Editorial Board: Rismag Gordeziani – Editor-in-Chief Dimitris Angelatos (Nicosia) Valeri Asatiani Irine Darchia Riccardo Di Donato (Pisa) Tina Dolidze Levan Gordeziani Sophie Shamanidi Nana Tonia Jürgen Werner (Berlin) Tamara Cheishvili – Executive Secretary fasisi 9, 2006 ivane javaxiSvilis saxelobis Tbilisis saxelmwifo universitetis klasikuri filologiis, bizantinistikisa da neogrecistikis institutis berZnuli da romauli Studiebi © programa `logosi~, 2006 ISSN 1512-1046 EDITORIAL NOTE Those who wish to contribute to Phasis are requested to submit electronic and hard copy versions of their paper (in Microsoft Word for Windows format, font Times New Roman, with no more than 60 000 characters). If a paper requires special characters, please give them on the left margin next to the respective line. Notes must be continuously numbered in 1, 2, 3 … format and appear as footnotes to the respective text. 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Our address: Institute of Classical, Byzantine and Modern Greek Studies Ivane Javakhishvili Tbilisi State University 13 Chavchavadze ave. 0179 Tbilisi, Georgia Tel.: (+995 32) 22 11 81 Fax: (+995 32) 22 11 81 E-mail: [email protected] Phasis 9, 2006 CONTENTS Medea Abulashvili (Tbilisi) Folk Fancy or Reminiscences Shaped as a Legend? 7 Joni Apakidze (Tbilisi) Westliche Kontakte der Kolchis-Kultur im 2. und Anfang des 1. Jahrtausends v. Chr. 14 Svetlana Berikashvili (Tbilisi) The Use of the Mind Mapping Method in Teaching Greek Grammar 28 Ketevan Bezarashvili (Tbilisi) The Reception of Aristotle's Rhetoric in the Rhetorical Theories of the Middle Ages (Basilius Minimus, Ephrem Mtsire) 38 Irine Darchia (Tbilisi) Some Lexical Peculiarities of Crete’s Ancient Population Dialect 44 Nino Dianosashvili (Tbilisi) The Phenomenon of Psychological Disorder in the Homeric Epics 53 Riccardo Di Donato (Pisa) To Hellenikon 63 Tedo Dundua (Tbilisi) Influx of the Roman Coins in Georgia 74 Marika Erkomaischwili (Tbilisi) Der Kirkemythos im Kontext der kartvelischen Terminologie 86 Ketevan Gardapchadze (Tbilisi) Die antiken Gestalten in der georgischen Literatur des XX Jahrhunderts 96 Rismag Gordeziani (Tbilisi) The Cult of Dionysus in the Light of Linguistic Data 105 Alessandro Grilli (Pisa) Eroismo comico e lotta politica: considerazioni diacroniche su alcune dinamiche strutturali 117 Ketevan Gurtschiani (Tbilisi) Georgische Versionen der Polyphemgeschichte 127 Contents 5 Tamar Japaridze (Tbilisi) Transvestite Disguise in Aristophanes’ Comedies 137 Medea Metreveli (Tbilisi) Σα βαζηθά ραξαθηεξηζηηθά ηεο γπλαηθείαο "αξρηηεθηνληθήο" ζην έξγν ηνπ Μ. Καξαγάηζε 151 Ketevan Nadareishvili (Tbilisi) Euripides’ Medea: Some Observations About the Nature of Euripidean Heroine 163 Ketevan Nizharadze (Tbilisi) For the Individualization of Trojan Characters in the Iliad 171 Thamar Otkhmezuri (Tbilisi) Euthymius the Athonite and Commentaries on Gregory of Nazianzus’ Writings 183 Tamar Sukhishvili (Tbilisi) Liver Divination in Cicero’s De Divinatione 196 Nana Tonia (Tbilisi) Sappho and ‘ ’ 203 Rusudan Tsanava (Tbilisi) Ritual and Folk Aspects of Euripides’ Iphigenia 207 Zurab Vacheishvili (Tbilisi) Μπζηηθέο πιεπξέο ηεο πξνζσπηθόηεηαο ησλ εξσώλ ζην έξγν ηνπ Νίθνπ Καδαληδάθε "Ο Χξηζηόο μαλαζηαπξώλεηαη" 218 Laudatio (Carl Werner Müller) (Jürgen Werner) 225 A Session Dedicated to the Memory of Alexander Alexidze (Nana Tonia) 229 Richard Klein 231 Reviews of the Books 233 Geschehenes und Geschriebenes. Studien zu Ehren von Günther S. Henrich und Klaus-Peter Matschke, hrsg. v. Sebastian Kolditz und Ralf C. Müller. Leipzig 2005. (Jürgen Werner) 233 6 Contents Books in Georgian 235 Short Versions 235 Zaza Khintibidze, Homer and Rustaveli. Homeric Principles of Compositional Organization and the Epic Tradition, Logos, Tbilisi 2005. 235 Notices of Books 259 Lewan Gordesiani, Die letzte Königin von Pylos (in georgisch mit deutscher Zusammenfassung), Logos, Tbilisi 2006. 259 Irene Tatišvili, Hethitisch-georgisches Wörterbuch, Lieferung 1, A, Hrsg. L. Gordesiani, Logos, Tbilisi 2006. 259 Roman Miminoshvili, Georgian Versions of John of Damaskus’ "Expositio Fidei", Logos, Tbilisi 2006. 260 Georgian-Byzantine Documented Lexicon Editor-in-chief – S. Kaukhchishvili, Executive Editor – L. Kvirikashvili, Logos, Tbilisi 2002-2007, vol. I-IV. 261 Valeri Asatiani, The Byzantine Civilization, Logos, Tbilisi 2006. 262 Ann Chikovani, The Interpretation and Function of Ritual in the Literary Works of Stratis Myrivilis, Logos, Tbilisi 2005. 263 Phasis 9, 2006 Medea Abulashvili (Tbilisi) FOLK FANCY OR REMINISCENCES SHAPED AS A LEGEND? The roots of some folk texts with no ritual function nowadays are closely connected with a remote rite. However, in the course of time, along with the loss of corresponding rituals, customs and beliefs, the songs were cut off their roots and were modified in accordance with the development of artistic vision. The plot, vocabulary and the conversational genre of the majority of such songs point directly at pagan cults and totems of birds and plants as their origin. After ancient beliefs and magic customs sank into oblivion, the songs that lost their functions passed through the stages of evolution and modifications, attached the remainders of the past they implied a different, modified format and stimulated the development of new genres. The above-mentioned suggests that episodes from folk texts of different genres may convey ancient information. In this respect, Greek folk songs are particularly remarkable as they incorporate layers of many different epochs from the archaic period till our contemporary life, indicate the dynamic development of ethnical, cultural and religious concepts and are distinguished for long traditions for protecting ancient structures and beliefs. Especially noteworthy are the song patterns that have no parallel in other peoples’ folk art. My immediate interest is focused on construction texts. The most popular one among them is the ballad of The Bridge of Arta ("Σεο Άξηαο ην γηνθύξη"). The ballad survived in many diverse versions1 which in fact are united by the same plot: hosts of builders, apprentices, craftsmen and masons are 1 Γλεύηνο Π., Σξαγνύδηα δεκνηηθά ηεο Ρόδνπ, Ρόδνο 1980, 100-101; Παππάο Ν., Διιεληθά Γεκνηηθά Σξαγνύδηα, Αζήλαη 1953, 131-132; Ισάλλνπ Γ., Σα δεκνηηθά καο ηξαγνύδηα, Αζήλα 1994, 48-49; Πεηξόπνπινο Γ., Διιεληθά Γεκνηηθά Σξαγνύδηα, αξ. 46, Αζήλα 1958, 71-73. Διιεληθά Γεκνηηθά Σξαγνύδηα (εθινγή), Αθαδεκία Αζελώλ, η. Α΄, Αζήλα 1962, 319-325; Πνιίηεο Ν., Γεκνηηθά Σξαγνύδηα, Αζήλα 2001; Πνιίηεο Ν., Γεκνηηθά Σξαγνύδηα, Αζήλα 2001, 213-216. 8 Medea Abulashvili building the bridge all day long just to find it collapsed next morning. Finally, a strange bird says in a human voice that the only way out is human sacrifice. And the person to be sacrificed should be neither an orphan, nor a stranger and a passer-by, but the foreman’s beautiful wife (... θαη κε ζηνηρεηώζε’ ηε νξθαλό, κε μέλν, κε δηαβάηε, παξά ηνπ πξσηνκάζηνξα ηελ όκνξθε γπλαίθα).2 The distressed husband sends the bird to his wife to delay her coming to the building site. – αξγά ληπζεί, αξγά αιιαρηεί, αξγά λα πάεη ην γηόκα, – Let her take no haste in putting on her dress, be slow at changing clothes, and bring the meal without a hurry. αξγά λα πα θαη λα δηαβή ηεο Άξηαο ην γεθύξη. 3 Let her go slowly and cross the Bridge of Arta – he asks the bird. However, the messenger tells his wife the opposite. The lady believes the strange creature speaking the human language and goes to the site rapidly. The builders say her husband has dropped a ring in the arch of the bridge and that is why he is worried. The devoted wife goes down into the arch of her own will to find the lost thing. At that very moment the builders pour down the lime, and the master himself throws down a huge stone. The lady starts lamenting over her ill fate; her two sisters were also built in the foundations of other structures. The words of damnation come up from the arch: Ωο ηξέκεη ε θαξδνύια κνπ λα ηξέκεη ν γεθύξη, May the bridge reel the way my heart is trembling now σο πέθηνπλ ηα καιιάθηα κνπ λα πέθηνπλ νη δηαβάηεο.4 May the passers-by fall down the way my hair is coming out now. Some songs include follow-up phrases that sound as a response to the lady’s curse: Κόξε, ηνλ ιόγνλ άιιαμε θαη άιιε θαηάξα δώζε Daughter, change your word and say some other spell-word; θ’ έεηο αδεξθό ζηελ μεληηεηά, κε ιάρεη θαη πεξάζεη.5 Your brother is in a strange land, and may he not cross the bridge. None of the song versions mention the name of the person who says these words – it is unknown whether they belong to the foreman, a builder or a lyric character. Anyway, they always yield the removal of the anathema: 2 Διιεληθά δεκ. Σξαγνύδηα, Αθαδεκίαο, 1962, 320, α΄/9-10. 3 Πνιίηεο Ν. Γ., 2001, 214. 4 Διιεληθά δεκ. Σξαγνύδηα, Αθαδεκίαο, 1962, 321, α΄/33-34. 5 Ibid; 321, α΄/35-36. Folk Fancy or Reminiscences Shaped as a Legend? 9 Aάκνλ λην ζηεθ’ ε θαξδά κνπ, λα ζηεθεη ην γεθύξη, As soon as my heart stops, may the bridge stop? θη άκνλ λην ζηεθ’ λ’ ηα γόλαηά κνπ, λα ζηέθ’ λε θ’ νη δαβάηη...6 And may the passers-by stand (on the bridge) upright the same way my knees will straighten... The above samples of the ballad relate about sacrifice. The sacrifice practice had a different shape in different epochs and religions and functioned as an offering aimed at either winning divine favor or mollifying divine wrath or giving thanks or atoning for one’s sins.