OLD ARMENIAN LITERATURE

1. PREFACE      The old Armenian literature is one of the interesting and unique fields of the written culture in the world. Its sources date deeply back to the antiquity, i. e. times, when Armenians as a people and nation developed through the amalgamation of human kinds and afterwards races in the Armenian plateau. This process has lasted for several millenniums and the artistic thought has found its expression as a preliminary ideology and belief in an exclusively oral manner. These ancient ideas refer to the good and evil spirits, spiritual faith, cult of nature and idolization of spontaneous forces , atmospheric phenomena or heavenly bodies. They reflected the emergence of animism, by which all the objects were perceived with human virtue and character. Demons and Gods were considered as the cause for the shifts in heavenly bodies and atmospheric phenomena. One of the manifestation manners of worshipping for Armenian ancestors was the totemism, i.e. idolization of any animal, plant or natural phenomenon considered as sacred. Through idolization the worshippers were considering those phenomena as their forefathers, calling them by their names. The oldest Armenian beliefs and cults, as ideology and simple artistic perception of life, leaving profound traces in customs and daily round life, have continued their sustainability and existence not only in the Christian Middle Ages, but also have reached to the modern times, of course, having lost much from their preliminary wholeness and purity, with linguistic adjustments, transformed and teaseled in compliance with the Christian ideology, interlaced into numerous fragments of historical and daily round nature. By their coexistence until the 5th century as a traditional folklore, later, during the whole period of the Middle Ages, this or that way, they played a great role in the Armenian chronicle-scripture, usually carrying the attitude of denial or rejection towards themselves, but especially in the 19-20th centuries they were recorded from the lips of folk narrators and were combined into folklore-ethnographic collections of works. Thus, the earliest folklore samples with the beliefs and cult reflected in them, have maintained their existence in the Middle Ages and have survived in the modern times as remnants. About the beliefs and ideas sustaining since times immemorial speak the sorcery prayers (the so-called "bundle prayers", which later were also coexisting in oral form, the written "charms" , "amulet" or "magic"), the magic formula and oaths, as well as the superstition narration. They are meanwhile the oldest manifestations1 of the Armenian artistic thought. In contrast to the preliminary visions about the world and beliefs, the Armenian myths2 are considered to be the outcome of a more mature perception on the world, for the maintenance of which we owe to , particularly, the forefather of the Armenian history, Movses Khorenatsi. The oldest written source available in the Armenian mythology is his "Armenian History" and, especially, his first book. Khorenatsi mentions all those original sources, in compliance to which he has presented the myths and mythological narrations. One of them was a register by a Syrian, Mar Abas Katina (or at least ascribed to him), and the other one was the collection of Armenian bard songs, the heroic narrations about Armenian ancestors , forefathers and national strongest heroes (like Hercules), which were performed by the bards under the accompaniment of the musical instrument bandura. 2. MYTHS     We meet some curt references and fragments about Armenian mythology also in Yeznik Koghbatsi's (5th century) "Yeghts Aghandots", in the beginning of the historian Sebeos's (7th century) work - in its "Primary History of Armenia" section, scientist Anania Shirakatsi's (7th century) works, Tovma Artsruni's (9-10th centuries) "History of Artsruni House" book and a little bit in several other Middle Ages chroniclers' works. In the second half of the 19th century the collectors of the folk-works and the authors of travel notes have done separate recordings on Armenian myths of folklore nature directly from the people. Through the comparative study of all those narrations and references, as well as their comparison with the Greek and old Eastern mythology, we more or less fully get an idea about the Armenian myths, the heroes of which, according to Khorenatsi's reproduction and reinterpretation, are mythical and equally historical figures. The forefather of the Armenian history has perceived the myths from the point of view of their historical importance as figurative evidence of Armenian history with the particular emphasis on their historical construction material, while also speaking about their mythic nature as a secondary matter. The myths tell about the hero Hayk, the forefather Aram, Tork Angegh (Ugly Tork), Ara Geghetsik (Handsome Ara) and Shamiram, Vahagn Vishapakagh (Vahagn the Dragonkiller). Handsome and broad-shouldered Hayk, with his happy-looking eyes and strong arms is a giant using bow and arrow by description very similar to the Greek Orion, who was the son of Poseidon and the God of Hunt. In the Sebios's narration, too, Hayk is represented as a God of Hunt. It is interesting that the old Armenians were comparing him with the same Orion, and it is not accidental that the name of the galaxy Orion in the Armenian translation of the Bible is replaced by the name of Hayk. For the same galaxy in different parts of Armenia, too, people were using the name Hayk("Khek"). But in the Khorenatsi's narration of the myth the reality of Hayk's being as a God is in the shadow. He performs as a founder of the Armenian people, forefather giving his name not only to the people, but also to the country, which for millennia was called Armenia (Hayk- Hayq - Hayastan(Armenia)). The historical aspect, in contrast to the mythic one, is also emphasized in the fragments about other strong men. Especially of valuable significance among the Khorentsi's narrations is the fragment referring to Vahagn the Dragonkiller, God of Thunder, where the narrator, having heard about that from the bards, with no changes, illustrates the song on his birth "Yerkner yerkin...". This is a small fragment, nine lines expressed in verse, but with its poetic beauty and natural originality it is one of the highly valuable pearls of world folklore. The myths represent the first mature development phase in the Armenian traditional folklore. During the next centuries of the Armenian national history novelistic folklore leads us to the creation of the novel, which is famous under the names "Vipasank" or "Yergk vipasanats" (novelistic songs), as well as "Tuelyats yergk"(Count songs)3 . In that novel the mythological element composed a certain layer: it is not in vain, that the historian Pavtos Biuzand, possibly based on this circumstance, but by expression of his Christian irony toward the pagan secularist content of "Vipasank", describes it as a "novel of myths" , and Khorenatsi with the same tendency has merely called it a "myth."4 3. "VIPASANK"      The "Vipasank" is a historico-artistic expression of the Armenian political upheaval, when the Armenian State comes into existence, with three kingdoms following one another with interruptions, first-Yervandunis (since 6th century BC) then Artashesians (since 189, BC) and finally, early Arshakunis (partially, from 66 to the beginning of the 3rd century, BC).5 "The Vipasank" did not occur originally as a completed novel, it was developed in separate fragments. They were simple and unsophisticated verse compositions, novelistic narrations about the heroes and famous political-military individuals that have played a great role in the path of Armenian state building, about the emergence of the Armenian Princely Houses, foundation of cities, and, in general, about the significant events taken place in the lives of the people and the country, as well as about the war events, and also about the ways the ruling dynasties have been established. For centuries those separate fragments were integrated with one another and through the unification with the songs and some mythological narrations coming from the early times, have become a completed mythology (of course, relatively completed) with several branches. For the preservation of "Vipasank", we again owe to Movses Khorenatsi, whose "Armenian History" (many chapters from the Books A and B), if we exclude the fragment on King Artashes, kept in one of the papers of Grigor Magistros (11th century) , is likely to be the only source of the novel. Abeghyan has differentiated between the branches of "Vipasank", i.e. "Tigran the Great" ("Metsn Tigran"), which is combined with the Median King Azhdahak the Dragon's myth, "Sanatruk's novel", "Yervand's novel", "Artashes and Artavazd". Also narrations about the Vardges Manuk's matchmaking and King Artashes (probably Artashes the Third) who was dying in a foreign land and longing for his hazy homeland. Tigran, who according to Khorenatsi was the son of Armenian King Yervand Sakavakiats contemporary to the Persian King Cyrus, as the studies have shown , combines in himself two historical figures the political-military activity and personality of Haikid Tigran the First and Tigran the Second, the great Artashesid conqueror. It is the outcome of the fact that Khorenatsi did not have enough historic original sources under his disposal and fully trusted the "Vipasank", which was coexisting among people, with no basis to see in Yervandyan Tigran and divide in time and work different Tigrans from each other (Yervandyan and Artashisyan). Tigran in the novel is a conqueror's perfectness, symbol of greatness and Khorenatsi, avoiding the reality of his being a pagan, with pleasure surrenders to the heroic element of the national novel. He considers it to be a beautiful thing to repeat about the hero preferred for narration, who has never ignored the miserables and has never envied the bests, weighed the assessment of everyone's work and service with the weights of his mind, extending his care over everyone by raising his whole nation against the enemy's yoke and freeing them from subordination, further making his nation overdominant and putting others under the latter's yoke. As it has become well-known, while making the Tigran's ode, Khorensatsi has used one of the highly valued poetic works of some poet by the name David, i.e. "Hiusumn Pitoits" composition on national theme, which unfortunately, has been preserved in the form of a very insignificant fragment.6 "Vipasank" is a novel of big political shifts. With their creative activity in the strengthening of the country are prominent also Artashes the First and his descendant Aratashes the Second, who introduces order and adopts laws through reforms. The novel gets its colorfulness and richness by the novel songs that represent different aspect of the Armenian daily round life and reflect the customs and traditions typical for the life of the people living those days (the words of Satenik, daughter of the King of Allans, addressed to King Artashes; the kidnapping of the princess, wedding; Satenik's lust for the leader of the dragonsons Argavan; Artavazd's evil character, his discontent of his late father; Artashes's curse; Artavazd's overthrow into the Masis abyss etc.). In contrast to the Christian perception in "Vipasank", like in the myths, the body perfectness and physical power of the heroes, their unique feats resulting from their strong arms and quick and successful movements are emphasized. They are handsome " stalwart and broadshouldered", "long legged, tall", and meanwhile beautiful in soul, courageous, wise, eloquent, just and creative. The fragments in verse from "Vipasank", which Khorenatsi reports verbatim, are famous for their richness of the ancestors' old Armenian, and refined nature of the language, with tasteful pictures and comparisons. Manuk Abeghyan divides old Armenian literature development process into three big periods justifiably considering the first period the works of the times, when Armenian people had no written script, characterizing this period as a "primary mytho-historical folklore"( from ancient times to the 3rd century). The literature of the following periods, which after a relatively shorter period has obtained its full manifestation tool, i.e. the script, is looked upon by the scientist in two big periods "Literature of Ecclesiastic-Political Struggle" (from the 3rd century to the end of the 10th century) and "Renaissance Literature" (from the 11th century to the end of the 17th century).7 This periodization is substantiated and it correctly reflects the ideological tendencies and progress and the artistic features of the literature development.     4. LITERATURE OF ECCLESIASTIC - POLITICAL STRUGGLE      The third century was the feverous period of Christian preaching in the Armenian reality, which during the times of king Trdat (298-330) had the victory. In 301, the pagan religion in Armenia was rejected and Christianity was established as a state religion. It was a critical turnover not only in the ideological world of the Armenians , but also in the political life. Parallel to the penetration and establishment of Christianity the Arshakuni state underwent abrupt changes also in the foreign relations, political orientation. Till the first quarter of the 3rd century Parthian wealth was dominating in neighboring Iran, one branch of which were Armenian Arshakunis. That is why, when the last Parthian was killed in Persia in 996, and the state power was transferred to the Sasanids, a war started between the Arshakuni Armenia and Sassanid Iran. This hostility and wars became durable through the whole period of 3-4th centuries. Armenia directed its glance towards the Western neighbor, Greeks, Roman Empire, where after the "Milan Edict" (314) Christianity got the right to freely be worshiped, and in the last quarter of the 4th century, during the reign of the Emperor Theodosins the Great (379-395), celebrated its victory against pagan religion. The Christian Church in Armenia strengthened feudalism, and side by side with the central royal power, it became a strong power contributing both to the stability and strengthening of the royal family, with its interests sometimes coming into conflict with the Arshakuni royal leadership by encouraging and supporting the process of confrontation and the centrifugal desires of the Armenian princely families. For more than 150 years the Armenian nation, on one hand, was struggling against the Iranian expansion, on the other hand, against the Eastern-Roman empire, which was trying by all means to keep Armenia under its subordination. The forces were unequal, and everything ended in the division of Arshakuni Armenia into two parts between Byzantine Empire and Iran (387), with the smaller part transferred to the former while the incomparably larger more part became Sasanid Iran's share. During that long period of struggle our next national novel appeared in the scene, which is accepted to call "Persian War."8 It, too, was created orally, but was recorded after a relatively shorter period, in the 5th century. Its wholeness has been preserved in the works of the early Armenian historians- "History of Agathangelus" and especially, Pavstos Biuzand's "Armenian History." The latter was so faithful to the national novel that Abeghyan with more courage, with the principle of free verse, presented its multi-volume parts together with a number of pieces from "History of Agathangelus" . The novel was quite well known to Movses Khorenatsi who has made use of it with his scientific sense of abstention. Later on the 7th century historian Sebeos paid attention to such heroic fragments and epic heroes in his work (Mushegh Mamikonyan, Smbat Bagratuni, Teodoros Rshtuni), who, although directly in verse are connected with the history of the 6-7th centuries, have obvious legendary coloring and heroic nature under the influence of the 3-4th century folklore narrations. "Persian War" novel's traces and its similarities are also obvious in "Taron War" later novel , the main source of which is Hovhan Mamikonyan's (8th century) "History of Taron." "Persian War" illustrates the life of Armenians both during the tragic and heroic times. It is dominated by the spirit of patriotism. The Christian ideology is, also, characterized by such powerful and imperious features. The early period of the novel, that has found its reflection in the "History of Agathangelus", is mostly the conflict between the Paganism (in the face of King Trdat) and Christianity (in the face of Grigor the Illuminator), which ends in the victory of the new , true faith. The carrier of the Armenian heroism and patriotism in the novel are the Mamikonyan courageous commanders, historic figures who tried to preserve and strengthen the Armenian state, for whom the self-sacrifice and devotion are the highest moral obligations. They are faithfully serving their "native" lords, i.e. Arshak, Pap and other Arshakuni Kings. To die in peace was the worst death for them. Their dream was to die on the back of the horse, in the battle field, during the patriotic war. Of such type are especially the commander-in-chief Vasak Mamikonyan, his successors Mushegh and Manvel commanders. In the "Persian War", especially in Pavstos's narrations, there are such epic narrations, which attract the readers by the dramatic tension of acts, with acute clashes, psychological reasoning of the heroes' actions. Of them is the narration about Tiran's wonderful stallion, Gnel-Tirit-Parandzem-Arshak novel, the story on King Arshak passing through the ordeal prepared by Shapuh, as well as murder of Vasak and condemnation of the Armenian king to irrevocable exile, the fragments on the bloody revenge towards Pap and Mushegh. The novel "Persian war" , with its surprising folklore hyperbolism, as compared to "Vipasank", is a more real story and far from mythological elements. The Armenian 5th century started with an event of great significance for the Armenian nation in religious and cultural activity: the creation of Armenian script (405-406). The invention of genial Mesrop Mashtots, no doubt, came into life directly by the demand of the Armenian church and the latter's instigation to bring the Christian enlightenment of the people to the final point, but its role was much greater than intended. Armenian thought, by getting rid of oral distortions, obtained its powerful tool for firm establishment, i.e. the opportunity to become real through the written script and serve the reasonable development and progress of the generations. Later on, Mashtots's scientific feat had to be assessed by Nerses Shnorhali in the following way: He dig a furrow through the knowledge And installed the seeds of wisdom.9 Shortly, after this invention came into life, Arshakuni Kingdom completely stopped its existence also in the Armenian part under the subordination of Iran (428). Under such conditions the Armenian written language, school, books, chronicle-scripture took up the objective of keeping the Armenian spirit alive, inflame its national self--consciousness and political cautiousness with the maintenance of the national ancient traditions, strengthen the Christian Faith from the orbit of providing its spiritual independence and serving the nation. The chronicle-scripture started through translations. A wide-scope project of translation work was implemented under the control of the church and demands in the life of Armenians. The first chroniclers (Mashtots, Sahak Partev, Yeznik Koghbatsi, Koriun and others), also became our first translators whose work was highly valued by the church, which, as well, made their names sacred and established days of "Holy Translators' Holiday" (twice a year). The rich translation literature of the 5th century transferred the Syrian and especially Greek cultural traditions to the Armenian chronicle scripture and predetermined its content and genre. The borrowings became a school for the Armenian masters of the pen, but the Armenian literature was enriched with the realities of Armenian life and specific Armenian world view. The Holy Scripture's twofold translation (first from Syrian Peshita, then, immediately after Ephesus olcumenical council in 431, from the Greek edition called "Septuagint") became the examination of opportunities of the noble and rich word stock, stylistic-expressive means of the classic Armenian on the level of the Golden Age. The old Armenian (Grabar) original of the Bible, that has reached to our times, really causes amazement for the perfection of Armenian, and it is not incidental, that an orientologist Lakroz, while referring to the "Genesis" and the translation of other parts, has called it "Queen of translations." With its richness and significance a priority role in the 5th century enormous translation and chronicle-scripture legacy, of course, belongs to Armenian Historiography. History was such a comprehensive genre which combined in itself various types of chronicle-scripture, including those of artistic and rhetorical types (epistle, hagiography and martyrology, verse and poems, folklore quotations, prayers and lamentation, artistic descriptions and scenes of nature, military actions and settlements, speeches, poetic-philosophical thoughts etc.). The history book, in this respect, is a comparative work with utmost historical focus, and the narrator is simultaneously an aesthete and a writer. The artistic components and means have contributed to giving sustainability and sensitivity to the history and historic figures, which even in the case of being introduced in a very rapid and fragmented way, demonstrate image-bearing features. 5. GOLDEN AGE OF ARMENIAN LITERATURE     a. Historiography The first century of Armenian literature, which is accepted to call "Golden Age", has given 5 prominent narrators: the foreign-named Agatangeghos and Pavstos Biuzand, whose personality and life conditions are veiled by uncertainty; then Yeghishe, Movses Khorenatsi and Ghazar Parpetsi. All of them lived either in the same decades or a little back and forth, but their works in terms of their style and thought are both very different from one another and each of them has a unique personality. Agatangeghos (or the person under his name)10 brings us the spirit of the tense atmosphere of Christianity adaption in Armenia. He is an author that is totally devoted to the truth pertained in himself, in whose work "Armenian History" the human vile passions and the highest ideas are in an inreconciliatory conflict. Their carriers are, on one hand, pagan Trdat and his retineu and, on the other hand, Christian Grigor and Hripsime with her friends, all of them being polarized figures. Live martyr Grigor and witnesses of Hripsime withnesses wedded to Christ become the winners. The physical rude force loses, the victory is with the spirit, with the true God. For Agatangeghos this was the salvation of the Armenian world and it is a regularity that the third book of his work has been called in the same way "Salvatory Conversion of Armenia". Pavtos Biuzand, who does not mention Agatangeghos's name , but obviously testifies that he is well informed about his work, by his "Armenian History"11 directly continues by giving it historico-romantic description of the following 5-6 decades (331-387). More than the former, he surrenders to the premordiality of novelistic folklore, by playing himself the role of a national narrator, as noticed. However, he is likely to have maintained the purely national picture it formerly had, especially, he has preserved the "Persian War" novel with its tragic end , i.e. the division of the Arshakuni Armenia becoming a subject of a foreign land. By the picturesque comparison of the narrator, Armenia is torn into pieces as an old cloth. The heroic times as if give way, with the "days of suffering" approaching. Among the works of the "Golden Age" historians, Pavstos's history with its word treasury and linguistic perception is more close to the Armenian translation of the Holy Scripture. There is a chronological theory, according to which, the first historiographic monument of the 5th century, after Koriun's "Mashtots's Life" , is the book of Yeghishe titled "About Vardanians and Armenian War" created by the mid-460s, when St. Grigor Partev's name, as a greatest national saint (Yeghishe does not know him), was supposedly not known Armenian reality yet. In the second half of 460s "History of Agathangelus" appeared in the scene which was followed by the "Thaddeus Apostle's Martyrology" as a counterbalance to the event of Christianity entering into Armenia through the route of Ceasaria from the West, emphasizing the version according to which the new faith was spread in Armenia through Thaddeus Apostle from the South (this fact was unknown to Agatageghos), finally, as if only after the mentioned works Pavstos's history was written (who knows both Agatangeghos's work and St. Thaddeus's Martyrology). However, despite of its substantiated basis, this chronological perception is not persuasive. It is more likely, that Yeghishe succeeds the two early narrators both by his perceptions and the way of narration, by representing a higher level of the latter. As the prominent Armenologist, late academician L.Khachikyan confirms, Yeghishe , by his philosophical outlooks is connected with the Neoplatonic approach and is, in fact, its first successor in the Armenian reality.12 His book is the heroic narration of the Vardanians War , which is a radical and significant event in the period of 449-450s in the Armenian history.13 The nation was risen to unequal battle. People devoted to the Armenian sacred oath , by the leadership of Vardan Mamikonyan in the field of Avarair in May 451, demonstrated a unique feat , by fighting against the Persian army three times exceeding the Armenian one. The researchers , usually, describe that event and assess it as a moral victory for Armenians , whereas describing it as an arms victory for Sasanyan Iran. But inspired by the willingness of making a sacrifice for a higher goal, and admired by the feat of his nation, the narrator-poet provides a deeper formulation of the battle: "It was not the one side winning and the other side losing, simply the most courageous people arose against the other courageous people and both of the sides lost."14 And that is substantiated , taking into account, that King Hazkert the Second afterwards refused from the absurd plan of making the Armenians change their faith (assimilation of Armenians). The idea of martyrdom is the denial of war and death and praising of the life free from slavery. By this the Vardanians have become a symbol of fair struggle and Armenian freedom-loving, celebrative saints of Armenian church. Yeghishe's register is full of wise thoughts and poetically beautiful descriptions. Especially impressive is the concluding part of the book with the ode about the delicate Armenian women. In M.Abeghyan's assessment , with many fragments of his work, he has created "such a poetic prose, which is quite choice, full of poetic features, and the one that is unique in our new literature." 15 In the second half of the century, the greatest thinker's M Khorenatsi's monumentary image16 rises in historiography. He implemented a plan highly significant in its essence. He discovered and restored the marvelous structure of the Armenian whole history from the mist of obscurity and oblivion. Quite justifiably he is entitled to bear the highest title of father of Armenian history. He is also known by the name of a "Father of poetry", and it not only reminds us of the fact, that he is an author of grammatical commentary dedicated to Greek translation of the work "Art of Grammar" by Dionysius Thrax but is also an evidence of his great artistic professionalism, his being of a universally known poet. In his "Armenian History" from the beginning to the end the investigating historiographer is accompanied by high esthetic taste, sense of measurement, capacity to see and evaluate the beautiful, features, which supplement and make the loftiness of his narrative style more emphatic. A thinker fed by traditions of the Greek literature and art , the cultural orientation is Western, with the explicit rejection of the Eastern style and imagination. For Khorenatsi an example of perfection and consistency are Plato's words, which are "beautiful and bright" and "far from falsehood", with his attempts to resemble him.17 The chronicler aimed at laconic and fast speech is always cautious to avoid any danger of incidental loquacity and garrulity, trying to cut his speech short, if it is especially a narration or legend, going far from the reality. He has an individual tendency to narrate about the building activity of the Armenian kings, endows the historic figures with novelistic features and artistism in separate cases. Wonderful is the description of Yervandakert estate with its picturesqueness, as if viewed from the solar height. Khorenatsi's history ends in "lamentation", which is the generalized description on the political and socio-moral situation of the whole century, filled with the author's strong passion, tragedism and patriotism. Here his speech is like a poem with a harmonic and sonoric flow of words, sometimes even calmness, powerful comparisons and pictures, especially with the richness of feelings and thoughts, features, by which his prose there and in other parts becomes reasonable-poetic. The last historiographic monument of the Golden age is the "Armenian history" of Ghazar P'arpetsi created at the end of the century. He has followed "Neither add to the non-existent, nor reduce the existent" principle. P'arpetsi is also the first greatest figure in the epistolary genre.18 The papers written before him were of religious-theological nature, void of the vital-historic value, by which his letter addressed against the liar monarchs was characterized. The 5th century has also bequeathed a rich legacy of speeches. We mean Grigor the Illuminator's "Hachakhapatum Charq( rhetoric speeches)" collection19 and the book of speeches, which has been published under the name of Hovhan Mandakuni.20 They are valuable collections of rhetorical speech, in which the objectives for Christian faith strengthening and Christian coexistence organization, custom purification of Armenian nation are touched. b. Spiritual Literature In that century, also, Armenian spiritual poem was established. By coming to life, for purely religious purposes, the spiritual songs , i.e. sharakans, (religious songs), have been performed during the ceremonials, as a supplement to the psalms and Holy Scripture praises, originally being called as attachments. The first sharakan writers were Mashtots Archimandrite and Sahak Partev Patriarch. Sharakans have also been written by Hovhan Mndakuni, Movses Khorenatsi, later on, especially, in the 7-8 centuries, by other authors (Komitas Aghtsets Catholicos, Sahak Dzoraporetsi, Stepanos Siunetsi, Hovhan Odznetsi and others). Spiritual songs have also been written by two female poets living in the 8 century, i.e. Sahakdukht Siunetsi and Khosrovidukht Goghtnatsi. Until the 8 century the spiritual song was developing so rapidly, that "Sharakans" collection resulted as an outcome based on 8 main modal voices and canon.21 Exclusively sensitive are Mashtots's Penance sharakans, small lamentation - prayers, which were performed during the period of the Lent. The 6-9th century Armenian literature had difficult course of development. In 6th century, when in the Persian part of Armenia the power was in the hands of Iranian governors, the speed of the literature development process was reduced. From those times separate works have been preserved, mostly papers, with ecclesiastic-theologicalnature. The only exception is Petros the Poet's fragmentary work referring to the famous figures of the Siuni Princely family, the courageous deeds of the governor Andovk and his son Babik.22 Those fragments carry the seal of the impact of the novel "Persian war", bear a local nature concretized within the borders of Siunik. Since the 7th century, the Armenian historiography has gradually been recovering its significance. The historians Sebeos, Movses Kaghankatvatsi (7 century), Hovhan Mamikonyan and Ghevond (8 century)23 appeared in the arena, and since the end of the 9th century- Tovma Artsruni, Hovhannes Draskhanakertsi, Artsruni family anonymous narrator24 and others, in the works of whose the artistic prose preserves its power to some extent. Noteworthy is especially Hovhan Mamikonyan's "Taron's history" about the wars for the Glak monastery and Taron. This novelistic history, despite its historical untrustworthiness, is a highly valuable literary work. The peasant style of its narration as if predicts the closer arrival of "Sasna Tsrer" related with the struggle of Armenians against the Arab Caliphate. About the high development level of the 7th century Armenian secular poems speaks the "Laments on death of Jevansher, the great prince from the East,"25 the author of which is a poet by the name Davtak. Applying to the lamentation genre the poet has followed on the one hand the traditions of the literary lamentation (prophet Jeremiah's, Movses Khorenatsi's lamentations) and, on the other hand, the traditions of Armenian National lamentation. He is well-informed about Komitas Catholicos's (615-628) sharakan dedicated to Hripsime virgins, followed the versification and acrostic composition. He was, also, fully mastering the Greek mythology and epic art. At the end of the 9th century the achievement of Armenian independence, the establishment of Bagratuni Kingdom(885) in most part of the country, further, the establishment of Vaspurakan's Artsruni Kingdom (908), highly contributed to the flourishing of the whole culture and arts in general, as well as poems. Under more than 100 years of peace (930s-end of 1030), development of trade and arts, under the auspices of Armenian royal and princely families, both spiritual and mental life flourished. In terms of ideology, this was the beginning of a period of great turnover. The people, with the preservation of medieval Christian piety, also started to appreciate the life on earth together with the life in space. The literature was proceeding through the path of secularization. The Armenian rebirth started.26 Grigor Narekatsi is the thinker and poet of that turnover century, in the center of whose works is the greatest personality of the century with his controversy, complex thoughts on humanity and life. In the field of poetic verse he became a real innovator. Narekatsi laid a basis for a new collection of spiritual songs "Gandzaran" (or "Tagharan" (Song of Songs)) with such units as gandz, tagh, meghedi, hozdorak (pokh). He, almost, didn't write sharakans with an exception of a single one, the belonging of which to his pen is less probable. To his opinion the sharakan song has probably been brought to the end and final point of possibilities by his predecessors. With his best poems and melodies,27 Narekasti reformed the Armenian spiritual song, which by that time in sharakan genre was in indirect dependence from the Holy Scripture in word-stock, stylistic and expressive means, descriptive-comparisons and thematics repeating and remaining in the limits of its dictation. Narekatsi , as compared with his far and close ancestors, went towards the sources of the national speech and life , with them creating artistic pictures by showing a higher perception of poetic art. In his poetry he has applied to allegory, by embodying the spiritual ideas and divine truth by pictures of reality and nature, with the thought " By the hand of body to see the soul inside"28 It might be assumed that the everyday life and nature themselves have enhanced Narekatsi to apply to allegory since it is through the spiritually abstract ideas that their poetic subjectivity is obtained, they become easily perceivable, give pleasure to the reader and the audience. Narekatsi has created his poems and melodies as songs and has created music for them.29 It is also noteworthy to mention the two essential sides of his talent and poetic thinking. Narekatsi is gifted by unusual imagination. Everyday phenomena in his poems are replaced by beautiful images. As if his objective was to express not so much the truth-like, but rather the beautiful and the perfect. The other feature that his capacity of perceiving and expressing the objects and nature in changing movement: the nature and action in his poems and melodies are not in the same state of affairs, they express movement and change. The poetic images, as he has once mentioned on one occasion are developing step by step. It seems that the poet through this line describes not only the waters of Jordan but also his own song: Down and up with no decend , up and down , and up to the skies...(Vair ver anedj, ver vair i ver)30 With his poems Narektsi created various tricks of poetic structure and metrics, a rich system of folklore, which became a guide for the future development of the Armenian poetry and was thoroughly used by his successors. Narekatsi's highest poetic feat was the "Tragedy Record-Book", which has not been surpassed by the Armenian poetic flight of the Middle Ages . It was written during the last years of the poet's life, in 1001-1003. Hovhannes Tumanyan has given this comprehensive description to the "Record-Book": "Here it is not the Armenian tongue speaking, it is nor a mouth that tells. It is rather the flaming heart , which burns all around the country; it is the suffered soul, which roars to the skies."31 The book composed of 95 chapters is a speech addressed to the God ("From the depth of the heart a word to the God"), expressed in the form of a prayer, frank and direct, from the beginning to the end filled with tragic mood. But Narekatsi cannot be perceived as an ordinary preacher. In his book of faith and confession he is a philosopher-poet, a general Christian voluntarily carrying in himself the sins and defects of the whole humanity and an individual confessing on behalf of all (" I am everyone, I am for everyone"32 ), who continuously searches new mechanisms for poetic expression , creates images, directly generating flows of speech without direct self-repetition. The "Record-Book" is both a self-narration, and a comprehensive narratio 6. RENAISSANCE LITERATURE - 11-12th c       In the second half of the 10 century and first fifty years of the 11 century , the famous city of Bagratuni , Ani, which is situated on the East-Western transit trade route, which was not only the evidence of the upraise of the Armenian economic life, but also , served as a capital, was attracting the most influential layers of society, i.e. princely families and richest sirs grown in the trade. The fortunate and rich highest officials neither ignored the theology, they wanted to be decent, and were developing the church building, protecting the development of culture, school and enlightenment, sponsoring the craftsmen, writers , artists and literary critics. That culture, by the dictation of the faith and devotion to the god was called for life, but was more vividly expressing political and secular desires, speaking of the secularization tendencies of the Armenian mind and arts. Its best examples are Grigor Magistros (passed away 1058 or 1059), Vardan Anetsi's (11th century) and Hovhannes Sarkavag's (passed away in 1129) activity and work. Grigor Magistros, the last prominent representative of the Pahlavuni distinguished family, was a versatile personality, a great expert of theology, philosophy, Iranian , Greek and Arabic culture, mastering several languages. This is testified by more that 80 papers, the collection39 reached to our times. The starting-point of the Armenian world-wide thought assessment is not the idea of emphasizing the Christian faith, but the scientific- cognitive significance of each phenomenon. That is why he, in addition to other fields, specifies the necessity of introducing the epos (i.e., fables and legends) into the curriculum 40, and liked to articulate his ideas in his letters and to enliven them with quotations from ancient samples of folk legends and tales. Magistros was the first among us to create a monorhymic and regular written piece, the so called "Hazartoghean" 41 poem (Thousand-Lined), (consisting really of 1016 lines), which is the shortened story of the Gospel, addressed to an Arab wizard Manuchei, who was very vainglorious towards Koran. But the poetical talent and the high patriotic standpoint of Grigor Magistros is revealed through the high spiritual verse ("Luak, te yekn�"), which is a call to fight for motherland addressed to one of his sons and is really a patriotic war-cry. Vardan Anetsi is probably his contemporary, but his biography is totally unknown. He is well known only through one versed poem, titled "Vasn Astuatsutean Nerbogh"42 (Panegyric for God). Pitifully, the last part of the manuscript is missing. But even uncompleted, it is outstanding for its monumentalism, picturesqueness, comparisons, and high style Armenian. The Panegyric, through the description of the Ezekiel vision of the coach, praises human courage and endurance, and is a request to God for ascend and happiness. Father Alishan and others do not hesitate to compare Vardan Anetsi with Grigor Narekatsi 43. In the person of Hovhannes Sarkavag we have a representative of outstanding scientific mind, whose some bright ideas have surpassed the century and his time. His rich heritage gives us the notion that he has been a real inborn researcher with a deep ability to listen and investigate the mystery of nature and a desire to reveal secrets of universe. He has suggested the concept of the experiment as means to check the reality and truthfulness of opinions and science, thus being a predecessor of the European mind in this question. He has created verses as well, especially the "Ban Imastutean" volumous ethical poem 44, which is an ode to nature as a source of inspiration for the art of music and poetry, and which can be only followed and praised to create immortal pieces of art. This is a new point of view on the genesis of art and poetry, very different from the principle of "Revelation," which was dominant in the Middle Ages 45. In the middle of the 11th century in the history and life of Armenian nation a tragic period started. The Eastern Christian world was as if unprepared and was not ready to resist the Turk Seljuk invasions, which were menacing from the East. The Armenian kingdoms and noble families were defeated one after the other. The major reason of defeats was probably the short-sighted policy of the Byzantine Empire, which under the mask of protector of the Eastern Christianity, in fact, revealed its mistrust towards Armenia, through false promises displaced the Armenian kings and numerous princely, families onto the territory of its Empire, which resulted into the displacement and influx of big masses of people as well, thus making it possible that the previously flourishing and defenseful country was easily conquered by the Eastern hordes. The native owners of the Armenian land diminished, the ruins and displacement were everywhere. The banished Armenian nation got established west to Euphrates in Sebastia area and especially In Cilicia. Here powerful Armenian reigning houses were established whoes defensive struggle started from the end of the 11th century and on the whole duration of the 12th century was crowned by the creation of, first, the Rubinian Armenian Kingdom (in the year of 1189), and then Hetumian Family (around 1220), and just before the fall of the kingdom (1375 BC) the reign of Lusinians. That was one of the unexpected miracles of Armenian history: being devoid of kingdom in their main motherland, they achieved independence and a reigning home in Taurus, or it should be correct to say, in Armenian Tavros. The works of Nerses Shnorhali (1102 - 1173) are a reflection of the political rise of Armenians in Cilicia with the essential desire to re-establish Armenian cultural and spiritual values and traditions. The theme of the vast part of his inheritance, both poetic and prose (theological, oratory, and literary), is spiritual ecclesiastic, but the other aspect of the Armenian life and history is also present in his works. He bears the spirit of Armenian legend as an oath: that is the spirit of the poem "Sharadrutyun Homerakan Vipasanutyamb"46 (Records of Homeric Epos). In his biblical ("Hisus Vordi" (Christ the Son), or "Voghbergutyun Vipasanakan (Epical Tragedy)), theological ("Ban Havato" (On Belief)) and spiritual - ecclesiastic poems, psalms ("Aravot Luso" (The Morning Light), "Ashkharh Amenayn" (World as a Whole etc.), songbook, hymns, he is presenting the word of the God, as a real dedicated worshipper, to the people through literature, while being inspired by the sacred ideas 47. It is worth mentioning and appreciation his puzzles (the number of which is around 300) 48 through which, as well as through a series of poems, he pursues educational goals. Through puzzles Shnorhali wished to deepen and widen the world cognition of Armenians. The most eminent work of the poet's heritage is the "Voghb Yedesio" (Lament on Edessa) 49, which describes a historical reality of his days, namely the conquer, plunder, devastation of the city of Yedesia by the Muslim troops. The Lament is the expression of big passion and feelings, a call to the Christian world to sober, wake up and unite against the Muslim threat. The poet casts a look towards his fameless motherland as well, to Ani, Vagharshapat, creates images full of patriotic meditation, compares the fameless and tragic present with the past days of Armenian grandeur and glory. He suffers for the lost political freedom. In the person of Nerses Shnorhali, the muse of Armenian poetry for the first time spreads through Armenian motherland. The Lament ends with an expectation of a second Crusade, with which the poet's hopes for liberation of Eastern Christianity and Armenia lie. The Loment of Shnorhali had a lasting impact on the history of the further development of the Armenian tragedy, especially the development of the theme of historical lament. Among his followers were Grigor Tgha (1124 - 1193), Stepanos Orbelyan (died in the year of 1305), Arakel Baghishetsi (died in year of 1454), Simeon Aparanetsi (died in the year of 1614), Minas Tokhattsi (born in the year of 1507), Stepanos Tokhattsi (born in the year of 1558), and Hakob Tokhattsi (born in the year of 1573), and others. Nerses Shnorhali is a balanced, poetical individuality. The image, the burst of passion in his works is always subdued to the rhythm and regulating power of the poem. He pursues achieving ideal forms. The rhythm and metre of poem in his works always come forward as an origin for both recitation and singing, because Shnorhali is a musician and a poet at the same time. He has stayed unsurpassed in the medieval poetry for his rhyme and metre. 7. ARMENIAN LITERATURE - 12-13th c.      By the end of the 12th century and especially starting from the 13th century the Armenian literature entered a new qualitative era thanks to deepening of secular emotions and the tendency of development independent from church. The range of literary themes were widened and their ideological content was enriched due to closer correlation of literature and reality. The bloom of Armenian fable as a separate field of literary prose fostered the process of creation of Armenian secular literature. Due to the famous lawyer Mkhitar Gosh (died in the year of 1213) the fable as a type of the traditional folklore was enriched with the morale and became a full fledged literary ganre. Fortunately, the book of fables of Gosh, where hundred and ninety fables are assembled with morale as endings, and the introductions of the author has reached our days fully without any missing parts through manuscripts and has been published 50. Gosh has created in Grabar (old Armenian). The most eminent person in Armenian fable writing is Vardan Aigektsi (2nd half of 12th century, around 1230s), who is representing the next generation after Gosh. He has created fables in middle Armenian, thus being fully understandable for the whole Armenian nation. And this has had its unsurpassed impact on the future development of Armenian fable writing. Whatever has been created in this field in the centuries 13th to 17th is assumed to be authored by the great Vardan, and collections of this type were not only called "Aghvesagirk" (Fox Book), but also "Arakq Vardanay" (Fables of Vardan), "Vardanagirk" (Book of Vardan). The fables use animal images, which give us grounds to assume that in Armenia of older period the so called animal novel had a leading role and that its fragments have survived in the fables as remainders of the once complete novels. Both Gosh and Aygektsi for sure were followers of the traditions of Greek fables, and have elaborated some of its samples. They have been familiar with some of Esop's fables, which were translated into Armenian and were presented through Olimpian fables still in early Middle Ages. They have known the "Baroyakhos" (Moralist) collection of fables (that were translated during the same period from the Greek), which describe the specific features and traditions of plants and animals (flora and fauna). But the Armenian fables were feeding on the folk: the fables, tales, humorous stories, and anecdotes that were told by people through centuries, with funny accents, hearty laughter, and ruthless criticism. The fable writing has the same descriptive features. It brings to surface the social relations of Armenian life between the nobles, the rich, the flourishing citizen, the priest and the clergy on one side, and the workers, peasants, homeless on the other side. The middle Armenian which was the language used by common people at that time, during the second half of the 13th century, entered and started to be used as the language of poetry as well. 8. ARMENIAN LITERATURE - 13-14th c.     The 13th - 14th centuries can be considered an era of glory and victory of Armenian secular poetry. Though the political conditions were not supportive to promote arts and literature, because the nation was suffering under the yoke of Mongols and other oriental tribes, before that, since the times of Bagratuni Kingdom of Ani and Narekatsi, through the existence of the houses of Armenian noble families and princes, especially through Zakarians, all the basies were created for expressing the Armenian national spirit and development of arts and literature. Notwithstanding the disastrous times the seeds were sawn and the first seedlings of Armenian creative mind appeared. Gifted individualities with outstanding abilities came forth, and amongst them were Frik, Kostandin Yerznkatsi, Hovhannes Tlkurantsi, and others. Lyrics, especially in the songs of love, the flames of soul of the Armenian native gousans' songs (Hayren) 51 are visible. In the peaceful time of Armenia gousans were supported by the noblemen and wealthy citizens (barons). The widely spread Hayrens were much beloved by common people; their theme was mostly on love, joy, weddings, people in exile. Initially being sung as simple songs they influenced the poetry of the high Middle Ages (Narekatsi, Shnorhali, Grigor Tgha, Frik, Khachatur Kecharetsi, and others), then later were written down in the Songbooks and other collections and preserved up to our days: their numerous samples like Akna Antuniner (the Exiles of Akna), Ororner (Cradle Songs), and Maherger (funeral songs) were written down by the end of the 19th century 52 and some years later, especially in the region of Akn - Sebastia53. "The one who had direct thought and had deep fine feelings," the poet Frik54 (13th century) has lived a life full of joys and pleasures, but more than that full of disappointments and affection. The wealth and well established flourishing living in his lyrics is reminiscence only, while wretchedness is a living reality to which his tortured body and fatigued soul are condemned. More than 50 of his verses are frank confessions about what he has seen and felt during his life, about all the numerous experiences and temptations, that have been continuing to bother him while he has been resisted them all and have moved forward towards his ruthless faith. His road of life has been crossed by Mongol rulers, khans and sahibs, he has been cheated by Masaschis, has been deprived of his property, and has drunk the full cup of bitterness. He has passed through everything, and now he asks painful questions: why the world that has been created by God is so unfair. Is it his lot, or the will of faith, or the God itself? In any case he does not kneel and continues his accusation with the full conviction that: I do not have any acquaintance than you, Where should I go from your door? 55 Frik is a rebel, his is a complainer, but he does not reject God. He is comforted by his share of divine gift, the ability to create verses, see the reality, and express himself that was given to him by God. He is a symbolist like Narekatsi. But his forms of self-expression are more simple and common: Narekatsi is a confessor between his secular cell and Seventh Heaven, rhetoric and pathetic: Frik firmly stands on his motherland, with affection for the wretched men kind in his soul, mumbling as a simple human being. Hovhannes Plus Yerznkatsi (has died in the year of 1293) 56 has received brilliant education from the wise monks, has devoted himself to enlightening the people of Armenia from Cilicia to East Armenia with the noble mission to wake up in their souls the national consciousness and patriotism. His poetry has been created on this ideological basis and served solely the educational role through spiritual and admonitioning mind. Yerznka (geographical area) has given to the Middle Ages one more great poet, namely Konstandin Yerznkatsi (approximately last quarter of 13th century - first half of 14th century), a person with very rich inner world dissatisfied with his environment and people surrounding him, at whom he casts a look full of distrusts, because he assumes they are thirsty for blood. "Bovandak ashkharhs e gayl" (the whole world is a wolf)57 __ he declares without hesitation and complains of people whose souls are blind and who are mindless and who are ignorant and for that reason do not speak "of men with love." He is very sensitive and distrustful, thinks that everybody "hates him with animosity." He sees only enemies around, condemned to be lonely and not appraised, the poet is hurt especially at the reality that some have been jealous of his ability to create. To justify his right of creation Yerznkatsi presents a vision of how God has given him the gift of writing: That I speak through my soul is the gift of God. 58 Kostandin has expressed his highest comprehension as a poet through allegoric works. In this case he is a real spiritual son of Narekatsi, the one who is developing the traditional forms of allegories, he himself turning into an example to be followed by later generations of poets (Arakel Baghishetsi, Mkrtich Naghash, Grigoris Akhtamartsi, and others). He rings the song of awakening from the cold breath of winter, from its darkness, and fogginess into spring; rings the bells of renewal of the world weaving the canvas of the bird waiting for the rose and the novel of lyrical love, a real "Rose Novel," but without any courtois tendency, only in the depths as a goal and as a subcontent expressing the spiritual meaning of the incarnation and annunciation of Christ and renewal of life from the pagan darkness. "Do not understand my work as physical" warns he endlessly, "but spiritual." 59 Even though, Konstandin's verses because of the emotional and luxurious picturesqueness are exactly apprehended as the delight of human soul towards the beauties of nature. The axis of this joyful mood and beauty is love: As the one does not have love, will not have beauty. 60 In the lyrics of Yerznkatsi from time to time the allegories and usage of the language of "fables" gives place to the earthly love. Three to four verses of this type have survived to our days. Thus making him the first singer of love of the medieval Armenian lyrics (if we exclude the Hayrens of gousans (folk singers), names of whom are unknown). He has written those at the request and desire of members of the Youth Union of Traders and Craftsmen - Brothers. 61 With these songs Kostandin forecasted the future development of love songs, thus creating a real system of expressing love through images. This was the beautification of expressing love with oriental colourfulness, which since then was developed and enriched with new shades until Sayat Nova. Khachatur Kecharetsi, a younger contemporary of Kostandin also has an allegorical love song about the rose and nightingale, and has left pretty little lyrical songs with a touch of individuality. 62 But his role was big especially because he revealed and brought back form the dust of neglect, corrected, edited, and made a beloved book for reading the "Alexandri Varuts Patmutiuny" 63 (History of Alexander's Deeds), which is considered to be authored by allisthenes, a fifth century translation from Greek, the translator considered to be Movses Khorenatsi. Kecharetsi has done almost everything to localize the story and make it closer to Armenians. He interwove into the original his verses with Alexandrian motives, some parts he rewrote into poetry, called "Kafa." Grigoris Akhtamartsi, Hovasap Sebastatsi, Zakaria Gnunetsi, and other poets, miniaturists of 16th century played a major role in designing the miniatures and making in Kafa style the Armenian original, which is famous for its several editions 64. Kecharetsi has enriched the original with the so-called "Tnorinakank" (the comparison of Alexander with some features of Jesus Christ). Hovhannes Tlkurantsi (14th century) 65, the bright lyrical poet and author of love meditative and epic songs of the period of the fall of the Cilician kingdom, is free from allegories and conditionalism. His songs are marked with transparency of watercolours. He is not using allegories, everything is presented with pure vision and clearly. Though the beloved creature is for him sacred, and love __ a victorious feeling and idea, he is not free of Christian prejudices to love. The soul falls to love, but conscience realizes that "below the mortal sin." He confesses his weakness for love. How could he not love, when even a 100-year-old monk is subject to love, as, breaking off the mass, he "wants you in front of the cross." Nothing is strong enough against love: it melts mountains, ruins high castles, and demolishes rocks. In Tlkurantsi's understanding love gives birth to life, the bosom of beloved girl is an immortal paradise, which returns the soul of dead, brings back life to those who have passed away. For love the Khev (Crazy) Hovhannes (as he calls himself everywhere) is ready for sacrifice: I will hit my heart with a knife, And will give away my eye...66 Tlkurantsi's love lyric is marked for its individuality. He praises love not for the sake of propriety, or copying somebody, but as a personal feeling, as a fact of his personal life. At some point the praise of the beloved creature and the desire to reach her are interrupted: the beloved woman is ruthless ("You spilled my blood without sword and knife"), rejects him, which is equal to killing him. Tlkurantsi who has overlived this tragedy has created one of the most precious pearls of Armenian love lyric (The verse that starts with the line "Yes ko sirun chem dimana" ("I cannot resist your love") 67). A. Chopanyan and Russian great poet, an expert of Armenian poetry and translator V. Bryusov have given praiseworthy estimates to this love song. According to the first, as if an oriental Baudelaire and Verlaine have combined their talents together 68, while according to Bryusov's estimation "Hovhannes in his song "Opens up such depths of feelings," that were achieved by the poetry of 19th - 20th centuries, and that "such outbursts of real passion cannot be found neither in Petrarca's sonnet's nor in love songs of Ronsard." 69 9. MIDDLE AGES - 15th c.    By the end of 14th century the ancient Armenian literature entered the late medieval phase of its development. The period from the 15th to the 17th centuries was disastrous time for Armenia. Armenia had turned into an endless war arena between the Turk sultans and Persia, and the nation was exposed to unheard exploit, massacres, and displacement. In motherland or in colonies elsewhere (Crimea, Valakhia, Romania, Poland, St. Costantinople, and elsewhere) learned people through inexplicable efforts were trying to preserve the written manuscripts of Armenian literary culture and depict the life and faith of the nation in pursuing literary efforts. During this period the tendency of secularism continues and deepens, the poetry tends to develop in the direction of individualism, reflecting day - to - day life and details, thus gaining the local colourful description. The minor theme are gaining more significance, the humour becomes more obvious, and is woven around the simple and ridiculous events of life. The lyric of this three - hundred-year period is created partially out in the nature and partially away in foreign countries. Poets of this period that have feeling of individuality are not many: Arakel Syunetsi (14th - 15th centuries), Arakel Baghishetsi (died in 1453), Mkrtich Naghash (15th century), Grigoris Akhtamartsi, Hovasap Sebastatsi (first half of 16th century), David Saladzortsi (17th century), Hovnatan Naghash (1661 to 1722), and one or two more 70, who in many cases continuously repeat the previous poets, make use of their images and comparisons, apply their epithets, and other means of expression. Hovnatan Naghash, continuing the traditions of lyrical songs, tends more towards the folk songs. In the 16th and 17th centuries thanks to hand-written and signed songbooks more names of poets of those times have survived to our days together with their songs. In addition to those, whose names we have brought above, we would like to mention some others as well: folk singer Kuchak Vanetsi 71, Ghazar Sebastatsi, Martiros Kharasartsi, Vrtanes Srnketsi, Sarkavag Berdakatsi, Grigor Vanetsi, Stepanos Varagetsi, Minas Tokhattsi (16th century), Simeon Aparanetsi, Nerses Mokatsi, Stepanos, Hakob, and Khachatur Tokhattsis (16th to 17th centuries), Martiros Ghrimetsi, Yeremia Qiomurchean, Qosa Yerets Basentsi (17th century). They are many. Big is the number also of those lyrical singers whose works have survived partially but whose names are unknown. Especially in the prose of the 17th century side by side with the chronicles two ganres of memoir style obtain special meaning: travell notes and diaries. The travell notes style was established a bit earlier, in the first half of the 17th century and is remarkable by the satirically coloured (and written in prose)72 work of Khachatur Tokhattsi "The History of the City of Venice" and Simeon Lehatsi's "Ughegrutyun" (Notes of Travel)73. Yeremia Qiomurchean, Zakaria Aguletsi, and Minas Andetsi have written diaries 74. 10. LATE MIDDLE AGES - 17th c.  The more outstanding lyrical poets of 15th - 16th centuries are Mkrtich Naghash and Grigoris Akhtamartsi. Naghash is the second after Frik in Armenian lyric who has deeply felt the social grief of the common people, lashed back at the cruel and miser exploiters' greediness with sarcastic and furious words (poem "Vasn Agahutean") (Against Greed), on the other hand with his two poems "Vasn Gharibi" (For the Refugee) he established the motive of migration and displacement in the Armenian lyric: the peak of this direction is the "Krunk" (Crane), written by an unknown author in the second half of 16th century and having a national fame after the elaboration of the genius Komitas. Grigoris Akhtamartsi who is also a painter miniaturist, as well as Mkrtich Naghash, is more valued for his outstanding gift of a poet. Even though quite often he has used the form of allegory, he is depicting blazing love, with the desire of life and nature, through colourful and impressive lyrical images. Being rejected in love, as Tlkurantsi was, he also feels candid burst of love and does not hesitate to describe his lover: Your eyebrows are like sparkling swords, Eyelashes are as curved as arrows, You kill your prisoners thousand times a day. 75 The contradictory feelings of the vanity of the world and desire for life gave birth to the poem that starts with the line "Yamen aravot yev loys" (Every morning and light), that is assumed to be authored by him, about eternity of life and passing life, which is a philosophical reflection where the ideas of life and death are opposed to each other. The poem has a deep meaning, is short in volume, and lacks decoration, and will be still much appreciated. The 18th century was a period of brewing new political and social ideas. New prospects were being developed for national awakening and enlightenment. The Armenians in Venice (St. Lazarus Mkhitaryan Brotherhood), the Armenians in India (Shahamiryans), and their ideological peers in other regions were persistently acting for the rebirth of national feelings, were ploughing the seeds of Armenian culture to direct the Armenian life in correspondence to the new times. This century was at the same time the period of literary brewing, preparation and transition period for literature from the old to the new, where amidst the mixture of Grabar (ancient Armenian), middle Armenian, and dialects, the new ashkharhabar (modern Armenian) literary language is starting to be used. Even the grammars of it are being written and published, and this was maybe being done chaotically with the perception that the renewed literary language should be the ashkharhabar. Among the numerous literators (Mkhitar Sebastatsi, Hakob Nalyan, Petros Bertuments, Petros Ghapantsi, and others) 76 special attention should be paid to Paghtasar Dpir (1683 - 1768) for his songs of love and missing 77. The 18th century though has become meaningful thanks to the name of the great poet Sayat Nova, who in addition to Armenian (the dialect of Armenians in Tbilisi, Georgia), has created in Georgian and Turkish languages as well. His literary - folk singer life has spread only for two decades only, during the 40s - 50s of the century. The ancient Armenian poetry is coming to an end, and the new one tries to establish its new path. Sayat Nova stands on the crossroad of the old and the new and due to his comprehension of life and mentality is closer to the new era.       1 About the preliminary expression of oldest Armenian beliefs, cult and folklore see Gh.Alishan, Old faith or Armenian pagan religion, Venice, 1895, M.Abeghyan, Armenian national faith ( "Yerker", vol. 7, Yerevan, 1975, pages 11-102), the same "Preliminary mythological-historical folklore" ("Yerker", vol.3, Yer., 1968, pages 17-29). 2 Particularly important from the research devoted to the mythological study are M. Emin's Novel on Old Armenia, Moscow, 1850; M. Abeghyan, Armenian national myths in Movses Khorenatsi's "Armenian History" ("Yerker", vol.8, Yerevan, 1985), "Old myths" of the same ("Yerker", vol.3, Yer., 1968, pages 30-49). 3 See M.Abeghyan, Armenian national myths..., "Traditional novel" in the same work ("Yerker", vol.3, pages 50-83). "Armenian novelistic folklore" (Yerker", vol.1, Yerevan,1966,pages 90-180). 4 "Armenian history of Pavstos Biuzand", St. PetersburContent-Type: text/plain Timeout http://web.archive.org/web/20041124225317