Several parallels in the discourse of the images of Kings in “The Knight in the Panther's Skin”

ანოტაცია

The perspectives expressed in Georgian scientific literature regarding Tariel's resemblance to Shota [P. Ingorokva] or the view that it reflects the cult of St. George [Z. Gamsakhurdia] seem less convincing to us. This is because the Indian Prince is portrayed as a weeping lad and it appears that in the 12^th century, there was a real basis for his lamentation and "flow of tears." We believe that it is precisely these real-life hints that explain the fiction events and symbolic-enigmatic interpretations developed in the poem.

The story of India as a whole is revealed through Tariel's narrative. It seems that the Prince's magnanimity is the reason for his naïve trust in his adoptive parents, never once doubting their flattery. Against this backdrop, the first revealed step of Parsad's hypocrisy emerges—his order for Tariel to abandon his black garments and appoint the royal prince, raised for the throne, as an Amirbari. With such "foresight," the Indian King gains the upper hand, as the scale of power between a future monarch and an amibrari is vastly different! Tariel laments the violation of certain rules by Parsad. Of course, foremost among these is the breach of the feudal law of inheritance, creating an insurmountable barrier for the foreign knight in the struggle for the royal throne. This context draws a direct parallel with the tragedy that befell Prince Demetre (Demna). Ultimately, Giorgi III rendered a verdict of unspeakable cruelty upon his nephew and the pretender to the throne of Georgia by ordering his castration.

From the perspective of royal figures, the stories of India and Arabia contain numerous passages that intersect the main trajectories of these narratives. One such instance appears in the Arabian storyline, as Avtandil's disappearance. Rostevan's "tearful" mourning over the Spaspet’s (Commander-in-Chief) second departure may have a possible explanation. However, we believe that even with an empirical understanding of the passage, Rostevan's order to declare mourning across the country due to Avtandil's departure from Arabia remains puzzling.

A parallel also emerges in terms of the "art of disappearance." The poem reveals that Tariel does not wish to meet with the monarch of Arabia and leaves the region without a trace. Similarly, in the Arabian story, the gold-belted Arabian commander sets out in search of the foreign knight, yet the elusive Avtandil astonishingly vanishes. Despite the pursuing army's efforts, they fail to find him.

The image of rulers is often a mirage crafted for the masses, whereas in the struggle for power, they have always excelled at neutralizing or completely eradicating rivals. This foundation likely underpins Tariel's reluctance to meet Rostevan face-to-face. The foreign knight is well aware of the nature and behaviors of kings. Returning to the cave, he explicitly tells Nestan’s servant, "A hunting king tried to pursue me" [55, 267]. The Arabian ruler is fully aware that Tariel avoided him. And more so, the "merciful" King names the "foreign knight" as the wrath of God, calling him a divinely sent enemy. Why? Perhaps failing to share one's troubles with the King is perceived as enmity, even as a calamity descending from heaven. In this context, the desire to meet or exchange brotherly greetings pales in comparison to Rostevan's fervent determination to capture the grieving knight.

In short, it is noteworthy that rulers from two different countries pursue the foreign knight so relentlessly. Both ardently search for the distressed knight, sending pursuers after him. It is doubtful that Rostevan is motivated by a desire to help him and imagining such intentions from Parsad would be sheer nonsense. Rustaveli's artistry lies in replaying elements of the story across different narratives, showcasing his literary dexterity. The foundation of the fiction portrayal of kings likely rests on the realistic figure of Giorgi III, while Rustaveli maneuvers through flanks, expanding his narrative front across the tales of India and Arabia.