senor Todero the Host, and at the Et Cetera Theater - Shakespeare's The Merchant of Venice and Beckett's Creppe's Last Tape. There is no point in listing numerous productions.
Robert Sturua: Now I was just in Moscow, two weeks ago, I had a very short visit, I was invited by the “Et cetera” theater, under the direction of Kalyagin, where it was necessary to restore the play “Shylock”, which I staged based on Shakespeare’s play “The Merchant of Venice” .
In three days I did not have time to restore it there, as the process turned into something else. And they invited me again, I was supposed to go to Tbilisi on the 7th after the premiere. But, unfortunately, planes no longer fly to Russia. When I was there the second time, Alexander Aleksandrovich Kalyagin invited me to the radio, where he hosts the “Theatrical Crossroads” program, if I’m not mistaken, and unexpectedly for me he took out an extract from the Russian Encyclopedia, it’s like a Big Soviet Encyclopedia, but not Soviet, but Russian, which was released recently, and where my last name was written - “Russian Georgian director.” And all my titles were listed, everything I did. Of course, I was somewhat surprised. Although somewhere deep down I was offended by him, but now I don’t want it to be written like that. I would write a Georgian Russian director.
Ivan Tolstoy: Vox populi, voice of the people. Which Georgian actors, singers, writers do you like? Our correspondent Alexander Dyadin asked this question on the streets of St. Petersburg.
I really love the actress Nani Bregvadze. I really like her. A woman of my generation. For example, I had good impressions. I went there and the people there are wonderful, very hospitable.
Shota Rustaveli. From a literature course. I don't even remember the rest.
Kikabidze is the first to come to mind. I have been to Tbilisi several times in my time. Wonderful city, wonderful people. It’s just a shame and a shame that things turn out this way.
Soso Paseashvili. Yes, Georgia is not bad, Georgia is good, in fact. These are the rulers - everything is different for them.
Shota Rustaveli is absolutely incomparable. Nature is very beautiful. In general, it seems to me that Georgian women are very beautiful.
Makvala Katrashvili, the great singer of the Bolshoi Theater, Nani Georgievna Bregvadze, I am silent about Vahanga Kikabidze, he is a people’s man. And if you look at the roots, next to Tbilisi, the Jvari monastery is the place that Lermontov took, where his Mtsyri lives. Georgians are a very warm, loving, hospitable people. They amazing people and it’s a shame that the shortsightedness of the top doesn’t allow ordinary people to love each other.
So let me say right away... In addition to the artist who played in Mimino... Vakhtang Kikabidze. Shota Rustaveli is Georgian poet? "The Knight in Tiger's Skin." Already as an adult I read with pleasure. It's really a shame that such disagreements occur. But it seems to me that this is not up to par common people, namely at the government level.
Only Kikabidze. The fact that he was still performing then, and there were the first melodies. Since then he has remained that way. Nobody else.
I was once at a concert, there was some kind of Georgian ensemble, and it was very beautiful. But, of course, the audience was only representatives of Georgia. I didn't feel like I belonged. Because they supported so actively, but we couldn’t do that.
I visited Georgia for practice when I graduated from college. I really liked Tbilisi. The people are very friendly. Only Georgians can greet guests this way. In general, I don’t have a bad attitude towards Georgians.
Maybe I know some, but I don’t know that they are Georgian. I'm not very good with nationalities.
I don’t drink Georgian wine, but the culture... Sofiko Chaureli, Kikabadze, “Mimino” is my favorite film.
Kikabidze, Nani Bregvadze, Gvartsiteli. And I visited Georgia very often. They were always very cheerful and generous. In general, my attitude towards Georgia was good. So now I’m just surprised that this is happening. And I think that it is the Georgian government that is to blame for this, and not the people themselves.
I talked a lot with Georgian scientists, Georgia is a country with great culture, Christianity has been in Georgia since the 6th century, and as for today's conflict, all people play games, sometimes these games take bizarre forms. Someone arrested someone, someone expelled someone, although, in my opinion, nothing tragic is happening, in general, normal diplomatic and bureaucratic games.
Ivan Tolstoy: Yuri Vachnadze continues his conversation with director Robert Sturua.
Yuri Vachnadze: Once I was talking with Gia Kancheli, my friend, yours first of all, and he told me a very famous phrase that his works were played everywhere. All over the world, indeed, Gia Kancheli is performed. “But there is no such listener as in Russia anywhere. And I’ve simply never encountered such silence anywhere during the performance of my work.” So, in your opinion, what is the Russian audience like, and what is it like when they watch a play staged by you?
Robert Sturua: We have just returned from Kaliningrad, where we took part in the festival, we took Hamlet there. I know that our theater is not well known in this city - due to certain geographical conditions it was difficult to go there. Soviet times, now it has become easier. I must say that there was a translation with subtitles, but no one read the subtitles due to the fact that it is very inconvenient. I looked into the auditorium and saw that they had stopped looking at the credits; I am not convinced that they had all read Hamlet before coming to the performance. But I haven’t seen such a noble and grateful spectator like you in Kaliningrad for a long time.
And I must say that this seems to please me, but at the same time, I apologize, but I believe that this has nothing to do with politicians. This is a separate part of the nation.
When I was in America for the first time, and when I asked one of the enlightened people who your minister of state was there, he told me: “I don’t remember, it seems, this one or, it seems, that one.” And it was very strange to me that this intelligent man did not know the Minister of Foreign Affairs of his state. And only now I understand that being an intellectual does not mean knowing who is in charge of you. Sometimes there are moments in history when power and spirit are united, because noble, honest people come to power, and they try to do everything that the traditions of this people, the spirit of this people, require. But this happens so rarely that in history I can only give 6-7 examples.
And therefore I would like this viewer who was sitting in Kaliningrad, or the viewer who was in Samara to watch my performance, which Rostropovich staged with me “The Death of Ivan the Terrible”... And when in this hungry city I left the dress rehearsal , to which we let the public in, some middle-aged woman in a very shabby coat (it was winter) presented me with withered flowers, some strange ones, I couldn’t identify them - they weren’t from the wild, these flowers had some kind of good past , for me it was the most great gift, which I received from a viewer in Russia.
Ivan Tolstoy: And at the end of our program, poet-translator Vakhushti Kotetishvili will read poems by Marina Tsvetaeva in the original and in her translation.
Vakhushti Kotetishvili:
I am a page for your pen.
I will accept everything. I'm a white page.
I am the keeper of your good:
I will return it and return it a hundredfold.
I am a village, a black land.
You are a ray and rain moisture to me.
You are Lord and Master, and I am
Chernozem - and white paper!
