Georgia is a central Asian region which is situated in the
mountains between the Black and Caspian seas.
This, the 'Man in the Panther Skin' (also known as 'the Knight in the
Panther Skin') is a 12th century medieval epic poem.
It is considered one of the masterpieces of Georgian literature, and
has been called the Georgian national epic.
The author, Prince Shota Rustaveli, was a noble in the court of Queen Tamar,
and served as her treasurer.
He was also a painter who created frescoes in the Georgian monastery of
the Holy Cross in Jerusalem.
We do not know specific birth and death dates for Rustaveli.
The poem was first printed in 1712 in Tblisi.
This translation is, thankfully, into clearly written prose,
unlike some of the awful 19th century attempts to
versify translated poetry.
Wardrop's translation, which she modestly called an attempt, makes
enjoyable reading.
The poem, strangely enough, is not set in Georgia, but in fictionalized
versions of Arabia, Persia, India and fairy-tale lands set in the environs
of the Indian Ocean.
(However the characters are at one point described as speaking fluent Georgian!)
There are two chief male protagonists, Avt'handil and Tariel.
Tariel, the eponymous 'Knight in the Panther's Skin' is made heir to
all India, but tragically falls in love with his adoptive sister, Nestan.
Driven mad by this love, he ends up killing the man she is to marry
and fleeing India.
Nestan is also spirited away to parts unknown.
The search for Nestan, described as radiant as the sun,
so beautiful that everyone she meets
falls in love with her, is the central thread of the story.
Avt'handil, the suitor of the Queen of Arabia T'hinat'hin, sees Tariel
wandering disconsolate one day and goes in quest of this mysterious knight.
Eventually they meet up and after a long quest end up finding Nestan.
Nestan and Tariel marry, and Avt'handil marries T'hinat'hin.
I have appended a short synopis of the story
to this etext, based on my reading notes.
The narrative and characterizations are remarkable for a work of this period.
Rustaveli had great psychological insight, providing backstory and motivations
for his cast.
The women characters are well written and memorable (particularly the
merchant P'hatman).
Rustaveli's female characters are not just props
as in some of the medieval romances.
Emotional relationships between characters of the same sex
(both male and female), like the Biblical David and Jonathan,
are portrayed as tender and sensual, shedding light on how our conventional
sex roles are modern cultural constructs.
For technical reasons, I had to omit most of the footnotes from the body of
the text.
However, I did type in some of these footnotes by hand where they clear
up obscure passages.
Since a facsimile of this particular translation is in print and the
footnotes are mostly of interest to scholars, this should not present a problem.
