The Structure of Otia Ioseliani's Palm-sized Fairy Tales and the Linguocultural Dimensions of Aphoristic Teachings

Abstract

            Fairy tales create a completely separate area of study within Otia Ioseliani's diverse creative work, the structure and semantics of which reveal many interesting aspects.

            In the paper, we will examine the writer's unique style of palm-sized fairy tales in terms of structure, speech type, and linguocultural characteristics.

            From the very beginning, the titles of the fairy tales and the diversity of their characters capture attention, which, in turn, ensures thematic and plot variety (e.g., The Tortoise; The Crow and the Nightingale; The Righteous Pig; The Lion, the Deer, and the Frog; The Two Bears; The Kind and Gentle Kite; The Wolf’s Wolfishness; The Crocodile’s Lament; The Selfish Turkey…).

           The next noteworthy parameter is the approach to the beginning of the fairy tale text, which differs entirely from the traditional fairy tale openings that typically rely on ready-made formulas. These formulas usually serve as a way for the storyteller to inform the audience that they are about to recount an invented tale—one that both happened and did not happen at the same time. Instead of using such oppositional pairs, the writer, in most cases, begins the text directly with the development of the action. Sometimes, they simply introduce the story with the word “იყოს“ [ikos] (let there be) or an indefinite pronoun like ,,ერთი“ [erti] (one). In our view, this approach suggests that the writer is not merely beginning to recount an invented tale but rather narrating something that has been, is, and will likely continue to be. The opening phrase of the fairy tale almost always refers to a specific (animate or inanimate) noun and only rarely to an abstract concept. The most frequent pattern involves naming a place, time, or character at the very beginning.

            The fairy tale text is narrative in type, enriched with dialogues, where the sequence of actions and plot development take center stage. Events follow one another, often determining and influencing each other. The author-narrator remains unseen within the text; however, it is evident that everything is perceived through their perspective—they know what will happen and how the story will unfold.

      From a linguistic perspective, verbs play a crucial role in the text. They are predominantly in the third-person past tense and perfect aspect, marking successive actions and ensuring the progression of the narrative. Meanwhile, verb forms in other tenses and persons add expressive power to the text, allowing the reader or listener to envision themselves as a witness to the events.

        Otia Ioseliani’s palm-sized fairy tales are short and concise, yet remarkably impactful and rich in meaning. They are impressive in the sense that they are artistically vivid, portraying events and actions with striking clarity and liveliness. The text, with its variety of sentence structures and well-balanced word arrangement, is easy to read and listen to—sometimes even rhythmic. However, the most significant aspect is their functionality.       

These so-called palm-sized fairy tales reveal particularly intriguing linguo-cultural dimensions. In fact, we would argue that they are more akin to fables, filled with bird and animal characters. Their endings do not follow the conventional closing formulas of traditional fairy tales; instead, they conclude with aphoristic and wise statements. The moral lessons derived from them hold great linguo-cultural significance.

Through the allegorical use of birds and animals—implicitly yet, in reality, quite explicitly—the writer masterfully transcends temporal and spatial boundaries. In doing so, they leave behind a timeless legacy for future generations, embedding within these tales the essential wisdom of Georgian national mentality. This wisdom, passed down from generation to generation, serves as a guide to life—whether as principles to embrace and admire or as behaviors to reject and condemn.         

In our view, fairy tales constructed with such a distinct structure and infused with fable-like wisdom provide an excellent opportunity for the writer to establish an individual stylistic signature and achieve their intended purpose.