Interpretation of one verse of Byron’s cycle of “Jewish Melodies”
Authors: Sikharulidze Tinatin 
Published: October 2022

The presentation of the historical aspects of the material created on this or that topic contributes to the thematic-fable complexes and the so-called: visual representation of the evolution of “wandering” stories. The story of the “wanderer” in the work of art appears against the background of intercultural relations. Therefore, in comparative discussion, translation studies further clarifies the essence of the original text. To clarify this thesis, we have selected the poem “By the Rivers of Babylon We Sat Down and Wept” written by the romantic poet, George Gordon Byron in 1815, which artistically, based on the Jewish story paradigm, generalizes and presents the traditions of Milton, Burns, Blake and the Blessed Nation. The melodies created in the Jewish exile were echoed in the works of Haydn, Mozart, Paganini, and Liszt. However, their compilation and arrangement are linked to the English composer Isaac Nathan (1790-1864), who selected Byron’s texts for the melodies compiled in 1808. Although earlier this was tried by John Moore, but Nathan gave preference to Byron, whose first twelve songs were included in the collections of Hebrew melodies. Byron, who was interested in biblical subjects from the very beginning, deeply explored the issue of the fate of the Jews and, without regard to the basic principles of the Anglican Church and without disturbing them, developed a Jewish theme based on the Psalms. It is worth mentioning that he was sometimes opposed by publishers, composers or critics, but his poetic efforts could not be stopped and the theme of the oppressed nation took its place in his poetry. His interest in such topics and his sympathy for the oppressed nations of Europe earned him the title of Poetry Fighter for Freedom. Byron analyzes the biblical, rigorous spirit and at the same time gives it a plain, simple text and artistic perfection. Two verses from the cycle of “Hebrew Melodies” are significant for us: “Oh! Weep for Those! ‘, “By the Rivers of Babylon We Sat Down and Wept”, whose Georgian translations belong to Ilia Chavchavadze and Akaki Tsereteli. Both poems are translated from an intermediate language and it should not be difficult to understand the translators’ interest – the shared fortunes of the oppressed Georgian and Jewish nations. Byron was not limited to the biblical story, he also paid attention to the oriental color, which further ensured the high artistry of the poems. With an artistic depiction of compassion for the oppressed and their sad fate, Byron always echoed the fate of his modern-day Italy and Greece. The purpose of our article is to discuss the extent to which the Bible text in the poem “For the Hebrew Melodies” entitled “In the Valley of the Waters” was included in the 1815 volume of “Hebrew Melodies”. The second variant, which Isaac Nathan preferred, stood closer to Psalm 136 (137th in the Hebrew texts). Therefore, the second version in the cycle of “Hebrew Melodies” dates back to 1815, although it was published in the first version. The goal of the study is Byron’s biblical text and its Georgian translations’ different interpretation. The poet quotes from the Bible the story line of Psalm 136 of the Jewish exiles from Jerusalem, in which the willows are hanging on the ropes symbolizing their melancholy: “If I forget you, Jerusalem, forget me.” Byron’s verse does not show the rage in the psalm, the rage in the heart against the enemies of Zion, and the fierce desire for revenge against the daughter of Babylon, who longs for the fate of the Jews. It is already known which Russian translation Akaki Tsereteli and other Georgian translators used while translating Byron’s lyrics, in particular, Giorgi Tskaltubeli (1868) and Maia Nikoladze (2009). We were interested in Akaki Tsereteli’s translation of Byron’s poem “By the Rivers of Babylon We Sat Down and Wept”. There are two versions of the translation that are dated at different times. First printed in 1865 In journal “Tsiskari” N2 , and the second – in newspaper “Iveria” N213 on October 3, 1901, . Both verses are written by “Byron”, which means the translations of Byron’s poems. According to researcher Ketevan Burjanadze, out of the four Russian translations available at the time, Akaki Tsereteli’s translation is less relevant to any of them and is a more free and widespread version compared to Byron’s source text. The article discusses the history of two translations of Akaki (1865, 1901). Both variants have similar content, only some stanzas and lines got corrected. According to researcher Makvala Kuchukhidze, the 1901 translation is a free translation based on Byron’s poem; We have also noted that both versions of Akaki Tsereteli’s translation are based predominantly on Psalm 136, which shows that the verse ends with an appeal for psalm vengeance : “Blessed is he who has grasped your heels and thrown you into the rocks.” The same idea is expressed in Akaki’s translation, though in the future. The Georgian poet expanded the Byronic text in a peculiar way and expanded the psalm content as well, as it reflected the thirst for revenge of the Georgian man on the invader, as a result of which the poem acquired a publicist sound. Akaki’s translation follows Byron’s source text and expands on it with psalm quotes; Byron’s text speaks of the anguish of the Jews, somehow encrypting the enemy’s hypocritical request for the Jews to rejoice and sing about the days spent in Jerusalem. The translator enters the text with an indignant tone that it is impossible for the enslaved to chant the sacred chant of Zion. Judaism is subjugated by enemies, but it is forced obedience and not voluntary. In view of all this, it can be said that the Akaki translation is more imitative and more closely related to the text of the Byron and the Psalm.