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In order to differentiate the “hymn” from the “ode” methods of
reflection of the latter were often considered. Sometimes religious meaning
was returned to hymns (Stefan George’s “Hymns”, “Pilgrim’s Prayer”), and
for expressionists the hymn became means of ecstatic manifestation
(Dobler’s “Hymn to Italy”).
Ode as literary and oratory genre, became dominant during French
classicism (F.Malerbi, N.Bualo). The word “ode” derives from Greek
meaning “song”, therefore musical accompaniment was often chosen for the
ode to be sung. Instead of bookish style and oratory rhetoric, the ode of the
18 th -19 th centuries acquired lyrical depth along with patriotic mood.
According to V.Zhirmundski, the “ode” by antique content is a historical
property and today it implies not specifics of form or structure but mainly
solemn, lofty content. Modern literary critics indicate that the authors of the
odes even bear a resemblance with each other due to the specificity of this
lyrical genre (S.Broitman). As an example of Georgian romantic ode, we
can regard G.Orbeliani’s “Toast” which lyrism and pompousness were
specifically resonated within the 20-th century Georgian lyrics (G.Tabidze,
L.Asatiani, G.Leonidze, P.Iashvili, K.Chichinadze, O.Chelidze, etc.).
Beginning from the twenties of the 20 th century the ode as lyrical genre
had become well established in Georgian poetry (K.Chichinadze’s “Rioni’s
Apology”, P.Yashvili’s “URBI”); in the 1920-40s there appeared
L.Asatiani’s “Odes”: “Ode to Grape”, “My County’s Cornfield”, “My
Homeland”, “Feast in Kakheti and Toasts”, “Georgian Language”. Special
place in Lado Asatiani’s poetry is occupied by his work “Merry Drinking”
(Salaghobo).It was even termed “Asatianuri” (A.Sajaia) because of its
distinguished individual poetic style. According to verse parameters the
verse theorists have difficulty in referring this specific term to “Merry
Drinking” (A.Khintibidze). However, if we take into account the specifics
of genre, structural and semantic peculiarities of the “ode” while naming
“Asatianuri”, it is possible the “ode” denoting term “Asatianuri” introduced
by Lado Asatiani in the first half of the 20 th century be established in
Georgian lyric poetry.
In our view “Merry Drinking” is a kind of modification, transformation
of the structure of G.Orbeliani’s “A Toast”: the toasts said by toastmasters
are pronounced by others; “Merry Drinking” is also a toast pronounced at
the feast, composed of 12 stanzas of which the I and XII are identical and
the two are citations of the verse stanza, of the rest 8 stanzas the 7 th starts
with words: “Play!” this word proves once more the song character of the
“Asatianuri” genre – it is an “ode”, “a toast”, the verse said at the party.
In Georgian poetry a hymn as lyrical genre was revived in the second
half of the 19 th century. Ilia’s works “My Sweet Land” and “Happy nation”
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