*Result*: კანონი როგორც ფუნქცია (კიმენი).

*Here, life repeats itself. The reality is on the verge of self-identity. The word comes to the reality as close as possible. The action and phrase are in unison. Spoken intonation and calm tonality represent a specific sign of the text. The subjects and idea appear in one mould. Everything serves the continuity of narration. The narrative is linear and consistent, without pauses: the more accounts, the less judging; the more energy, the less embellishment; the more the main, the less the secondary. Documentary accuracy prevails over literary expressiveness. There is nothing that can be called an accessory. There is nothing accidental, excessive and unnecessary; the text develops, spreads but it is not written. Every phrase, paragraph and episode breathes the spirit of the finiteness, finality. The reader’s attention is mobilized and directed towards the development of an action. The primacy of the narrative is felt in every detail. The rational plot is an integral, unified material which consists of organically related parts. The narrative is divided into episodes, stories, pictures. The prevention of monotony is carried out by the equilibrium of the narrative, the dialectic development of the thought, cause-and-effect relation between the paragraphs. The goal: to render the meaning in the simplest, immediate and spontaneous forms; to create a maximum degree of perception with minimal tension to the mind. The result: light, orderliness and transparency in the narrative. Structural strength in the text. Energy and anti-chaos in the reception. This is a “kimen” - a basic genre on which classical hagiography developed. The source of Metaphrasis is Kimen. The “embelishment” of hagiographical texts or metaphrasing was started from Kimen. In a word, Kimen is a plainly written, untreated, unaltered, not reduced, intact text of the saint’s martyrdom or life. The language of Kimen is really simple, but not conversational; the narration is easy, natural but not naturalistic; trope system is scarce but not poor; the text is a template but not boring; there is no room for witticism and philosophy, but we have moderate rhetoric, equal rhythm, short pauses, successive order of events, plot dynamics. Dynamism is achieved not by the development of the trope system, but by the intensity of everyday life. The metaphor, comparison, epithet are rarely used but instead of this there is an intensification of the narrative in which the main function is attached to the account, fact, event. Actual reality is the main reference point. The life stream - without any impurities! The matter covers metaphysics. Documentation excludes fiction, empirism dominates over the fantasy. The influence of the Greek language is noticeable in the texts in the sense that conjunction “and” is very often used both at the beginning of the sentence and within the sentence. This is not surprising since the writings are translated from the Greek. Correct grammar and sophisticated style fill the deficit of a trope. During the reading, it seems that you are dealing with an ordinary Metaphrast, but in reality Kimen is so different from Metaphaste as an oral story from the written text. The illusion of similarity, first of all, is created by a rich vocabulary and harmonious syntax. Kimen is a text of rational appearance; the phrase is awake with rationality. An author as subject, maximally defends neutrality: does not interfere with the dynamics of the narrative, does not disturb the reader, but through characteristic spontaneity and naturalness shortens the distance between the text and the reader, thus strengthening the emotional connection with the listener. The sensible form is created not by the trope and other auxiliary means, but by the fact, the clearly expressed real contours of the fact. The author is not seen in the foreground, he is not active. Maybe he mentions his name in the postscript to the text and it’s all. The author’s identity is secondary because the main thing is an account, the holy of holies, the alpha and omega of a composition. The author is a narrator rather than a chronicler. He is not interested in the biography, birth childhood, family, everyday trifles of his main character. All attention is focused on a narrative that represents a conflict with anti-Christian forces that should become a legend, a means of influencing the consciousness of subsequent generations. In Kimen it is difficult to single out an individual style, but one can see an individual attitude to the canon of the genre. The author uses this or that form of narration as needed. The narrative is conducted with the help of both the third and the first person; the thought and emotion are brought to the reader directly, plainly, without pressure; communication is realized by means of clearly expressed sensitivity, evaluation, categorization and expression; there are used subjective and logical forms of rendering, but in no case objective or neutral. He works for the result, has an addressee and knows how to influence his emotions and mood, is purposeful, active, with effective influence, creates a scheme – wellexpressed, dry, compact. The author protects the existing template, the canon, the rule, the standard, the scheme in order to maintain the topicality in time and space; follows poetics of a small genre - starts with a short introduction, continues with an extensive plot and ends with a short finale. Kimen has an established style and form. Compared to Metaphrast, it is of a small form but still we cannot call it a miniature prose, because the narrative method in its character is epic. Neither voluminous standard is seen, but there are small texts and extensive compositions. The tonality of the initial sentence is followed by the rest text up to the finale. This is a rule, - the poetics of the first phrase! The use of artistic literary devices is not a goal in itself for the author of the Kimen. If he still uses them, then he uses scantily, simply, conventionally, with the effect brought to a minimum. Describing the life of a martyr or figure, the varieties of Kimen are less found in trope, but when treating the biblical themes, their use is not so rare, the author suggests not original but well-known biblical figures and paradigms. Obviously, the tendencies of dramatization the narration are well expressed. For example, “The Life of Sina-Raiti Fathers” describes in details how invading Arabs kill monks. In each text, the strokes are more or less darkened. The rhetoricalness - the stylistic dominant is pronounced. If the author’s relative freedom is seen somewhere, then this is the sphere of artistic imagination. The role of the artifact is also played by dialogue and polemic that is a discourse presented as an antinomy between Christianity and Paganism. This can be conditionally called polemics since the episode is “staged”, the saint preaches the biblical truths and proves the advantage of Christianity over paganism. The style of controversy is relevant to the genre -simple, plain, easy. The simplicity and plainness are external properties of the Kimen, internally intentional, tends to the perfection of genre canon as a function, task, instruction; the internal essence of the Kimen is also diachronic, the aspiration is realized in time and space in the following direction - Kimen – Metaphrast. [ABSTRACT FROM AUTHOR]

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