Gospel Quotations in Ana Kalandadze’s Poetry

Abstract

The present paper is dedicated to the analysis of Gospel quotations and biblical symbolism in the poetry of Ana Kalandadze, exploring their specific artistic function. The research is based on the premise that the Bible, as one of the foundational texts of Georgian culture and literature, has shaped the creative vision of Georgian writers and poets for centuries. However, in the case of Ana Kalandadze, biblical texts are not merely a continuation of traditional religious or philosophical contexts, but also serve as a means of deeply understanding contemporary social and political realities.

The paper reveals that in Kalandadze’s poetry, biblical quotations and imagery became especially prominent during the 1960s and 1970s, directly linked to the ideological pressure and censorship imposed by the Soviet totalitarian regime. In such a reality, open forms of verbal expression were limited for the poet, which led her to employ Gospel quotations and biblical symbols to convey her messages in a veiled yet profound manner. This stylistic approach was not only an aesthetic choice but also an expression of personal resistance and spiritual freedom.

The study draws upon Kalandadze’s poetic texts as well as insights from contemporary critics, including Revaz Mishveladze, Avtandil Nikoleishvili, and Laura Sordia. Special attention is paid to how these scholars evaluate the activation of the biblical current in the poet’s work.

Additionally, taking the historical context into account, the paper aims to provide a complex analysis of the reasons behind the use of biblical quotations in Kalandadze’s poetry. In particular, it highlights the repressive Soviet environment and the poet’s difficult choice to maintain both creative self-censorship and a civic stance.

The results of the research show that Gospel quotations in Kalandadze’s poetry fall into three main categories: 1) Quotations used as epigraphs to the poems; 2) Quotations that appear organically within the body of the poem as lines; 3) Biblical episodes and parables reworked and embedded into the text. In each case, the use of biblical texts is not merely decorative or aesthetic — it is part of the poet’s profound spiritual and civic dialogue with her contemporary world.

The paper clearly demonstrates that the interpretation of Gospel quotations in Ana Kalandadze’s poetry represents an organic fusion of tradition and innovation, emphasizing the poet’s unique role in the development of Georgian literature, the preservation of national identity, and the culture of spiritual resistance.