The Functional-Vertical and Horizontal Model of the Rustvelian Classification of Shairoba

This article analyzes the classification of shairoba (poetry) presented by Shota Rustaveli in the Prologue of The Knight in the Panther's Skin and proposes a new interpretive model for its comprehension. Drawing upon generic, textual, culturo­lo­gical, and comparative-theoretical approaches, the study reviews the foundational discourses within Rustavelology (including the scholarship of K. Kekelidze, A. Bara­midze, G. Imedashvili, A. Bakradze, Z. Gamsakhurdia, R. Siradze, and I. Ratiani). Con­se­quently, it demonstrates that Rustaveli's conceptualization of poetry extends far beyond mere genre differentiation. According to the authors, Rustaveli views po­etry as a form of wisdom, cognition, and spiritual experience that harmoniously uni­fies aesthetic and ethical functions. The central thesis of this study argues that Rustaveli posits a dual functional-vertical and horizontal classification of poetry. The vertical axis divides poetry into "divine" (saghmrt'o) and "earthly" (saak'ao) shairoba. "Divine" poetry is intrinsically lin­ked to the cognition of God, spiritual elevation, and a gnoseological function, which the authors elucidate through a textual and philosophical analysis of the terms "divine" (saghmrt'o) and "divinely perceived" (saghmrt'od gasagoni). Within this con­text, the study examines the interpretations of Ioane Petritzi, the hymnographic tra­dition of Gregory of Nazianzus, and the overarching influence of Christian Neoplato­nism. The authors conclude that for Rustaveli, the primary purpose of poetry is sac­red and cog­nitive, and its ultimate goal is to bestow a "spiritual benefit" (marghi) upon the listener. The horizontal classification pertains to genre differentiation. Rustaveli distin­guishes between epic and lyric poetry, further dividing the lyric sphere into several subgenres: festive (sanimado), amorous (saashiko), playful (salaghobo), melodic (sam­ghereli), and colloquial (amkhanagta satreveli) poetry. Special emphasis is placed on specific textual instances within The Knight in the Panther's Skin, particularly the letters of Avtandil, Patman, and Nestan-Darejan. Patman's letter is analyzed as a mani­festation of mundane, erotic, and situational lyricism, while Nestan's letter rep­re­sents an elevated expression of Neoplatonic and ontological devotion. A compa­ra­tive analysis of these letters clearly elucidates the interconnectedness of style, func­tion, and content. Finally, the article demonstrates that Rustaveli's poetic framework is deeply intertwined with Classical antiquity and Hellenistic aesthetic theories. It explores the perspectives of Plato, Aristotle, Horace, and various Neoplatonists regarding the na­ture and function of poetry. The authors conclude that Rustaveli successfully har­monizes Platonic idealism, Aristotelian functionalism, and the Christian worldview into a unified system, thereby synthesizing a highly original, multi-layered concep­tion of poetry that encapsulates spiritual, aesthetic, and social dimensions. Rustaveli’s poetic conception may be understood as a synthesis of Platonic idealism and Aristotelian poetics, mediated by the Christian intellectual tradition. His characterization of shairoba (poetry) as “divine” suggests a Platonic under­stan­ding of poetry as connected with a higher, transcendent order of truth. At the same time, his emphasis on poetry’s “great benefit” to its audience and the pleasure it pro­vides introduces a distinctly functional dimension, which resonates with Aris­totle’s understanding of poetry as both cognitively and affectively significant. Within Rustaveli’s poetic system, therefore, the transcendent origin of poetry is complemented by its human-oriented function: poetry is expected to provide both benefit and pleasure. This synthesis allows The Knight in the Panther’s Skin to be interpreted simultaneously as a text of philosophical and spiritual significance and as a work grounded in human experience and emotional life. Rustaveli’s conception may consequently be viewed not as a simple reproduction of classical aesthetic doct­rines, but as an original reconfiguration of several intellectual traditions. In particu­lar, Aristotelian conceptions of poetic form and function, the Horatian principle of utile dulci, and a Christianized Neoplatonic understanding of spiritual hierarchy converge within a unified poetic and aesthetic framework.